DanDellAgnese@aol.com on wed 12 apr 00
I am looking for the glaze formulation for that very heavy thick white
japanese glaze that looks sort of like snow. I would greatly appreciate any
help with this search. Thank You
Sharon31 on thu 13 apr 00
Try here
http://www.aist.go.jp/RIODB/ccdb/index.html
A lot of information about Japanese Glazes
Ababi
sharon@shoval.org.il
http://www.israelceramics.org/main.asp?what=gallery.htm
http://clay.justnet.com/cgallery/asharon.htm
----- Original Message -----
From:
To:
Sent: Wednesday, April 12, 2000 11:51
Subject: Japanese Glaze
> ----------------------------Original message----------------------------
> I am looking for the glaze formulation for that very heavy thick white
> japanese glaze that looks sort of like snow. I would greatly appreciate
any
> help with this search. Thank You
Pierre Brayford on thu 13 apr 00
-----Original Message-----
From: DanDellAgnese@aol.com
To: CLAYART@LSV.UKY.EDU
Date: 12 April 2000 21:52
Subject: Japanese Glaze
Could be "Nuka" glaze there is some info in Phil Rogers book Ash Glazes.
'in Japan made from rice husk ash, a silicaceous
stone and wood ash - he suggests the reformulation as Ash 50, Feldspar 60,
Quartz 40.
as a starting point. Fired to at least 1280degC'
I have tried this glaze and the first test was a really nice milky/snowy
white. However when I mixe more it had a distinct yellowy look and was not
so nice. Probably the ash was different.
Pierre http://ukpotters.co.uk
>----------------------------Original message----------------------------
>I am looking for the glaze formulation for that very heavy thick white
>japanese glaze that looks sort of like snow. I would greatly appreciate
any
>help with this search. Thank You
Aiko Ichimura on fri 14 apr 00
Hi again,
I got another post from my fellow Japanese potter who thinks his glaze might
be what
you were looking for.
His glaze is called "Nuka jiro" : jiro means white.
He buys this glaze from Mashiko town where Lee Love works. May be lee can
comment on this
glaze, if he has seen this one .
In any case, the temperature he specifies is 1280 and the cost of the glaze
is about $48.00 per 20 kg. He thinks it is inexpensive and the result is
very wonderful. Unfortunately he does not know the recipe because
he just uses the ready mixed glaze.
So we have gotten suggestions and opinions of "Yuki-Shino" and " Nuka-jiro"
from Japan.
The below page is the result of search in the Japanese Glaze database under
white matt glaze. You might find something there too.
http://www.aist.go.jp/RIODB/CCDB/UCDB/owa/ccdb_sel.sub_srst
Aiko Ichimura
NW DC 20036 USA
aikop@erols.com
202-293-3039
----- Original Message -----
From:
To:
Sent: Wednesday, April 12, 2000 4:51 PM
Subject: Japanese Glaze
> ----------------------------Original message----------------------------
> I am looking for the glaze formulation for that very heavy thick white
> japanese glaze that looks sort of like snow. I would greatly appreciate
any
> help with this search. Thank You
Aiko Ichimura on fri 14 apr 00
I have posted the question for you at the Japanese Pottery ML.
I am getting answers now. The first potter commented that there are two
kinds
of snow white glaze he can think of: Unofu-yu and Shino-yu.
Yu is pronounced like "you" and means glaze.
He thinks that Shino glaze might be the one you are looking for. He said
that
Shino glaze create the type of white that evokes such lovely image of the
first snow
falling on trees it is hard to describe. He said it so movingly I can
hardly convey the loveliness
in English.
In any case, if it is Shino I hope it is not that difficult to find recipe.
Hope this helped. I will post again as I receive answers
from my fellow Japanese ML members.
Aiko Ichimura
NW DC 20036 USA
aikop@erols.com
202-293-3039
----- Original Message -----
From:
To:
Sent: Wednesday, April 12, 2000 4:51 PM
Subject: Japanese Glaze
> ----------------------------Original message----------------------------
> I am looking for the glaze formulation for that very heavy thick white
> japanese glaze that looks sort of like snow. I would greatly appreciate
any
> help with this search. Thank You
John Baymore on fri 14 apr 00
------------------
(clip)
I am looking for the glaze formulation for that very heavy thick white
japanese glaze that looks sort of like snow.
