David Hendley on wed 8 mar 00
Thanks for the responses, David & Pamela.
Not to be argumentative, and purely speculating, but I
would venture to say that the variations in the crackle
patterns that you both describe are due to variations in
glaze application, especially thickness.
Where the glaze is thicker, it crazes more, which translates
into a finer networks of cracks.
The inside of a tall slender vase gets hotter than the outside,
which could result in a different crazing pattern.
I still don't think that the pattern of crazing is influenced
by the direction the wheel was turning on a thrown piece
(but would still like to be convinced otherwise).
--
David Hendley
Maydelle, Texas
hendley@tyler.net
http://www.farmpots.com/
----- Original Message -----
From: Pamala Browne
To:
Sent: Monday, March 06, 2000 1:19 PM
Subject: Re: ancient Japanese and Korean ceramics
| ----------------------------Original message----------------------------
| David --I have noticed different crackle patterns on white crackle raku
pots
| that I have handbuilt.I made handbuilt-only pottery for years and I know
for
| a fact that I got different crazing patterns at different stress points on
| the shape of the vessel . Tight , small crackling at sharply angled
| shoulders -- more vertical crackles on heavily worked lips in contrast to
| large, wide-spaced crackles on the same piece on the body of the pot.Could
| this be the same theory? I always assumed it was from the different
stresses
| that the clay went thru at the building stage , (contracting/expanding)
Many
| times I notice a really tight crackle pattern on the inside ofmy
| wheel-thrown tall ,slender vases as opposed to wide crackle on the outside
,
| again, I assumed it was the compression of the clay. Any other ideas
people
| ?
| I have been swamped with new job/kids science projects/purchasing
a
| wheel so I want to apologize for not answering the kind help you guys gave
| me on wheel opinions -- it was really appreciated --you guys are great.I
| plan on replying more personally asap. I got a Pacifica gt400 -- oooooh
| baby ! pamalab
In grad school, when I was doing more raku. I was able to develpo a
crazing pattern that related to the brushstrokes of the clear glaze I used.
The spiral pattern I could create had no relation to the throwing lines.
David McBeth, MFA
Associate Professor of Art
330 B Gooch Hall
Department of Art, Dance and Theatre
University of Tennessee at Martin
Martin, Tennessee 38238
901-578-7416
| ----- Original Message -----
| From: David Hendley
| To:
| Sent: Sunday, March 05, 2000 2:33 PM
| Subject: Re: ancient Japanese and Korean ceramics
|
|
| > ----------------------------Original message----------------------------
| > I find the inference that crazing patterns are influenced by
| > the forming method that was used to make the piece very
| > interesting.
| > I have never before heard such a thesis, and have never
| > noticed this trait exhibited on pottery I have studied.
| > Can anyone offer any substantiation?
| >
| >
| > --
| > David Hendley
| > Maydelle, Texas
| > hendley@tyler.net
| > http://www.farmpots.com/
| >
| >
| >
| >
| > ----- Original Message -----
| > From: J. Bennett
| > To:
| > Sent: Friday, March 03, 2000 11:49 AM
| > Subject: ancient Japanese and Korean ceramics
| >
| >
| > | ----------------------------Original
message----------------------------
| > | I read the following in an English translation of "Japanese Ceramics"
by
| > | Hideo Tagai: "There are crackle patterns in Koryo celadon, at which
| > crazing
| > | has formed in the glaze because of the differences in contraction
| between
| > | the body and the glaze after firing. But these beautiful patterns have
| > | formed in a clockwise direction due to the Korean potter's wheel being
a
| > | kick wheel which was kicked with the right foot, forms being made by
| > turning
| > | the wheel anti-clockwise. Since the Japanese potter's wheel is turned
| > | clockwise by hand there are strains in the clay body due to formation
on
| > the
| > | wheel, so when crazing can appear in the glaze of an article after
| > complete
| > | firing it seems to be in opposite directions for Korean and Japanese
| > wares."
| > | I am a docent at the Everson Museum in Syracuse, NY, where we have
many
| > fine
| > | examples of both Korean and Japanese ceramics, but confess that I
cannot
| > | confirm this statement by examination of the museum pieces. Would
anyone
| > | care to comment?
| > |
|
Mike Gordon on thu 9 mar 00
David,
I'm not sure... BUT.. if my memory serves me I remember some of my raku
- clear crackle bottles showed a few lines in a spiral up from the
inside of the neck out to the lip.I always assumed it was from the
torque of the closing of the neck.Mike
Paul Taylor on fri 10 mar 00
Dear David
Last week I had finely made a Guan glaze and the crackle follows the
spin of the wheel . The pictures of long necked vases that I have also
show the crackle going in the same direction.
I have not worked out why but I know that vitrifyed ware twists a great
deal in the firing recording the spin of the wheel. However Raku which is
not vitrifyed may not.
