When potters throw clay onto a stone, they make a connection across centuries to ancient workshops. The techniques and traditions of these early craftsmen, especially those of China’s Sung dynasty, still inform many of the pottery practices in use today, thanks to the seminal work of Bernard Leach.
Leach’s A Potter’s Book was among the first to collect ancient workshop traditions for modern use in studios, emphasizing functional work. It became an immediate hit among potters who embraced its ideal of unity, spontaneity, and simplicity of form. Leach, considered the father of British studio pottery, went on to establish of one of the most respected studios in the world with the ideas of A Potter’s Book at its foundation.
With this classic book, potters can learn everything, from how to set up their workshop to how to adapt pigment and glaze recipes to how to design custom kilns. It spotlights four types of pottery: Japanese raku, English slipware, stoneware, and oriental porcelain. Thanks to Leach’s time in Japan and collaborations with master potter Shoji Hamada, it also serves as a fascinating look at the interplay between Eastern and Western art.
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Unlike most dated books, this treatise on pottery has not really gone out of date.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.