(snip)
Dan,
You might give a bit more of a description...... maybe a name of a potter
or a type of ware......... could be a few different things. I can think of
one likely one off hand.
What you are referring to might be a true Japanese shino glaze...... which
is often thick, unctious (sp?), white with pin holes (with fine red edges),
and firmarking only at the thinest places and along the bare clay edges.
Iron brushwork goes a red color too, or a grey if under the glaze.
Americans are used to =22American Shino=22 that has about the same =
relationship
to Japanes shino as American raku has to Japanese raku =3Cg=3E. Much =
Japanese
shino ware is very white with only a hint of firemarking. Wabi / sabi
desu, ne'. (It's from teaware aesthetics, restrained and understated,
quite, subdued, the beauty of unadornment and naturalness, and so on.)
When I was in Japan, a shino-ware potter showed me the stamped (not ball
milled) rock that was almost the sole constituient of his glaze. Looked
like a very friable feldspar. The glaze recipe (at least that he told me)
was that rock, a tiny amount of wood ash, a tiny amount of clay, and
suspended in water with a binder made of unwashed seaweed (which obviously
supplied some salt (Na2O)). The firing was the key, he said.... and was 48
hours long....but lower temperature end-point than we (USA) typically fire
shinos. Lots of =22heat-work=22 effect.
Maybe try a shino formula that is based on heavy Neph. Sy. content with
soda as the primary flux........ nothing with lithium as a flux (usually
from spodumene). Maybe run a starting triaxial blend with Neph Sy., Soda
Ash, and Kaolin as a start point. Don't bother to mix the tests close to
the soda ash point =3Cg=3E.
Or get the Studio Potter magazine article on shino glazes.... and use the
molecular from the actual Japanese sample from the Freer as a starting
point.
You might also be talking about Nuka.... a rice husk ash based glaze.
Best,
......................john
John Baymore
River Bend Pottery
22 Riverbend Way
Wilton, NH 03086 USA
603-654-2752 (s)
800-900-1110 (s)
JBaymore=40compuserve.com
John.Baymore=40GSD-CO.com
=22Earth, Water, and Fire Noborigama Woodfiring Workshop August 18-27,
2000=22
Lee Love on tue 18 apr 00
----- Original Message -----
From: Aiko Ichimura
> Hi again,
>
> I got another post from my fellow Japanese potter who thinks his glaze
might
> be what
> you were looking for.
>
> His glaze is called "Nuka jiro" : jiro means white.
> He buys this glaze from Mashiko town where Lee Love works. May be lee can
> comment on this
> glaze, if he has seen this one . <...>
Hi Aiko,
I used a "synthetic" Nuka back home in Minnesota. The recipe
is from Phil Rogers' ash glaze book. If I can scan some slides, I'll put
up a picture of a temmoku and nuka pitcher of mine.
Yes, Nuka is traditional here in Mashiko and also in Kasama (Kasama is the
town where the first Mashiko potters were imported from.) There is also
a green Nuka with copper in it called Nukaseiji-yu. I think Rogers' Nuka
would work for this, if you add 3 to 4% copper.
Hamada used this glaze, often slip trailed with Kaki. I saw this
decoration technique applied for the first time, glazing for the noborigama
firing. First, a thin coat of Nuka is put on. When it is thin, it is sort
of like a clear celadon. It is a silica white and needs some thickness to
become white. (I have a yunomi of a Sempai (elder student) that is Nuka
glaze & is mostly pale green, but white where the glaze is thicker.) Then,
the Nukaseiji-yu is slip trailed on. A syringe bulb is used to correct any
mistakes. Bad drips are wiped off immediately. Next, the Nukaseiji-yu
is wax resisted. Then, a thin coat of another clear glaze is put on, I
think, maybe the wood ash/ball clay base glaze. Then, Kaki is dipped on
top of this. This layering of glazes causes the decoration to have some
depth. You can see it if you look at some of Hamada's work.
At the Living Treasures show in Kasama, Hamada's work stood out. He
is an example of a modern, educated person who was able to transcend
rationality and achieve the feeling and spontaneity of the best Mingei
potters. Next to the unknown Yi and Sung potters, he is my favorite.
--
Lee Love
2858-2-2 , Nanai , Mashiko-machi ,Tochigi-ken 321-4106 JAPAN
Ikiru@kami.com Voice Mail and Faxes (a USA number): (303) 256-0374
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