kumagama

[kumagama]

Hatsugama / 初釜 / boiling of the first kettle / Year of the Horse

This meeting is seen as something very special. Hatsugama is the only time when the tea teacher prepares tea for all her students. In most cases this tea ceremony is a complete Chaji meeting with Kaiseki meal, Nakadachi breaks, and the whole ritual done the way it was learned during classes. This year, for Hatsugama, we will have a light meal together before having tea. Sensei will prepare rice, main course (Nimono-wan) which is simmered fishcake or chicken cake in soup, a bit of sake, tea and new year's sweets. We will each bring a small something that contributes to the meal. It is impossible to teach the whole Chaji at once, therefore it is always broken up into practicing how to prepare Usucha, Koicha, and arranging the charcoal in Sumi-temae. Only this time will the whole ritual be performed by the tea teacher with some help from the senior students. In formal study of Chado it is an opportunity to meet all the other students whom might be studying on different days and for the teacher to point out some of the details about the flow of a full Chaji meeting. Typical for this meeting is the festive mood, exquisite cuisine, and the curved braided willow branches hung in the Tokonoma. The willow branches hint at the promise of spring by bringing yang energy into this yin time of year and the loop around the branches symbolizes the promise to return again next year.  The willow also symbolizes long life and flexibility.

合掌,

Cody Kroll コーディクロール

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Hijiri-Ikenobo Practice: Nuki-Do & Ryaku-Do Styles

Practice: Jiyu-Hanagata (Freestyle) Nuki-Do & Ryaku-Do Moribana. There are no Ikebana classes until the New Year. These two arrangements provide a nice variation of some of the flower vessels I create. One is a fluted black glazed suiban I made and the other is a small nezumi-shino Chabana wall vase normally used for Tea Flowers. The first arrangement uses only irises and eucalyptus and represents Nuki-Do (Outstanding Middle). Nuki-Do style looks to accentuate the middle of the composition. The second arrangement uses only irises and pine and represents Ryaku-Do (Omitted Middle). Ryaku-Do style seeks to remove the focus from the middle of the composition. Yasuko Sensei felt both were very successful but she really loved the second composition. I stretched myself after the first one to use the flowers themselves to represent the Shin (Heaven) line and the Soe (Man) line rather than greenery. Even though there are no Ikebana classes until after the New Year, I used this opportunity to practice my skills and also to make offerings for the Buddha.

Suitable containers for Moribana:

Suiban, low containers or wide mouth containers

Length of Shin (main stem):

1.5 x the width of the suiban + the height of the suiban

合掌,

Cody Kroll コーディクロール

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

This is a picture of my Seisho (proof) homework for my Shodo (calligraphy) class. The first style you learn is Kaisho (print style), there is also Gyosho (semi-cursive style) and Sosho (cursive style) for each kanji as well.  The kanji from top to bottom, right to left: Earth, Artisan, Stand, Seven, Hair/Feather & Exist. There are different pronunciation for each depending on the ON or KUN reading. Also, each can have several meanings but I included the most common translation. The image should be rotated to the right in order to read it correctly.

[kumagama]

Images of all the arrangements from Hijiri-Ikenobo class: 12/14/13 

These are all the arrangements from my Hijiri-Ikenobo class. Lesson: Jiyu-Hanagata (Freestyle) Gyaku-Soe (Reversed Soe) Moribana Style. Moribana means “piled up” style of Ikebana. This group of arrangements provides a nice variation of vessels suitable for Moribana and was themed by Sensei to reference New Years through the addition of red and white. The first arrangment is my own from class. Yasuko Sensei’s is the second image in this series and represents the ideal of what the Gyaku-Soe lesson exemplified. The third piece in this series is one that belongs to another member of our group but is in a suiban that I made. The last two images in this set are arrangements I made in my own vessels with flowers I took home from class. One is Chabana (Tea Flower) style made as an offering to the Buddha before Sunday Services at Flower City Nichiren Buddhist Sangha and the second is a variation of the Gyaku-Soe lesson.

