Early one morning in Nandlstadt, Bavaria, preparations were underway for Rupert Grottenthaler’s wood firing in the Sasukenei kiln, set to begin at 8 a.m. There was still enough time for a freshly brewed coffee and a hearty slice of bread with chestnut honey, naturally served on Rupert Grottenthaler’s beautiful ceramics.
From the garden behind the house, where the kiln is, the soft sound of Japanese music could already be heard. Chickens and ducks wandered about just as animatedly. An idyllic scene, set amidst the gently rolling countryside north of Freising.

The wood firing is initiated by a traditional Japanese ceremony, adapted to local Bavarian conditions. Why so Japanese in the middle of Bavaria? Rupert Grottenthaler has not only built a Japanese-style kiln himself, but has also adopted certain traditions and philosophies from Japan. Before the firing begins, the kiln deities are first appeased with a bowl of plum schnapps (instead of sake), a bowl of wheat (instead of rice), as well as salt and fresh flowers.
This is followed by the distinctly Bavarian part: the pretzel ceremony. The entire firing team simultaneously tears off a piece of pretzel in a symbolic gesture of team spirit. Shortly afterwards, the fire is lit.

The kiln is now heated up very carefully and gradually. Using spruce wood, the temperature is raised at first by only 10°C per hour, allowing the free and pore water to escape. We start at 13°C. Fortunately, the weather is fine—dry and not too cold—so conditions are just right.
The atmosphere is good, with plenty of discussion about ceramics. Wood is being prepared for next year, and again and again everyone is drawn to the glowing fire and the measuring instruments.

After around 36 hours, the kiln reaches 900°C, and with all openings fully exposed, the temperature is held steady for an hour to prevent air bubbles forming in the clay. After that, larger logs are fed into the firing chamber, while additional wood is added through the rear openings. At 1250°C, the temperature is to be held for as long as 25 hours.
As time goes on, opportunities for conversation become scarcer and the nights longer. Larger logs are repeatedly split into smaller pieces so they can be fed through the narrower stoking openings. My fear of spiders, disturbed from the wood stacks, has long since faded. From time to time, small test pieces are also pulled from the kiln to observe the progress of the glaze melt, with all eyes constantly returning to the temperature gauges.

On the third day, around 9 p.m., the moment finally arrives: the target temperature of over 1300°C has been reached. Now comes the most spectacular stage—the reduction. A mesmerising spectacle, with the kiln roaring like a fire-breathing beast. Everyone is suddenly alert again and relieved that everything has gone well up to this point.

In a few days, once the kiln temperature has dropped below 100°C again, it will become clear whether the new strategy of slow heating—or any of the other adjustments—has been successful. In any case, Rupert Grottenthaler’s wood-fired creations from the smoke-free Sasukenei kiln remain endlessly fascinating.

Rupert Grottenthaler and the Japan Connection:

Rupert Grottenthaler comes from a family of tile setters in Nandlstadt. After completing training as a healthcare professional, he could not resist the call of ceramics and went on to study, among other places, at the Landshut School of Ceramics. In his view, correct technique is essential, as functional ceramics must properly fulfil their purpose. What use is a cup without an ergonomically well-designed handle?

Rupert Grottenthaler's interest in Japanese ceramics came later. A book by Kusakabe Masakazu and Marc Lancet on a smoke-free kiln called Sasukenei inspired him to build one himself in 2008. Later encounters with Kusakabe Masakazu and trips to Japan further shaped his approach to wood firing. His ceramics therefore reflect a compelling fusion of Japanese and Bavarian techniques and aesthetics.