台灣作家
Fu-Shan Chiang 江富山
Taiwan
詳細資訊
particular about steeping tea. However when it comes to matching glaze to the form, it becomes
a brain-racking creative exercise.
In the Great Snow Festival series of Chawan, I had to go back to the basics when matching the
glaze to the vessel shape rather than creating with more familiar techniques I used in the past.
The body is made of high temperature raw clay, which is then applied with a thick layer of glaze.
The crystallization and glazing is a result of the gauntlet of flames in the wood-fired kiln. When
you take in the snowy-white crystalline glaze covering the entire chawan, inside and out, you can
almost feel how it must be to be mesmerized by the falling snow in the North. What an elegant
experience of the mind, especially while brewing tea!
對於茶盌作品，因 講究個人瀹茶，就隨興而且不拘形骸；但形式與釉色的搭配，又成了絞盡
腦汁創作的過程。
大雪祭系列茶盌，器型與釉色的搭配往往要讓自己回到原點，不用以往熟悉的技法創作，坏
體是高溫調配原礦土，施以厚釉，並且在柴窯火燄試煉下有了結晶與流釉。欣賞整個茶盌內
部及外部的雪白結晶流釉，像極了北國下雪飄下的風韻，深深迷人，尤其在司茶時心歷其境
更有雅趣！