mel jacobson on sat 21 apr 01
what most of us use is `american shino`..it has almost
nothing to do with japanese shino. the early glaze
was almost pure feldspar..a little ash for flux.
this is from cm...december last year...2000
by, mel jacobson
early draft.
This intelligent experiment has spawned a series of glazes that have spread
across the Western World. It is a fussy glaze with numerous nuances and is
the source of a great deal of frustration and joy for potters. It is a
glaze with a mind of its own, and that fact alone makes it a quest for many
potters.
The origins of Shino lie in the hills of Mino and Seto, Japan. It is
considered the very first white glaze used in Japan. It is unknown when
the first Shino appeared, but shards have been found that perhaps, date it
as early as 1460 a. d. As with all glazes the complete history is
hazy. It is know that the early tea masters admired this glaze, and sought
those that made it. The term Shino in writings appeared in the early
1800's. For those interested in the history of Shino look to the writings
of Ryoji Kuroda and his book "Shino" Kodansha International ltd., ISBN
0-87011-631-2. My intent in this article is not the history of Shino, but
to look at what it has become in this Century.
Japanese Shino is a thick bubbly glaze made from nearly one hundred percent
feldspar. Additions of ash as a flux was often used, but in most part it
was feldspar. To the western eye it appears as a thick frosting on the
pots and is not generally considered beautiful. It is thick, often full of
holes and crawls a great deal. Large pin holes dot the surface. It is an
ideal glaze for the Tea Ceremony utensils used in Japan. An important
aspect of Tea Ceremony objects is the use of asymmetric design. Shino fits
nicely into this aesthetic. The potter has a limited ability to totally
control this glaze and the possibility of accidents and elements of chance
are great. Most Western potters that see Japanese Shino do not recognize
this glaze.
American Shino of the Wirt origin have a very shiny surface with small
imperfections on the surface. The color ranges from a soft white to pink,
with an orange cast being the most often seen. Color is greatly affected
by the clay body that lies under the Shino. White and porcelain clays
without question give Shino a very delicate colored surface. These
lustrous pinks to light orange are often favored. Iron washes on porcelain
will burn through the glaze and leave a strong pattern. Dark iron bearing
clay will deepen the Shino's color dramatically. Deep orange and iron red
becomes common. etc. etc. etc.
\\\\\\\\\\\\\\\\
carbon trapping was the next stage in the development.
then black followed.
so on and so on.
hank is using a pure sense of the glaze.
i did hard core experiments with black.
some are working in between....
soda ash is the key to black.
leave it out, pink, white, red. etc.
and the beat goes on.
fire it at cone 6 reduction...cone 7 reduction
who knows...there may be a majolica shino.
mel
From:
Minnetonka, Minnesota, U.S.A.
web site: http://www.pclink.com/melpots
Hank Murrow on sat 21 apr 01
>what most of us use is `american shino`..it has almost
>nothing to do with japanese shino. the early glaze
>was almost pure feldspar..a little ash for flux.
>Japanese Shino is a thick bubbly glaze made from nearly one hundred percent
>feldspar. Additions of ash as a flux was often used, but in most part it
>was feldspar. To the western eye it appears as a thick frosting on the
>pots and is not generally considered beautiful. It is thick, often full of
>holes and crawls a great deal. Large pin holes dot the surface. It is an
>ideal glaze for the Tea Ceremony utensils used in Japan. An important
>aspect of Tea Ceremony objects is the use of asymmetric design. Shino fits
>nicely into this aesthetic. The potter has a limited ability to totally
>control this glaze and the possibility of accidents and elements of chance
>are great. Most Western potters that see Japanese Shino do not recognize
>this glaze.
>
>American Shino of the Wirt origin have a very shiny surface with small
>imperfections on the surface. The color ranges from a soft white to pink,
>with an orange cast being the most often seen. Color is greatly affected
>by the clay body that lies under the Shino. White and porcelain clays
>without question give Shino a very delicate colored surface. These
>lustrous pinks to light orange are often favored. Iron washes on porcelain
>will burn through the glaze and leave a strong pattern. Dark iron bearing
>clay will deepen the Shino's color dramatically. Deep orange and iron red
>becomes common. etc. etc. etc.
>carbon trapping was the next stage in the development.
>then black followed.
>so on and so on.
>hank is using a pure sense of the glaze.
>i did hard core experiments with black.
>some are working in between....
>soda ash is the key to black.
>leave it out, pink, white, red. etc.
>and the beat goes on.
>fire it at cone 6 reduction...cone 7 reduction
>who knows...there may be a majolica shino.
>
>mel
Hey Mel;
Great rundown! I think my shinos are more like New Zealand shinos
than american ones. Lots of neph sye with about half that of kaolin (dirty
is better) and some low melt spod to taste. the mole formula looks like it
won't melt, but oh my, the buggers do set down on the pots and look lovely.
Absolutely no carbon trap, except when fired in the anagama. Go figure.
I expect that the American Shino Show opening September 8th in New
York at the Babcock Galleries will be an eye opener, as shinoists from
across our country see their peers' work for the first time. I know I am
dying to come. The Babcock is hosting a Potters' Brunch in the gallery for
those potters who show up for the opening, to roundtable the idea of shino.
Ian Currie will be there, and Pamela Vandiver, so be there or be square.
Love, Hank
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