Suitable containers for Moribana:

Suiban, low containers or wide mouth containers

Length of Shin (main stem):

1.5 x the width of the suiban + the height of the suiban

合掌,

Cody Kroll コーディクロール

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Chitosebon (千歳盆）Otemae（お点前）- Chado Class 12/06/13

Yesterday, was my December Urasenke Chado class with Shino Sensei. The theme this month was: Chitosebon (千歳盆）Otemae（お点前）. The chitose bon (meaning "thousand years tray") is a chabitsu (tea container) that was designed by Kayoko, the wife of the 14th iemoto Tantansai. Kayoko also created the temae by the same name for Tantansai's sixtieth birthday. The chitose bon is made of wood finished in a deep brown lacquer. The edges of the lid, which serves the same role as a marubon in Ryakubon once the chitose bon is opened, is highlighted with red lacquer. All the utensils used with the exception of the binkake, tetsubin, and kensui are contained inside the Chitose Bon at the start of the temae and are placed back inside at the end. The teishu may enter and exit with the Chitose Bon, or may chose to display it with his or her folded fukusa on top. There are stong similarities between Chitose Bon and Ryakubon. Hence, the lid of the Chitose Bon serves the same role as the marubon in Ryakubon once removed. The inside surface of the lid of the original chitose bon is adorned with the following poem (translated into English) written by Kayoko to Tantansai:

The pine in the garden

Of color

Which changes not for a thousand years

May

Your life,

Too,

Be as this.

Kayoko

合掌,

Cody Kroll コーディクロール

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Images of all the arrangements from Hijiri-Ikenobo class: 12/05/13 

These are all the arrangements from my Hijiri-Ikenobo class. Lesson: Jiyu-Hanagata (Freestyle) Ryaku-Do (Omitted Do Style) Moribana. Moribana means “piled up” style of Ikebana. This group of arrangements provides a nice variation of vessels suitable for Moribana. Yasuko Sensei's is the First image in this series and represents the ideal of what the Ryaku-Do lesson exemplified. I love the vessel she used and I plan to try a few of my own variations based on this piece. The second piece in this series is one that belongs to another member of our group but is in a suiban that I made. The last image in this set is the arrangement I made with flowers I took home from class. I was late to class due to my teaching schedule and had to take my flowers to the studio to make my arrangement. I used it as the center piece for my Open Studio night. This was originally proportioned for a different vessel but it sold to a buyer before I could even photograph it! The second vessel I used is a Tenmoku Kurinuki-style (Hand-carved) kabin, please forgive the proportional differences due to the change in vessels.

Suitable containers for Moribana:

Suiban, low containers or wide mouth containers

Length of Shin (main stem):

1.5 x the width of the suiban + the height of the suiban

合掌,

Cody Kroll コーディクロール

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

15" Suiban Prototypes: 11/29/13

This style of container is called a Suiban. These containers are used in Moribana-style Kado arrangements. I’ve experimented with several methods of making these and finally found one I like that provides for flexibility and spontaneity. I made two 15" versions yesterday. I "stretch & pull" a slab first. I cut the profile of the floor of the suiban from the slab. I then make a thick coil that I attach then pinch and stretch with a bamboo knife. The technique I use is the same as a traditional Tebineri (hand forming) method used in Shigaraki prefecture in Japan. I’m still wrestling with what glaze palettes I want to use…wood firing would be my first choice but it’s winter here in the Rust Belt and no wood kilns are available. Also, I really have to keep my price points in a reasonable range for my Ikebana clients. This necessitates that I develop a glaze palette for these vessels to fire in gas or electric. If anything, it is broadening my horizons, plus I need new vessels for my own arrangements. It’s the journey not the destination…so much more to make!

合掌,

Cody Kroll コーディクロール

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Niju-giri Prototype: 11/29/13

This style of container is usually made of bamboo and is called a Niju-giri (Two-level). This container is used in Nidan Hangata (Double Layered Style). Although it is normally made of bamboo I love this style of vessel aesthetically. I've experimented with several methods of making these and finally found one I think captures the spontaneity of bamboo in both forming method and finished product. I'm still wrestling with what glaze palettes I want to use...wood firing would be my first choice but it's winter here in the Rust Belt and no wood kilns are available. Also, I really have to keep my price points in a reasonable range for my Ikebana clients. This necessitates that I develop a glaze palette for these vessels to fire in gas or electric. If anything, it is broadening my horizons, plus I need new vessels for my own arrangements. It's the journey not the destination...so much more to make!

