Ababi on fri 12 oct 01
It is not clear for me what do we mean when we say SHINO.
Is it more like Crawly glaze or is it more like Falls creek Shino that
has different coloring in the same glaze? I read a bit still do not
Lee Love on sat 13 oct 01
----- Original Message -----
> It is not clear for me what do we mean when we say SHINO.
Here in Japan, Modern Shino is Hiratsu choskei (shino feldspar) applied to
Shino Tsuchi (shino clay) and fired for a long period of time at a relatively
low temperature. Matsuzaki Ken (a student of Shimaoka's) fires his shino 10
days in a gas kiln or 7 days in his special double firemouth Yohen (changing
chamber) wood kiln. Many Japanese potters say that the primary characteristic
of Shino glaze is the special long firing technique.
Most American (Minnesota) shino type glazes have spodumene, Neph sye, and
soda ash in them. The soda ash gives the iron color to the glaze in a shorter
firing time (but at a higher temperature) than the Japanese technique does.
Mashiko JAPAN Ikiru@kami.com
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Marta M. Gloviczki on sat 13 oct 01
>It is not clear for me what do we mean when we say SHINO.
>I read a bit still do not
i am sure, my clay education is much more limited than yours- especially on
glazes!- but i have to tell you that, since i just attended malcolm davis`
SHINO workshop (which was absolutely fantastic btw) and we learned a great
deal about shino, the most important is to understand:
YOU CANNOT REALLY UNDERSTAND SHINO
Earl Brunner on sat 13 oct 01
And like Raku, there is an original version, (true raku, and true shino,
which by definition I would say are the original versions) and the
westernized (for want of a better term) versions. Raku as done in
America for example, is generally a significant departure from the
original, I don't think one is necessarily better than the other, they
are just different. The same with Shino, there is the traditional Asian
version and the western version ( I hesitate to call it just the
American version). The western versions, have gone off on different
tangents than the original, different chemicals, different end products.
Marta M. Gloviczki wrote:
> ababi said:
>> It is not clear for me what do we mean when we say SHINO.
>> I read a bit still do not
> dear ababi,
> i am sure, my clay education is much more limited than yours- especially on
> glazes!- but i have to tell you that, since i just attended malcolm davis`
> SHINO workshop (which was absolutely fantastic btw) and we learned a great
> deal about shino, the most important is to understand:
> YOU CANNOT REALLY UNDERSTAND SHINO
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