Exhibition 【唐津 浜本洋好展】Exhibition of HAMAMOTO Hiroyoshi

陶芸の原点は「迫力ある原始的なもの」だと、売名行為を図ることをよしとしない浜本洋好先生。15年間、唐津焼の窯元で修業されているが、30歳の頃、初期唐津の斑唐津に惚れて、岸岳周辺の古窯址を入念に発掘調査された。 ここで唐津焼に適した粘土を掘って、窯元へ売って独立資金を稼がれた。 頑固一徹な信念を曲げることなく清貧を苦にせず、豊かな陶土の岸岳に対座して、この道を歩む独立を決心された。
桃山陶の中でも初期の斑唐津の深遠さは他を圧する。そこには透明感があり、深味がある。土と釉と炎をみごとに融合させているからだろう。先生はその本歌を手本に“土と炎”を相手にする陶匠だから、力仕事と藁灰つくりなど根のいる窯仕事は人任せにせず、すべて独りでされている。
土は、岸岳周辺の粘土を徹底的に調査され、耐火度のある砂気の多い土を、土木建築や農業に携わる方々からあらゆる情報を得て探しあてた。少ない時でも２トン車５台から、良い土が出れば４トン車に10台の粘土を借金してでも手に入れる執念をみせた。そのほとんどが「斑唐津」に適した粘土で、そのほか、絵唐津に適した武雄の白土や朝鮮唐津に適した藤の川内古窯址にあった鉄分の多い粘土も掘った。
窯は、43年前に岸岳の麓に割竹式連房登窯を築いた。現在の唐津焼では、唯一の本格的な割竹式連房登窯である。初期唐津で使われた古式な窯ゆえに不安定な炎の流れで嫌われがちだが、その荒い焼炎の加護もまた絶妙、1400度の高温で焼くからこそ天人合作ともいえる崇高な「斑唐津」が創り出される。
「こだわりをもっとかんと、生きてはいかん」と強い口調でいわれ、逞しく“土と炎”に、とことん拘って闘い続ける。「作られた作品のみがものをいう」と作り手としての志向には、風格すら具えている。
浜本洋好先生の特技は「斑唐津」‥‥その「やきもの」の美しさを再吟味したい。

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The essence of pottery should be primitive and instinctive, emerged from powerful energy, says HAMAMOTO Hiroyoshi, who is uncompromising Karatsu artisan who is far from a publicity stunt.Strongly captivated by Karatsu produced in the early era(ko-karatsu), he studied and trained for fifteen years in his thirties.

He researched around old kilns site of Mt. Kishidake in Karatsu. Committing himself fully to his craft in the clay-rich environment of Kishidake, where the clay has great potential of inspiration, he decided to follow his own way. Among Momoyama-era ceramics, early Madara Karatsu stands out for its profound depth.It possesses a delicate translucency yet exudes a remarkable richness—a testament to the seamless fusion of clay, glaze, and fire. Hamamoto, devoted to the original essence of this style, works tirelessly with these elements, handling even the most labor-intensive tasks himself, from clay preparation to the meticulous production of straw ash for glazing.

He continued extensive researches on the clay deposits around Mt. Kishidake, identifying fire-resistant sand-rich clay with the help of construction workers and farmers. He did his relentless effort to obtain premium clay—He even went into debt to buy 40 tons when high quality clay is available, and at least 10 tons of the clay even when small amount of high quality clay is available. Most of these clays are just suitable for creating Madara-karatsu. Other than these, he also obtained white clay from Takeo for E-karatsu, as well as the clay that contains rich-iron clay of Fuji no kawa old-kiln for Chosen karatsu.

He fires at 1400 Celsius with so called Waritake Kiln that was made himself fourty-three years ago, and only one that is full-scale genuine kiln around Karatsu area. Because this type of kiln was originally used during the early period of Momoyama era, and the flow of fire plays unpredictable and uncontrollable. However, this crucial fire of 1400 degree gives blessing results to his glaze, just like a blessings of human artistry and the forces of nature.
“No pride, no life” he tells strongly, struggling against clay and fire.
We are glad to offer the chance to look at his specialty, and enjoy the beauty of pottery.