This is a pottery kiln of the Tsushima Soke family located in Hwagwan, Busan, Gyeongsangnam-do, Joseon, and is called Busan Kiln works, including those made outside the original Hwagwan. Hwagwan was originally located near Choryang Station (about 4 km from Busan Station) in recent years, but was moved to the vicinity of Yongdusan in Busan in July 1678 (Yeonpo 6).
In the beginning, the Shogun family requested tea bowls from Joseon through the Soke family, but there were few that met their needs, so they made samples and ordered more from Joseon. One such example is the Goshomaru tea bowl favored by Furuta Oribe. This was right after the restoration of diplomatic relations after the Japanese invasion of Korea in 1592-8, which also marked the beginning of the Busan kiln. In 1639, by order of Shogun Iemitsu, Mune Yoshinari asked Busan Dongnae-bu to produce more samples, and Dongnae-bu, with the permission of Yejo, ordered a patrol officer to call for clay and potters from Jinju, Hadong, and set up a kiln outside Hwagwan to fire the samples. In 1644 (Shoho 1), Hashikura Chusuke was sent from Tsushima to build a kiln inside Wakan for the first time as a burnt artisan. Since then, the dispatch of burnt artisans has become a regular occurrence. The following were dispatched as burnt artisans listed in the “Chosonbata Nikki” of Tsushima: Watanabe Denjiro in 1647 (Shoho 4), Goto Saijiro of Oura Hayashi Kogutani in 1650 (said to have accompanied Rinsai at this time), Watanabe Denjiro in 1651, Koga Hantayu and Kurata Yasuemon in 1654 (Joo-o San), and Miyagawa Michiyasu in 1655, In 1662, Nakayama Izo; in 1663, Funabashi Genetsu; in 1665, Abiru Shigezo; in 1669, Aoki Zen’emon and Abiru Shigeyama; in 1672, Nakaniwa Shigeyama (changed his name to Abiru); in 1676, Nakaniwa Shigeyama, Hatano Shigeemon, Nagatome Tozaemon and Kokubu Chisai; in 1678, Nakaniwa Shigeyama Nakaniwa, Takezaemon Irie, Gunemon Matsumura, Tozaemon Nagatome, and Mohei Fujikawa; 1685 (Jokyo 2) Shigeyama Nakaniwa, Doji Miyagawa, and Mohei Fujikawa; 1687 (Jokyo 4) Doji Miyagawa and Mohei Fujikawa; 1690 (Genroku 3) Yaheita Matsumura; and 1693 (Jokyo 6) Tozaemon Nagatome, The following are the most famous ones: Yaheita Matsumura in 1695, Yaheita Nagatome in 1698, Yaheita Matsumura in 1702, Doji Miyagawa in 1713, and Iharu Hirayama in 1717. The above were chief banner makers, and they were accompanied by a large number of potters, painters, engravers, and other experts. The Busan kiln was finally discontinued in 1717 after Hirayama Iharu’s death. It continued for more than seventy years.
At first, the Soke commissioned the Joseon government by order of the Tokugawa Shogunate to make pottery outside of Waduan, and later dispatched a chief banner potter from Tsushima and hired Joseon potters to make pottery at the Waduan Banzokjo. However, the Joseon government considered the supply of potter’s clay and fuel a huge burden, as it was not part of any treaty.
The Koryo tea bowls that came to Japan around the time of the Bunroku and Keicho wars and were classified and named by tea masters varied widely, but the Busan kiln-related pieces that were made according to Japanese designs and later used as samples are also mixed in with the Joseon-made Koryo tea bowls. Even after the establishment of the Busan Kiln of Wu ware, these bowls often came to Japan until the Genroku period (1688-1704) due to the relationship between the Daitokuji Temple and the Soke family. 2) Goshomaru Oribe Koryo, also called Goshomaru Oribe Koryo, was made by entrusting samples to the Goshomaru ship after the restoration of diplomatic relations. (iii) Carved Mishima Pusan kilns were commissioned to make this ware. The clay is from the Busan area, and the technique is different from that of the Korean origin. (4) Brushwork Irabo, made around 16244. There are various types of deep- and shallow-handled brushes. (5) Hanshi (judge) Tea Bowl Hanshi is the honorary name for officials, translators, and instructors of the Busan Dongnae Office. These tea bowls were made by Joseon craftsmen under the supervision of translators based on the Shogun’s samples, and are entirely in the Joseon style, with many varieties. (6) Gohon Tea Bowl Gohon means “the Shogun’s hand model. There are many types, and the painting of a standing crane is said to be a draft of Iemitsu. It is categorized as a sand handled Gohon Gohon. Gohon Tea Bowl Gohon Tea Bowl painted with iron or gosu. Early examples have a poor taste, and it is said that Kano Tsunenobu came and painted them later. The Busan Kiln dyeing ware dates from the period of Shigeyama, and in 1676 (Empo 4), five painters were dispatched to Busan. There are two types: one type is suited for early Yi Dynasty dyeing, and the other is dyed ware painted on a rough surface filled with Hadong clay. (9) Imadori wells: Works from the Busan Wai kiln, which came to Japan during the Enshu period. It is also called “Imadari Unsaku” (cloud and crane after the rokuro), and is inlaid with cloud and cranes on the gohonte. (10) A piece with one side of the body inlaid with a separate glaze on the other side. 2. As can be seen from the above, the Hanshi period (before the Genetsu period) was known for its natural power and taste, while the Oribe period (before the Genetsu period) was interested in off-the-wheel forms and appreciated large, imposing vessels that still retained the spirit of the Warring States period.
In the Enshu period (after Gen’etsu), the preference was for clean lines, and generally thin wares with a well-defined base and other features were considered good. Among the potters of the entire period, Rinsai Genetsu, Shigesan, and Yaheita had outstanding skills. Next, the Soke requested a huge amount of clay for the Busan kilns from the Joseon government, several hundred goku each year, which was sent not only to the Busan kilns but also to Tsushima, where it was referred to as “treat clay. The characteristics of the clay used in various regions are as follows: Hadong clay is a high-fired, good white clay that does not melt when used as a base clay, giving it a grippy taste; Sunade Omotomosan white clay is a high-fired, good white clay that does not melt when used as a base clay. This clay is used for vessels made of white clay from Sunate Gohonmosan. It is slightly less fiery than Jinzhou white clay and Hedong clay, but it has a moist texture and softness when used as clay. Both the clay body and glaze are similar to those of Baekgoryeo. It is used as a base for Gyeongju white clay Goshomaru or Goryeo kote, etc., but it has a low fire value and burns hard and tight. It is suitable for celadon glaze and is used for Gohon, celadon, Mishima, and Hakeme glazes. It is also called “reddish-blue clay.
When fired, it has a bluish or reddish color. When Ulsan clay is applied to this clay, it is called “blue-tinged Jinhai. This clay is often used to make inlays. When celadon porcelain is fired with red clay from the Busan area, small holes appear in the body and the surrounding areas oxidize to produce a slightly reddish color. The red clay was especially appreciated when it was used for Gohon and Hanshi, and this mottled pattern was eventually called “Gohon”. (7) This is used for what is known as Gimhae clay Joseon Nanban. (Busan Kiln, Taizhou Kiln)
