Hank Murrow on mon 15 nov 04
On Nov 15, 2004, at 5:46 PM, Lee Love wrote:
> Start with any good black temmoku glaze. I would recommend doing a
> line blend of iron, adding from the original, and then pulling test
> rings/tiles from the kiln. (This is probably how it was developed.)
> This will also give you practice with putting stuff out of the kiln.
Dear Lee;
Wilson says that the potters in Seto were allowed to use iron for the
first time around late 1500s, and in pulling rings of their tenmoku
they noticed that the color of the chilled rings was a lot colder in
tone than when cooled normally. They improved upon this by adding iron
ore untilthey had a true black........ all the iron dissolved in the
chilled glaze. Setoguro was born from this. It only lasted a couple of
generations, the new noborigama kilns generated a new aesthetic and
Setoguro was not fashionable anymore. Oribe triumphed. In the 1930s,
Arakawa resurrected Setoguro along with Shino in kilns modeled on those
of the 1500s.
>
> I plan on experimenting with it. Need to get a hold of
> some tongs. I suppose I could use two iron rods as chop sticks.
> :^)
I made some tongs and fashioned a platen on the outside 'finger' on
which I deep-etched my fingerprint. Thought it would be cool to leave
my fingerprint in the molten glaze!
Cheers, Hank
Kok on mon 15 nov 04
Dear members,
In the book of Arakawa Toyozo "The Traditions and Techniques of Mino
Pottery" he wrote about the setoguro:
<ash and the iron and manganese compound oni-ita. However, it is actually
the result of a special method of firing: a teabowl is plucked with iron
tongs from the kiln at a temperature of about 1100=B0C-the sudden cooling
causes the iron glaze to turn black. The marks of the tongs remain but in
no way detract from the beauty of the piece.>>
As it could know the exact recipes of setoguro glaze to remove it 1100=BAC
from the kiln?
Thanks,
Hank Murrow on mon 15 nov 04
On Nov 15, 2004, at 1:33 AM, Kok wrote:
>
> In the book of Arakawa Toyozo "The Traditions and Techniques of Mino
> Pottery" he wrote about the setoguro:
> <
> of
> ash and the iron and manganese compound oni-ita. However, it is=20
> actually
> the result of a special method of firing: a teabowl is plucked with=20
> iron
> tongs from the kiln at a temperature of about 1100=B0C-the sudden =
cooling
> causes the iron glaze to turn black. The marks of the tongs remain but=20=
> in
> no way detract from the beauty of the piece.>>
> As it could know the exact recipes of setoguro glaze to remove it=20
> 1100=BAC
> from the kiln?
Dear Kok;
My version of Setoguro uses a highly weathered Andesite (volcanic rock,=20=
rich in iron and Mn) that I dig from a roadcut on the Middle fork of=20
the Santiam River near Albany OR. I add 6% Madrone ash to this to make=20=
a glaze that if fired at Cone 10 and left to cool, is a crusty matt=20
brown. When pulled from the kiln at maturity through the stoke holes,=20
it is a beautiful satiny jet black, and the tong marks hold. The iron=20
doesn't have time to crystalize on the surface, remaining dissolved in=20=
the glaze and making it black. You may see a pic at
http://www.murrow.biz/hank/hankweb-all/page98.jpg
Cheers, Hank in Eugene
www.murrow.biz/hank
Kok on tue 16 nov 04
Dear Hank,
alive in Catalonia (the south of Europe) and I cannot obtain andesite, I
do not believe that Arakawa and its predecessors used it.
As I can obtain a ash glaze (without frit and without GB) that matures to
1100C (Seger Cone-1)?
Thanks,
Kok
Hank Murrow on tue 16 nov 04
On Nov 16, 2004, at 7:32 AM, Kok wrote:
> Dear Hank,
>
> alive in Catalonia (the south of Europe) and I cannot obtain andesite,
> I
> do not believe that Arakawa and its predecessors used it.
I believe Ona-ita is a weathered andesite. Available all around the
Seto/Mino area.
Sorry there seems to be no andesite in Catalunya. There may be some
weathered material in the Massif Central, as it is largely volcanic.
I have spent many hours crawling all over the many Gaudi works near
Barcelona, and went up each of the west towers at Sagrada Familia,
despite a bad case of heights fear. I have good friends in Granollers,
just north of town. Oddly, and likely because of my early schooling in
Latin, I found I could read Catalan.
Cheers, Hank
www.murrow.biz/hank
Lee Love on tue 16 nov 04
Start with any good black temmoku glaze. I would recommend doing a
line blend of iron, adding from the original, and then pulling test
rings/tiles from the kiln. (This is probably how it was developed.)
This will also give you practice with putting stuff out of the kiln.
I plan on experimenting with it. Need to get a hold of
some tongs. I suppose I could use two iron rods as chop sticks. :^)
--
Lee in Mashiko, Japan
Woodkiln list: http://groups.yahoo.com/group/WoodKiln
Japan http://mashiko.org
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