ホモテナシ

釜 for food since ~747 (CQ17), 釜 for tea since 1185–1333, imported from China in the 真形（しんなり）-style.
- This is the prototype for all 釜. This means original form, the term came to be used around 1555 with the proliferation of 釜 styles.
- 切り掛け釜（きりかけかま）, a 釜 where the bottom part is smaller than the top, no flange; made to fit the mouth of the brazier; to go with the 切合わせ風呂（きりあわせふろ）to make a set called 切合わせ（きりあわせ）.
- The brazier in that case may either be a 朝鮮風呂（ちょうせんふろ）, originally from Korea; or a 琉球風呂（りゅうきゅう）, originally from Okinawa; which I guess is a bit higher.
- According to nihonjinron, there's no white ash used here.

From around 1350 until XIV century, they were produced in two places:
- 芦屋（あしや） for the Chinese style; usually 真形 with designs (pine, bamboo and plum; cherry blossoms; hail…) or patterns. Production declined in 1550. Flat lid made from bronze; 鬼面（みめん）lugs. Praised for elegance.
- 天命（てんみょう）, usually without patterns but surface textures; lids also made from iron. Produced there since 794-1185. Possibly Korean descendants settled there. Marked by abruptness, for example in the neck; praised for simplicity.
Since ~1450, lots of tea masters had 釜 made in 京都; most famously the 雲龍釜. Tea masters then asked for more kettles, and 京都 became the center for 釜 production, trying to be distinctly Japanese.
- 利休 had each one of the 雲龍釜 made in 芦屋 and 天命, originally made not to damage the walls of the 炉, but most of them appeared shortly after from 京都.
- In 京都, Tsuji Yōjiro was most famous, made kettles for 利休 inlcuding a small 雲龍, which 利休 used as a hanging flower vase.

Never pour hot water directly into it, make sure there's some cold water
Burkus explains that it should be filled only to the bottom of the kan-tsuki, so that there will be as little rust as possible in the area above the kan-tsuki, which will bear the most weight.
Never touch with bare hands, since the oil will change the colour of the 釜.
When emptying, take one hishaku into the chakin darai, then empty, scour bottom, rinse bottom with water from the chakin darai, and place on the embers.

Outer mold in two parts from clay mixed with rice straw; surface texture very important. Fired together, then inner mold made, which is shaved and fired. Iron is poured into the molds, the inner one is crushed for removal. Kettle is fired to obtain a better finish.

It's not only the 松風, but in Okakura, he also says:

kakutani miyazaki kanshi takahashi keiden 高橋敬典

hatashunsai 畠春斎

般若勘渓和田美之助 wadami