25118 福島善三 中野月白瓷ぐい呑
In the texture of Zenzo Fukushima's Nakano Geppaku porcelain, I saw the Northern European sky that seemed to be getting dark. It's not the early night, it's the color of the midnight sky. When I looked at it in a slightly darker place, it looked like the color of the cold winter clouds in a seaside town in Sweden. Bright but not bright, dark yet dark, he looks cold but is soft and warm. It's a deep, mysterious color.
This Nakano Geppaku porcelain was inspired by the fascination with celadon porcelain from Fukushima. Koishihara soil contains iron and is coarse-grained. If the porcelain clay of Arita is like drawing paper, Koishiwara's clay is like cardboard. “Even if you apply a light-colored glaze, it won’t come out cleanly. It’s no match for white clay.
In China, he had a piece of moon-white glaze, and I had seen fragments of it in Xi'an. At that time, I think it might be possible to use moon-white glaze instead of celadon. In China, he used soybean ash. As a result, ``the black part is softened and becomes milky, which is called warashiro. Even if it is the same straw, if it is rice husk ash, it will have a bluish tinge. Then, he thought, "If I use Feldspar from Koishiwara, which contains iron, it might give a bluish tint." From there it was a process of trial and error. "You can't do it all at once. You have something you're aiming for, and you can do it while you're doing it desperately."