When trying to work out why? all I get is a confused head ache . When my
cold is better I may have more chance.
regards Paul T
----
----------
>From: David Hendley
>To: CLAYART@LSV.UKY.EDU
>Subject: Re: ancient Japanese and Korean ceramics crackle patterns
>Date: Wed, Mar 8, 2000, 10:47 pm
>Paul
>
>----------------------------Original message----------------------------
>Thanks for the responses, David & Pamela.
>
>Not to be argumentative, and purely speculating, but I
>would venture to say that the variations in the crackle
>patterns that you both describe are due to variations in
>glaze application, especially thickness.
>Where the glaze is thicker, it crazes more, which translates
>into a finer networks of cracks.
>The inside of a tall slender vase gets hotter than the outside,
>which could result in a different crazing pattern.
>
>I still don't think that the pattern of crazing is influenced
>by the direction the wheel was turning on a thrown piece
>(but would still like to be convinced otherwise).
>
>--
>David Hendley
>Maydelle, Texas
>hendley@tyler.net
>http://www.farmpots.com/
>
>
>
>
>----- Original Message -----
>From: Pamala Browne
>To:
>Sent: Monday, March 06, 2000 1:19 PM
>Subject: Re: ancient Japanese and Korean ceramics
>
>
>| ----------------------------Original message----------------------------
>| David --I have noticed different crackle patterns on white crackle raku
>pots
>| that I have handbuilt.I made handbuilt-only pottery for years and I know
>for
>| a fact that I got different crazing patterns at different stress points on
>| the shape of the vessel . Tight , small crackling at sharply angled
>| shoulders -- more vertical crackles on heavily worked lips in contrast to
>| large, wide-spaced crackles on the same piece on the body of the pot.Could
>| this be the same theory? I always assumed it was from the different
>stresses
>| that the clay went thru at the building stage , (contracting/expanding)
>Many
>| times I notice a really tight crackle pattern on the inside ofmy
>| wheel-thrown tall ,slender vases as opposed to wide crackle on the outside
>,
>| again, I assumed it was the compression of the clay. Any other ideas
>people
>| ?
>| I have been swamped with new job/kids science projects/purchasing
>a
>| wheel so I want to apologize for not answering the kind help you guys gave
>| me on wheel opinions -- it was really appreciated --you guys are great.I
>| plan on replying more personally asap. I got a Pacifica gt400 -- oooooh
>| baby ! pamalab
>
>
>
>In grad school, when I was doing more raku. I was able to develpo a
>crazing pattern that related to the brushstrokes of the clear glaze I used.
>The spiral pattern I could create had no relation to the throwing lines.
>
>David McBeth, MFA
>Associate Professor of Art
>330 B Gooch Hall
>Department of Art, Dance and Theatre
>University of Tennessee at Martin
>Martin, Tennessee 38238
>
>901-578-7416
>
>
>
>
>
>
>| ----- Original Message -----
>| From: David Hendley
>| To:
>| Sent: Sunday, March 05, 2000 2:33 PM
>| Subject: Re: ancient Japanese and Korean ceramics
>|
>|
>| > ----------------------------Original message----------------------------
>| > I find the inference that crazing patterns are influenced by
>| > the forming method that was used to make the piece very
>| > interesting.
>| > I have never before heard such a thesis, and have never
>| > noticed this trait exhibited on pottery I have studied.
>| > Can anyone offer any substantiation?
>| >
>| >
>| > --
>| > David Hendley
>| > Maydelle, Texas
>| > hendley@tyler.net
>| > http://www.farmpots.com/
>| >
>| >
>| >
>| >
>| > ----- Original Message -----
>| > From: J. Bennett
>| > To:
>| > Sent: Friday, March 03, 2000 11:49 AM
>| > Subject: ancient Japanese and Korean ceramics
>| >
>| >
>| > | ----------------------------Original
>message----------------------------
>| > | I read the following in an English translation of "Japanese Ceramics"
>by
>| > | Hideo Tagai: "There are crackle patterns in Koryo celadon, at which
>| > crazing
>| > | has formed in the glaze because of the differences in contraction
>| between
>| > | the body and the glaze after firing. But these beautiful patterns have
>| > | formed in a clockwise direction due to the Korean potter's wheel being
>a
>| > | kick wheel which was kicked with the right foot, forms being made by
>| > turning
>| > | the wheel anti-clockwise. Since the Japanese potter's wheel is turned
>| > | clockwise by hand there are strains in the clay body due to formation
>on
>| > the
>| > | wheel, so when crazing can appear in the glaze of an article after
>| > complete
>| > | firing it seems to be in opposite directions for Korean and Japanese
>| > wares."
>| > | I am a docent at the Everson Museum in Syracuse, NY, where we have
>many
>| > fine
>| > | examples of both Korean and Japanese ceramics, but confess that I
>cannot
>| > | confirm this statement by examination of the museum pieces. Would
>anyone
>| > | care to comment?
>| > |
>|
| |
|
