This now famous book was the first treatise to be written by a potter on the workshop traditions handed down by Koreans and Japanese from the greatest period of Chinese ceramics in the Sung dynasty. It deals with four types of pottery: Japanese raku, English slipware, stoneware and oriental porcelain. With its help, potters can learn how to adapt recipes for pigments and glazes, and designs of kilns, to local conditions. It gives a vivid workshop picture of the making of a kiln-load of pots from start to finish, and is eloquent on the position of the individual or artist-potter in an industrial age. It is a book that is primarily intended for practical craftsmen and students, but it also has a strong appeal for all lovers of ceramics and for everyone with an interest in cultural interchange between East and West.
Bernard Howell Leach, CH, CBE (5 January 1887 – 6 May 1979), was a British studio potter and art teacher. He is regarded as the "Father of British studio pottery".
Still mid-way thru reading this book and will likely not complete it once Leach goes into the finer technicalities of pottery making; however, I have always admired Leach's philosophical approach to the arts and crafts, in particular, of Japan and its pottery traditions. The early part of the book is about aesthetics and a cross-cultural examination of the pottery arts as it is perceived in the East and in the West. Having read Leach long time ago, I do now appreciate re-reading him again.
Unlike most dated books, this treatise on pottery has not really gone out of date. There are certainly processes and ingredients that have changed in the intervening time, but his descriptions of methods and understanding of form are timeless. Anyone serious about pottery should have this book in their collection, especially if you wish to understand the modern growth of the home pottery industry in England and North America.
This is the book if you want to learn about artisan pottery production in England and Japan from 100 years ago. Some of the technical details and aesthetic arguments are hard to follow because of the passage of time.
The beginning of a studio pottery literacy for so many of us. Though I don't agree with all of his philosophy and approach, this book was very important to me.