Production technique [Shino]
Moment of change
Shino is an elusive vessel that was created for only a brief period in the tea world over 500 years ago.
It was fired for only about 20 to 30 years from the late 16th century to the early 17th century (in large kilns and anagama kilns), but it blossomed during a transformative period in Japanese art, revolutionizing the aesthetic sensibilities of the people at the time.
The charm of Shino lies in its characteristic appearance of a snow-white surface, created by using feldspar, with a subtle, warm fire color visible within it.
Bringing out this beautiful color is extremely difficult due to the need for strong reduction firing, where the kiln temperature does not easily rise, necessitating constant temperature adjustments day and night. The kiln firing lasts for more than seven days, conducted under extremely harsh conditions, requiring careful attention.
The outcome varies significantly with the seasons and climate, demanding a level of delicacy that allows for no moment of inattention.
Shino's colors leave an impression like "the soil seen after the snow melts" or "a beautiful sunset formed by clouds and the setting sun."
Capturing and expressing the fleeting beauty of nature without any preconceived ideas or intentions, Shino continues to captivate people's hearts both now and in the past.
The raw material for Setoguro and Shino,
Mogusa clay,
is a rare clay that is difficult to obtain,
destined to become the material for elusive vessels.
The clay found in the Mino region is considered rare even on a global scale.
Over thousands of years, volcanic activity and rain have altered its properties. The natural terrain, surrounded by mountains, has produced the unique clay specific to this region. The soil accumulated in this area, commonly known as Mogusa clay, contains a small amount of iron and can withstand rapid cooling. This results in the deep, absorbing black of Setoguro and the beautiful fiery red that symbolizes Shino. Mogusa clay is coarse and contains many fine air pockets, giving the finished product a warm and soft feel that fits comfortably in the hand.
100 days of pottery making process
The approximately 100-day pottery process until the completion of the vessel results in a unique creation born from various encounters and experiences.
Mogusa clay is highly rare, and even within the Mino region, the mountains where it can be found are limited. It is said that only about 50 cubic centimeters can be extracted from a single location. The reality is that high-quality Mogusa clay is now scarcely available.
Feel and digest the beautiful four seasons and changes in nature in Japan, and shape them while sketching. The act of drawing is similar to the process of outputting one's heart. I carefully consider the shape and color for about 7 days.
Impurities and small stones are removed using a sieve, and the process of removing iron from the clay is carried out. After that, the clay's stickiness is adjusted for the next process, and it is left to rest for 2 to 3 months. How carefully this process is performed greatly affects the final product.
In the kneading process, there are two steps: rough kneading to make the soil hardness uniform, and fine kneading to remove air. Skilled work is required to prevent drying during the kneading process. By adjusting the hardness according to the pottery process (hand-building, wheel throwing, molding), it is possible to express various beauties.
At Son, we don't just "turn" the pottery wheel; we "hew" it, which implies cutting or carving with tools. Additionally, we imbue it with the meaning of "pulling." Experience the beauty of subtraction, where only the essentials remain. Except for a few pieces, Son uses a hand-turned pottery wheel that replicates the one used 500 years ago.
Without using any dryers, we utilize natural wind for drying. The process of slowly waiting for the moisture to evaporate is part of Son's dedication to the same methods used 500 years ago. At the workshop located on a high plateau, the sound of the wind can be heard year-round. We have learned that the voice of the wind blowing across the land is also part of the creation process.
In a small kiln, the moisture remaining in the clay is evaporated. Unlike other clays, Mogusa clay is particularly prone to cooling cracks, so the kiln temperature is set lower to minimize cracking. If the bisque firing temperature is too high, the clay becomes too dense and does not absorb the glaze well. Conversely, if the temperature is too low, the clay will dissolve when the glaze is applied, causing the shape to collapse.
[Shino] Using a glaze blended from several types of feldspar, Shino expresses a snow-white color. This white color changes slightly depending on the feldspar blend, so repeated trial and error is necessary to create the finest Shino.
[Setoguro] The black color subtly changes depending on the type of wood ash used, so various blends are tried to achieve the ideal black.
Listen to the sound of the kiln while sharpening your five senses. Due to the delicacy that greatly changes depending on the season and climate, we adjust the temperature for more than 5 days while facing the fire during the kiln firing. During the kiln firing, it is the only time when we cannot have a conversation with the clay, but it is also a fun time to have a conversation with the fire. Until the kiln door is opened, the color and finish cannot be confirmed, and only about 10% of the ideal products can be achieved.
Shino Matcha bowl
Shino Matcha bowl
The charm of Shino lies in its snow-white appearance created by using feldspar, with a hint of warm fire color visible within it. It leaves an indescribable impression, like "seeing soil and new buds through melting snow" or "a beautiful sunset through gaps in the clouds." Bringing out this beautiful color is extremely difficult, requiring strong reduction firing where the kiln temperature does not easily rise, necessitating constant temperature adjustments day and night for more than seven days. The firing results vary greatly with the seasons and climate, requiring a level of delicacy that allows for no moment of inattention.
Shino Shunomi
Shino Shunomi
Sake enjoyed with Shino ware is exceptional. Compared to glass, Tokkuri and Guinomi are made from clay, with a coarse texture that allows the vessel to "breathe." This enhances the aroma of the sake and mellows its flavor, leading to the saying, "Sake enjoyed with Shino ware is exceptional." Sake and Shino ware, born in the same era and from the same land. Please savor them while feeling the 500 years of history.
Shino plate
Shino plate
Son's works express the four seasons and nature of Japan. As you enjoy your meal, the character of the vessel emerges. Setoguro and Shino plates not only enhance the dishes but also allow you to feel the beautiful nature of Japan after the meal.
Shino flower vase
Shino flower vase
Shino flower vases are well-suited for wildflowers and branches. Even without arranging flowers, the design of the vase allows you to enjoy the changing seasons and nature, making it delightful to display as is.
Shino Tsubo
Shino Tsubo
Shino Yunomi
Shino Yunomi
Shino yunomi are made from clay with coarse particles, giving the impression that the vessel "breathes."
Additionally, the soft, bulging milky white color, unique to Shino ware, fits comfortably in the hand and feels warm.
By using a Shino yunomi daily, the vessel "grows" and deepens in character over time.
The patina that develops on a Shino yunomi over the years changes its appearance, making it exceptionally flavorful and fostering a sense of attachment.
Because you use it every day, enjoy the experience of nurturing a high-quality, unique vessel that is your very own.
How to use and care for your utensils
Wipe off the water with a soft cloth or kitchen paper.
Sun-dry for 2 hours, or if the weather is bad or drying indoors, dry for 12 hours.
The bottom (foot) of the matcha bowl is where you can directly feel the rare clay, but it can absorb water.
To prevent mold, please complete the drying process as outlined in STEP 3.