合掌,

Cody Kroll コーディクロール

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Ro Season: First Chado class of the new Tea Year. - 11/22/13

Yesterday's Urasenke Chado lesson was the most informative yet. I have to say, personally, I find my studies of Chado (Way of Tea) and my studies of Budo (Martial Way) to be equally as difficult and enlightening. In formal study of both you are traditionally taught without many words. You learn through mistakes and repetition. Every movement has a reason and a function there is no wasted motion. Efficiency of movement is paramount but efficiency in a graceful manner. The Ro season in Chado lasts from November - April. November is the beginning of the new Chado season and involves replacing the Furo with the Ro and moving it closer to the guests. This is done for the practical reason of bringing warmth closer to the guests during the colder months of the year. Sensei Fumino performed Chaji for us and instructed us in the finer points of our Chado practice. Chaji is a tea gathering during which the host serves food and sake in addition to Koicha and Usucha. A chaji takes several hours to complete. There is a break after an initial meal when you leave the tea room and then return after hearing a bell. When you return, the tea room decor has been altered for your viewing pleasure. For us, Sensei made a sweet bean soup with mochi dumplings. When we entered the first time there was a scroll for this gathering in the tokonoma but no chabana arrangement. The kanji on the horizontal scroll was Mu Go, I believe. The translation of which is roughly "No One" or "No Mind" similar to Mu Shin. When we returned after the break the scroll had been removed and a chabana arrangement was in its place. The arrangment was in a Bizen hanaire and used fall foliage and fall flowers Sensei grows for chabana. In Chado it is not really common for pictures to be taken because each gathering is meant to be of the moment. It is also frowned upon to take notes during practice. You watch and learn then you go home to take notes. I wish I could do justice to describing what I learn in Chado practice but it is too much to tell. If you ever get a chance to study it formally I highly recommend it!

合掌,

Cody Kroll コーディクロール

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Images of all the arrangements from Hijiri-Ikenobo class: 11/14/13 

These are all the arrangements from my Hijiri-Ikenobo class. Lesson: Tachiike no Seigata (Formal Upright Style) Moribana. Moribana means “piled up” style of Ikebana. Tachiike no Seigata (Formal Upright Style) Moribana is based on the principles of Nageire Style. Please forgive the quality of the images they were shot using a phone camera. I will work on getting more quality images in the future.

Suitable containers for Moribana:

Suiban, low containers or wide mouth containers

Length of Shin (main stem):

1.5 x the width of the suiban + the height of the suiban

合掌,

Cody Kroll コーディクロール 

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Hijiri-Ikenobo class: 11/14/13 

This is my arrangement from my Hijiri-Ikenobo class. Today’s lesson: Tachiike no Seigata (Formal Upright Style) Moribana. Moribana means “piled up” style of Ikebana. Tachiike no Seigata (Formal Upright Style) Moribana is based on the principles of Nageire Style. The suiban I used in this arrangement is one of my own.

Suitable containers for Moribana:

Suiban, low containers or wide mouth containers

Length of Shin (main stem):

1.5 x the width of the suiban + the height of the suiban

合掌,

Cody Kroll コーディクロール 

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Shigaraki-style Hanaire (Chabana vessel) - 5 Day Anagama 2012 (6.75 H x 4.5 D). The clay body used in this vessel is from a small mine in Moose Creek, ID. This piece was fired for 5 days in an anagama kiln in Corning, NY July 2012. This clay body produces wonderful Shigaraki-style effects in long anagama firings. The marks on the shomen (front) of this piece come from iron slip brush work applied prior to firing. This piece was fired in the front of the kiln just behind the firebox with the shomen facing away from the fire so as not to obscure the brush work. Hanaire are used as flower vessels in the tea ceremony. If you would like a hand signed Paulownia wood tomobako (collector's box) in addition to your purchase please contact me for price. Each tomobako is custom made in Hagi, Japan by master craftsmen and takes approximately one month to create and ship. Each tomobako is signed in ink by me using a custom bear hair brush and includes my personal Hanko (stamp) as well as the shop's Hanko. In Japan a signed tomobako not only protects and authenticates a piece but also increases it's value.

合掌,

Cody Kroll コーディクロール 

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Kabin - Prototypes

Here are three new kabin I assembled today based on a request by my Hijiri-Ikenobo Sensei. The center one is a neriage (marbled) clay body variation that will be glaze fired in either a celedon or oribe. The piece on the right is based directly on my Sensei's specifications and will be glazed with a kuro yuteki tenmoku glaze (black oil spot). I'm still up in the air about how I'll glaze the faceted one on the left. Feel free to leave me a comment if you have an opinion.

