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| == References == | == References == | ||
| Furutani, Michio; Anagama: Building Kilns and Firing (2003) (unpublished translation manuscript on file with www.anagama-west.com). | Furutani, Michio; Anagama: Building Kilns and Firing (2003) (unpublished translation manuscript on file with ). | ||
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Revision as of 09:27, 22 May 2006
1 Door about 75cm wide
2 Firebox.
3 Stacking floor made of silica sand.
4 Dampers.
5 Flue.
6 Chimney.
7 Refractory arch
The Anagama kiln is an ancient type of pottery kiln brought to Japan from Korea in the 5th century.
An anagama (a Japanese term meaning "cave kiln") consists of a firing chamber with a firebox at one end and a flue at the other (note that although the term "firebox" is used to describe the space for the fire, there is no physical structure separating the stoking space from the pottery space). The term Anagama describes single-chamber kilns built in a sloping tunnel shape. In fact, ancient kilns were sometimes built by digging tunnels into banks of clay. The term Noborigama is used to describe multi-chambered kilns built on a slope with each succeeding chamber situated higher than the one before it (such kilns are often described as "climbing kilns"). The chamber in a climbing kiln is pierced at intervals with stacking ports, and may be built on a steeper slope so that a better updraft can be achieved. The climbing kiln has been used in Japan since the 17th century. The Renboshiki noborigama is a multi-chambered climbing kiln. There are many distinguishing characteristics between the noborigama and anagama style.
Unlike electric or gas-fueled kilns used by contemporary potters, the anagama is fueled by wood. A large amount of fuel is needed for firing, with stoking occurring round-the-clock until an appropriate temperature is reached. Stoneware and porcelain pieces will typically mature at "cone 10", a measure of "heat work" dependent on the final temperature coupled with the time required to achieve that temperature (see pyrometric cone). Somewhat inaccurately, cone 10 could be thought of as a temperature range as high as 2375 °F (1300 °C).
Burning wood not only produces heat — up to 2,500 °F (1400 °C) — it also produces fly ash. Wood ash settles on the pieces during the firing, and in a complex interaction between flame, ash, and the minerals comprising the clay body, forms a natural ash glaze. The glaze shows incredible variation in color, texture, and thickness. It may range in texture from smooth and glossy to rough and sharp, with every gradation in between. The placement of pieces within the kiln distinctly affects the pottery's appearance, as pieces closer to the firebox may receive heavy coats of ash, or even be immersed in embers, while others deeper in the kiln may only be softly touched by ash affects. Besides location in the kiln, the way pieces are placed near each other affects the flame path and thus, the appearance of pieces within localized zones of the kiln can vary as well. It is said that loading an anagama kiln is the most difficult part of the firing. The potter must imagine the flame path as it rushes through the kiln, and use this sense to paint the pieces with fire.
The length of the firing depends on the volume of the kiln, and may take anywhere from 48 hours to 12 days or more. The kiln generally takes the same amount of time to cool down. Records of historic firings in large Asian kilns shared by several village potters describe several weeks of steady stoking per firing.
References
Furutani, Michio; Anagama: Building Kilns and Firing (2003) (unpublished translation manuscript on file with www.anagama-west.com).
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