dannon rhudy on sat 24 sep 05
Shino IS a reduction fired glaze, Lili. But the
temp is not so important. You can fire it in
oxidation, but it is, ummmm, kinda blah....whiteish,
flatish.
regards
Dannon Rhudy
----- Original Message -----
From: "Lili Krakowski"
To:
Sent: Monday, September 26, 2005 9:36 AM
Subject: Shino, harvest moon...
> I sit corrected. Shino CAN be c.6. Thank you, Dannon.
> I also sit confused as I was under the impression that Shino was
reduction
> fired glaze.
>
> I still do not know what defines Shino, any more than I know what defines
> Temmoku---I just wish, in vain, that our terminology were more precise....
>
> Thanks to all.
>
>
>
>
> Lili Krakowski
>
> Be of good courage
>
>
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Lili Krakowski on mon 26 sep 05
I sit corrected. Shino CAN be c.6. Thank you, Dannon.
I also sit confused as I was under the impression that Shino was reduction
fired glaze.
I still do not know what defines Shino, any more than I know what defines
Temmoku---I just wish, in vain, that our terminology were more precise....
Thanks to all.
Lili Krakowski
Be of good courage
David Gallagher on mon 26 sep 05
I think this a fair definition? At least a historical starting point
http://www.e-yakimono.net/guide/html/mino.html
Shino was Japan's first high-fired white-glazed pottery with iron-oxide brush markings; most decoration on pottery up until that time had been carved, incised or appliqued. One distinctive characteristic of Shino is small pinholes called suana (nest holes), which tea masters favor and term yuzuhada, or citron skin. Shino ware often uses milky-white ash/feldspar glaze.
Temmoku: (Im going to use Mel here) Wasn't "temmoku" a reference to a specific shape of drinking cup? Sat upside down to look like a mountain and the moon in zen thinking? (Im trying to recall the Iron saga article from my oh too spotty memory).
Both these things have been adapted to mean different things in a modern context, but the traditonal meaning seems to be out there. Meanings are adapted to what ever the person wants them to many times and this seems to be the case. Some one has a nice high iron glaze, and wants to sell it. What do you label it "high iron" or "temmoku"?
I think its a simple case of using a word for its exoticness or, in the ceramics community familiarality. If some one says shino or temmoku we tend to have a general understanding of what the person is talking about? This is interesting, because Im just starting to take and "shino" base and adding chrome to see what it will do. If it comes out green is it a shino? Is it a green high feldspar glaze? In some sense, it really doesn't matter. But I think I like Mel's approach with the Iron saga. Speak of the historical context, but call a duck a duck. Iron glaze is Iron glaze. These words have grown to mean so many thing (especially in the ceramics community). So Lilli, its like the word "love", it can mean a lot of different things to different people, but we all have a general idea of it (no matter how mis guided :) )
Lili Krakowski wrote:
I sit corrected. Shino CAN be c.6. Thank you, Dannon.
I also sit confused as I was under the impression that Shino was reduction
fired glaze.
I still do not know what defines Shino, any more than I know what defines
Temmoku---I just wish, in vain, that our terminology were more precise....
Thanks to all.
Lili Krakowski
Be of good courage
______________________________________________________________________________
Send postings to clayart@lsv.ceramics.org
You may look at the archives for the list or change your subscription
settings from http://www.ceramics.org/clayart/
Moderator of the list is Mel Jacobson who may be reached at melpots@pclink.com.
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Steve Irvine on mon 26 sep 05
Hi Lili,
I hadn't really thought of the shino/harvest moon connection until I saw your post. The moon does
have a shino colour (one definition of shino anyway) as it rises above the horizon. I took this photo
on the 17th of the harvest moon rising above Georgian Bay, near my home:
http://www.spaceweather.com/swpod2005/18sep05/Irvine.jpg
Steve
http://www.steveirvine.com
On Mon, 26 Sep 2005 10:36:30 -0400, Lili Krakowski wrote:
>I sit corrected. Shino CAN be c.6. Thank you, Dannon.
>I also sit confused as I was under the impression that Shino was reduction
>fired glaze.
>
>I still do not know what defines Shino, any more than I know what defines
>Temmoku---I just wish, in vain, that our terminology were more precise....
>
>Thanks to all.
>
>
>
>
>Lili Krakowski
>
>Be of good courage
Lee Love on wed 28 sep 05
From: dannon rhudy
> Shino IS a reduction fired glaze, Lili. But the
> temp is not so important. You can fire it in
> oxidation, but it is, ummmm, kinda blah....whiteish,
> flatish.
I guess it depends on what kind of "shino" you are talking
about. Traditionally, they were not fired in the kind of reduction we
get in fossil fuel kilns, but they spent a lot of their time in
oxidation and neutral atmospheres, cycling briefly into reduction.
I have found in cycling atmosphere, that does not spend a lot
of time in reduction, a higher amount of alumina is required to get
"fire color." This also requires higher temps or longer firings,
though, as John Britt points out, using fine Alumina Oxide instead of
Alumina Hydrate helps the melting. I am lucky in that my local
materials have a higher alumina content that the materials used back home.
I think Hank Murrow's experiments with shino and cool down
firing sheds some light on the traditional process. Check out his
article here:
http://www.ceramicsmonthly.org/mustreads/shinofire.asp
See Hank's shinos (sans soda ash) here:
http://www.murrow.biz/hank/shino-pots.htm
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://seisokuro.blogspot.com/ My Photo Logs
"We can make our minds so like still water that beings gather about us
that they may see, it may be, their own images, and so live for a moment
with a clearer, perhaps even with a fiercer life because of our quiet."
-- W.B. Yeats
Hank Murrow on wed 28 sep 05
On Sep 27, 2005, at 9:58 PM, Lee Love wrote in part:
>
> I guess it depends on what kind of "shino" you are talking
> about. Traditionally, they were not fired in the kind of reduction
> we
> get in fossil fuel kilns, but they spent a lot of their time in
> oxidation and neutral atmospheres, cycling briefly into reduction.
>
> I have found in cycling atmosphere, that does not spend a lot
> of time in reduction, a higher amount of alumina is required to get
> "fire color." This also requires higher temps or longer firings.
> I think Hank Murrow's experiments with shino and cool down
> firing sheds some light on the traditional process. Check out his
> article here:
>
> http://www.ceramicsmonthly.org/mustreads/shinofire.asp
>
> See Hank's shinos (sans soda ash) here:
>
> http://www.murrow.biz/hank/shino-pots.htm
Thanks for the mention of my work with shinos, Lee. From the beginning
in '69, I have been chasing the original Momoyama shinos and that
'firecolor' and the unctuous crawled/healed surface. It is so
comforting to the hand, and the glaze is so varied one hardly needs
much decoration. All of this lasted only two generations, being
supplanted by the shiny grey oribe resulting from the faster hotter
fires in the then new multichambered kilns that the Korean potters
built in Mino.
Arakawa, with Rosanjin's backing, showed the way to modern shino, and
now many have taken up the quest. As I look at the gorgeous results
from my latest firings, I am reminded that I have sat on broad
shoulders myself.
Cheers, Hank
>
www.murrow.biz/hank
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