合掌,

Cody Kroll コーディクロール 

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

Hijiri-Ikenobo class: 10/24/13

This is my arrangement from my Hijiri-Ikenobo class. The todays lesson: Moribana (free style). In 1912 Ikebana master, Houn Ohara (1861-1916), founded the Ohara School. From Bonsai he adopted the concept of "Bonkei", a miniature landscape on a tray. He created a new style, "Moribana", arrangement in a basin of water. He also made use of flowers normally forbidden in traditional arrangements. Moribana means "piled up", it makes use of more material and incorporates the free use of volume and variation of forms. Moribana is considered one of the more "modern" styles of Ikebana and is included in the curriculum of most schools. I am continually astounded at just how much of my formal art education is tested by the simple act of arranging flowers. I have a ton of inspiration and motivation to make new Ikebana vessels so stay tuned to see where inspiration leads!

[kumagama]

Rochester Ikebana International Member Exhibition Fall 2013

These are the arrangements from the Members Exhibition at Barnes and Noble Fall 2013. The first three represent the Hijiri-Ikenobo School of Ikebana including my own arrangement. The second three represent the Ohara School of Ikebana and the last four represent the Ichiyo School of Ikebanna. There were demonstrations by instructors of several schools: Hijiri-Ikenobo, Ohara, Ichiyo and Sogetsu.

合掌,

Cody Kroll コーディクロール 

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

5 day Anagama fired Ishihaze Kabin on permanent display in Parker collection at Frank Lloyd Wright's Edward E. Boynton House.

I sold this Kabin yesterday at the Rochester Ikebana International Exhibition. I am honored that the Parker's felt that this piece would complement the decor of their historic Frank Lloyd Wright home. Ms. Parker is an avid practitioner of the Ichiyo school of Ikebana and a professional ballroom dancer. She felt that this piece would provide a nice organic juxtaposition to the geometric designs of Wright's architecture while harmonizing with his Japanese influences. I am humbled that this piece has such an honored place and that so many people will enjoy it.

合掌,

Cody Kroll コーディクロール 

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com

[kumagama]

SAW Train Kiln firing - October 2013

Quick thoughts:

Great work like great people need adversity to shine...

Stack work to encourage flow around the whole kiln equally...

The pre-heat lays the foundation for all later ash effects...

It's all about controlling the flow of flame, air, & ash...

Expectation is the source of dissatisfaction...

Longer is better...

  Photo captions:

#1 - Kiln Shelf top with top 2 layers of soft brick removed.

#2 - Front of the kiln next to the fire box. tumble stacked a few pieces here. Pieces came out really crusty with a matte texture to the ash side and a bit dry on the backs.

#3 - Second section top. The ash in this area was also really matte but the undersides w/ bmix flashed nicely. Not enough flame movement around top and sides.

#4 - Some of the best pieces came from the back of this area. I feel like bmix and flashing porcelain are best for this style of kiln.

#5 - This is the back of the top section of the kiln. Good flashing here but also didn't see enough flame & ash flow. I'll address this in my comments.

#6 - Bottom of the front section of shelves. Tumble stacked the tokkuri. I would have thought this would have been one of the best sections but the results were mixed.

#7 - Middle bottom under second set of shelves. By far the best work came from this area...Jordan packed this area lightly with mostly his own work...

#8 - Long view of the work on the floor of the kiln front to back. Notice the ash trails they tell you a lot about the flow through the kiln. I'll come back to this shot...

#9 - Middle section of the work on the floor of the kiln. Notice the ash trails they tell you a lot about the flow through the kiln. I'll come back to this shot...

#10 - View of the back section of work on the floor of the kiln. Notice the ash trails they tell you a lot about the flow through the kiln. I'll come back to this shot...

  Notes and thoughts on the firing:

 Great work like great people need adversity to shine…

- I learned that there is such a thing as too smooth a firing. This firing went off without a hitch start to finish except for stalling out at dawn and dusk as the barometric pressure changed and an initial stall during pre-heat. I've noticed that the best work tends to come from some adversity during firing such as a rain storm or major temperature stall etc. This wasn't a bad firing but not truly spectacular either...

 Stack work to encourage flow around the whole kiln equally...

-

The pre-heat lays the foundation for all later ash effects...

-

It's all about controlling the flow of flame, air, & ash...

-

Expectation is the source of dissatisfaction...

-

Longer is better...

-

I'll keep adding more specifics about the firing to this post over the next few days. Be sure to read the picture captions too! Stay tuned!

合掌,

Cody Kroll コーディクロール 

Kuma Gama - Clay Studio 熊窯 - 陶工房

www.kumagama.com