A Potter's Book

Synopsis

Written by Bernard Leach, the father of British studio pottery, this seminal book is the first treatise to be written by a potter on the workshop traditions handed down from the greatest period of Chinese ceramics in the Sung dynasty. With this book, potters can learn everything from how to adapt recipes for pigments and glazes to designing kilns.

Summary

Chapter 1: The Nature of the Material
In this chapter, renowned potter Bernard Leach begins by emphasizing the importance of understanding the material a potter works with. He highlights the versatility of clay and its ability to transform into a variety of forms through different firing techniques. Leach emphasizes the importance of understanding the chemistry and properties of clay in order to work with it successfully.

To illustrate this chapter, we can look at the work of Japanese potter Shoji Hamada, who is a major influence on Leach's philosophy and techniques. Hamada's work often incorporates traditional Japanese aesthetic principles, as well as his own experimentation with glazing techniques. He utilizes different types of clay, such as porcelain, stoneware, and earthenware, to create unique pieces with distinct qualities. His use of natural glazes, such as ash and iron, also adds to the richness and depth of his works.

Chapter 2: The Work of the Potter
Leach delves into the process of creating pottery, from preparing the raw materials to throwing, trimming, glazing, and firing. He emphasizes the importance of the potter's touch and how each piece is imbued with the potter's energy and intention. Leach also discusses the role of the potter in society and the significance of pottery in everyday life.

To further explore this chapter, we can look at the work of British potter Lucy Rie. Rie's delicate and precise forms demonstrate her mastery of throwing and trimming techniques. She often incorporates soft, muted glazes to complement the simplicity and elegance of her pieces. Rie's work reflects the importance of the potter's touch and the role of pottery in everyday life, as her pots are intended to be used and enjoyed in the home.

Chapter 3: Design
In this chapter, Leach discusses the principles of design in pottery, emphasizing the balance between form and function. He uses examples of traditional Japanese pottery, such as the tea ceremony ware, to illustrate the harmony achieved through the balance of design elements. Leach also stresses the importance of simplicity and the avoidance of unnecessary decoration in pottery.

To exemplify this chapter, we can look at the work of American potter Warren MacKenzie, who was heavily influenced by Leach's teachings. MacKenzie's simple, functional forms are achieved through his impeccable throwing and trimming techniques. He often utilizes natural glazes and leaves intentional bare areas on his pots, showcasing the beauty of the clay itself. MacKenzie's pieces highlight the harmony and balance between form and function, as they are both aesthetically pleasing and highly functional in everyday use.

Chapter 4: Glaze
Leach delves into the different types of glazes and their chemical make-up, as well as their effects on pottery when fired. He discusses the importance of experimentation with glazes and how it can lead to unique and unexpected results. Leach also emphasizes the need for glazes to complement and enhance the form and design of the pottery, rather than overpower it.

For this chapter, we can look at the work of British potter William Staite Murray, who was known for his experimental and innovative use of glazes. Murray's work often showcased the effects of different combinations of chemicals and minerals in his glazes, resulting in vibrant and dynamic surfaces. He also experimented with techniques such as inlay and sgraffito, adding to the depth and complexity of his glazes. Murray's work exemplifies the importance of experimentation and the balance between glaze and form in creating successful pottery.

Chapter 5: Clay and Work
Leach discusses the relationship between the potter and the clay in this chapter, emphasizing the need for sensitivity and understanding towards the material. He highlights the importance of patience and intuition in working with clay, as well as the role of the potter's personal experiences and perspective in creating unique pieces.

To illustrate this chapter, we can look at the work of Japanese potter Mashiko Hamada, who was a student of Shoji Hamada. Hamada's pieces often showcase a connection with nature and simple, organic forms. His use of textured surfaces and natural glazes reflects his sensitivity and understanding towards the clay he works with. Hamada's work exemplifies the harmony between the potter and the clay, resulting in pieces that are both visually stunning and deeply resonant.