mel jacobson on sun 21 apr 02
don't want to be a smarty pants here...but,
i have read a great deal about shino, and seen
a great deal of `real` shino.
iron wash under design has been the standard
for japanese shino.
the true shino glaze is white....very white.
the iron wash pattern was brush applied
and extremely quiet. the teabowls of
shino are a thing of true beauty. but, you
have to tune the american eye a bit.
the glaze is peppered with large pin holes.
some crawling.
the patterns are just touches of soft orange to
brown.
shino historically does not like other glazes under it.
in fact, i have found nothing that likes to be under my
shino. my suggestion would be to use slips with color...or
at least make sure that washes are dry before adding shino
over.(timing, is critcal) it is essential that you experiment and keep some
decent records, or at least memorize what is going on.
liz, tony, hank and many others are doing amazing
things with this glaze. their thoughts and direction
will help most of us.
what you do with liquid soda ash on the surface of your
glazed pots will alter the black quality.
think of adding some large spots of liquid soda ash(hot).
maybe from an ear syringe. do you think a black halo
might appear? think about it.
mel
From:
Minnetonka, Minnesota, U.S.A.
web site: http://www.pclink.com/melpots
Liz Willoughby on sun 21 apr 02
A couple of years ago Craig M. suggested that I try placing granules
of salt directly on the c.t shino glaze. I did and I got black
spots. Then I tried granules of soda ash, it worked too. I just
sprinkled a little on a piece of paper and rolled the pot over it.
In the end I decided that it was way too much trouble but an
interesting experiment. Spraying a solution of soda ash also works.
Liz, who also loves the rich thick Japanese shinos.
>
>what you do with liquid soda ash on the surface of your
>glazed pots will alter the black quality.
>think of adding some large spots of liquid soda ash(hot).
>maybe from an ear syringe. do you think a black halo
>might appear? think about it.
>mel
Liz Willoughby
RR 1
2903 Shelter Valley Rd.
Grafton, On.
Canada
K0K 2G0
e-mail lizwill@phc.igs.net
Lee Love on mon 22 apr 02
We went to my Sempai's (elder brother deshi [apprentice]) graduation
show on the Ginza, at the Mingei gallery Takumi on Sunday. It was Sensei,
his
grandson and 3 of us deshis (the grandson was a deshi, but his status has
had
some subtle changes after his 5 year.) It was really nice to see my
Sempai's
work on display.
After the show, we had lunch and then went to the Mingeikan. The
show
that is up is in celebration of the renovations of the Mingeikan and is
selected
works from Yanagi's collect pieces from Asia. My 2 favorite pieces were
from
Mino (my favorite Yi pots were not on display.) One was a Shino bowl, a
Nezumi
Shino bowl (Mouse Shino.) This one was grey, but they can be a blue almost
as
bright as my Chun blue. The scraffitoed decoration in the iron slip was
white.
The glaze was grey where the iron slip was. The image of a willow stood
out
in white. The glaze had quartz fracturing, like you sometimes see in
stone.
My Chun does the same thing when it is applied thick. Actually, my
interest in Chun was inspired by the Nezumi Shinos. It makes sense,
because
both glazes are predominantly feldspar. Not all Nezumis are like this
particular one. Have surfaces more like regular shinos, but are grey or
blue
in color.
The Japanese will explain to you if you mention shino, that it isn't
just
a glaze. It is also a clay body and a long firing process: firing at
low
temperature for 10 days to 2 weeks. I'm thinking that maybe these long
low
temperature firings have something in common with Hank's cool down and
oxidation
firing at lower temps. Hank's process has the advantage of using less
fuel.
The traditional shinos have something else in common with Hank's shinos, in
that
neither use soda ash. It is one reason why I am calling my "American
shinos"
Carbon Trap glazes. The traditional shinos don't carbon trap.
I will try to put up some photos of my favorite shinos soon. I
have
some time off coming up during Golden Week vacation, but I am also going to
be
going to a couple shows in Tokyo. The MacKenzies have a show opening on
the
24th and MacKenzie, Shimaoka, Sori Yanagi and David Leach are having a show
at
the new Mingeikan gallery opening on the 27th. Warren will also lecture and
give a slide show at the Mingeikan. I'll also have folks coming to
Maskiko to
visit. The Mashiko Togkichi (Pottery Festival.)
Lee in Mashiko
"The lyfe so short, the craft so long to learne." - Geoffrey Chaucer
(c.
1340-1400).-
._____________________________________________
| Lee Love ^/(o\| Practice before theory.
|
| Ikiru@kami.com |\o)/v - Sotetsu Yanagi - |
`~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~'
"All weaves one fabric; all things give
Power unto all things to work and live." - Goethe -
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