mel jacobson on fri 10 jun 05
by definition and history....shino is a white glaze.
some experts believe it was the first truly white glaze.
it is made from feldspar and ash...about 90 to 1
it is the introduction of iron and carbon trapping that
has given it color in the west.
as hank has pointed out to us...shino can be made beautiful
without soda ash or iron. one just has to be aware
of what comes from the kiln, depends on what you are looking
for.
the clay body under shino will do many things to the surface color.
so, to define shino as an orange glaze is not correct.
it should be defined as a white glaze that does interesting things depending
on what you add.
a blue glaze is a white glaze that you have added cobalt to.
same theory.
most of you have never held an old shino/japanese pot in
your hands...you would never even suspect that it is shino.
american shino is a totally different hybrid.
as tom buck has said in his research for the black shino article..
look at the chemistry.
almost all of them are the same in the end...a bit of iron
changes them the most and how much soda ash is added.
malcolm is up to 18 percent. and, that is a hell of a lot
of soda ash. a far cry from original shino.
mel
a recipe is many things to many people.
from mel/minnetonka.mn.usa
website: http://www.pclink.com/melpots
Hank Murrow on fri 10 jun 05
On Jun 10, 2005, at 4:26 AM, mel jacobson wrote:
> by definition and history....shino is a white glaze.
> some experts believe it was the first truly white glaze.
True for Japan. The astonishing thing is that it lasted for only about
40_50 years. When the first noborigama was built in Mino, they fired
so efficiently with the same materials, that the glazes turned out to
be Oribe.....grey and shiny and 'flat'.......compared to Shino. Thus
the new name for them.
> as hank has pointed out to us...shino can be made beautiful
> without soda ash or iron. one just has to be aware
> of what comes from the kiln, depends on what you are looking
> for.
My Shino is towards the Aka-Shino, or red shino, as Mel points out.
>
> the clay body under shino will do many things to the surface color.
My body is darkish, while the originals used slip to darken them.
>
> so, to define shino as an orange glaze is not correct.
> it should be defined as a white glaze that does interesting things
> depending
> on what you add.
Amen.
> american shino is a totally different hybrid.
As different as 16th century Raku is from American(and now world) raku.
>
Cheers, Hank
www.murrow.biz/hank
John Britt on fri 10 jun 05
Mel,
I don't believe that this is correct: "by definition and history....shino
is a white glaze. some experts believe it was the first truly white glaze."
I believe that the Japanese were trying to emulate a Chinese white glaze
and came up with Shinos. This is a fairly recent discovery in the 10,000
year history of glazes and I am pretty certain that there were white
glazes before this. Nor do I think we should =93officially=94 call shino a
white glaze.
Of course I could be wrong!?
Also you wrote: "the crystal growth was amazing...and of course
we got many new colors. gold being one."
I doubt if you got any "new" colors with iron. The Chinese have a long
history of working with iron glazes and have pretty much done it all -
thousands of years ago. Gold has most certainly been achieved with iron. I
am not sure it was done in China but I know that the Rookwood potters in
America had Goldstone and Tiger's Eye in the 1920. (See recipes and firing
instructions for Goldstone/ Tiger's Eye in my book.)
The wonderful and exciting thing about glazes and firing is that when you
finally get it, it certainly feels "new" to you.
John Britt
www.johnbrittpottery.com
Lee Love on sun 12 jun 05
John Britt wrote:
>I don't believe that this is correct: "by definition and history....shino
>is a white glaze. some experts believe it was the first truly white glaze."
>
>I believe that the Japanese were trying to emulate a Chinese white glaze
>and came up with Shinos. This is a fairly recent discovery in the 10,000
>year history of glazes and I am pretty certain that there were white
>glazes before this. Nor do I think we should “officially” call shino a
>white glaze.
>
You are correct John. I have never seen a Shino in Japan that is
actually white, except to the modern ones that look like milk glass.
They tend to be some shade of iron color on them. This is especially
true of the most famous shinos.
I think the confusion is that folks think that the "Shi" in Shino is
related to the "Shi" in the Japanese word for white, shiro. But the
characters are two different characters. They say that shino is probably
named after Shino Sohshin (1444-1523), a master in the art of incense or
the name comes from a tea caddy in Shino's possession that was called
"Bamboo Grass," which is also pronounced "shino."
Also, the types of shino are called:
* e-Shino (decorated, or "pictured" ware;
iron-oxide designs applied under shino glaze)
* muji Shinoor Shiro-Shino (plain white)
* aka-Shino (red Shino)
* beni Shino (red)
* nezumi Shino (gray or "mouse-colored");
designs carved into iron slip; piece covered by Shino glaze
You wouldn't designate a white shino Shiro-shino if all shinos were
white. I'll put photos of the various Japanese shinos on the web at a
separate web page.
--
李 Lee Love 大
愛 鱗
in Mashiko, Japan http://mashiko.org
http://hankos.blogspot.com/ Visual Bookmarks
http://ikiru.blogspot.com/ Zen and Craft
"With Humans it's what's here (he points to his heart) that makes the difference. If you don't have it in the heart, nothing you make will make a difference." ~~Bernard Leach~~ (As told to Dean Schwarz)
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