After my last trip to Shuiji and the source of Jian Ware, or as it is known locally Jianshan. The primary focus of this trip was to attend one of the firings of one of the two operational Dragon Kilns in the area. There was a secondary focus and that was on the 600-700 other potters in this small rural town who were producing Jianshan in electric kilns with reduction cooling.
I came to clay later than most. I was a shift supervisor in a large flour mill and, along with my wife, I went to a local evening college to play with clay. My response to the medium was immediate, and I had no doubt that it was the means for my future creative expression. Four years later I became a full-time Art student at East Sydney Technical College (ESTC now the National Art School, but back then just “The Tech”.)
As a ceramics student in the 70’s we immersed ourselves in the Leach tradition, carting our copy of Leach’s “A Potters Book” with us everywhere. Pouring over every works and every image, debating meanings late into the night. We all came to believe that the standard to which we should aspire were the pots of the Song Dynasty.