Richard Mahaffey on wed 9 jun 04
The ones I talked about clearly had an iron slip on them with either
sgrafitto or (not very likely inlaid white/light slip). The color was
not a Ti blue and the glaze had none of the character of a Chun (real
Chinese and the American version developed by Carlton Ball) of which I
am quite familiar. The glaze character was different and did not have
the blue tending to opalescence.
The Nezumi shino pieces I have seen were said to be a few hundred years
old (400 or so) not the new "rediscovered" variety of Arakawa Toyozo.
As you know Arakawa studied shards and whole pieces as well and
developed a way to replicate the older traditional shino. whose
techniques had been lost. It is not clear to me that he was making his
modern shino in the exact same way as was done originally. Arakawa's
were beautiful nonetheless.
Lee and John,
On trying to replicate Gosu Leach has already done it:
Manganese dioxide 40
Black Iron Oxide 30
Black Cobalt Oxide 20
Calcined Ochre 10
This mixture according to Leach approximates the Gosu from pebbles
found in streams in China.
We use this in place of straight cobalt on all of our shiny glazes like
the Limestone clear, celadon and blues, as well as, any chun varieties.
It will produce a black on our matt glazes, so in that case we use
Hope that this helps.
Only two more days until finals are over!
Lee Love on thu 10 jun 04
Richard Mahaffey wrote:
> The ones I talked about clearly had an iron slip on them with either
> sgrafitto or (not very likely inlaid white/light slip). The color was
> not a Ti blue and the glaze had none of the character of a Chun (real
> Chinese and the American version developed by Carlton Ball) of which I
> am quite familiar. The glaze character was different and did not have
> the blue tending to opalescence.
I put up the Chun-like shino bowl I've seen at the Mingeikan:
When I am lucky, I can get crystals like in this glaze from my chun,
which is mostly feldspar.
> techniques had been lost. It is not clear to me that he was making his
> modern shino in the exact same way as was done originally. Arakawa's
> were beautiful nonetheless.
You hit it on the nose. Shinos, even in Japan, have not
been handed down in an unbroken like. Arakawa's and Wirt's are both
"rediscoveries." I think Hank mentions potters using a little wood
ash in their shinos. I am guessing this is from the Freer
analysis. Actually, I am guessing that the ash probably came from the
> Manganese dioxide 40
> Black Iron Oxide 30
> Black Cobalt Oxide 20
> Calcined Ochre 10
I use Mashiko gosu. costs about $9.00 a bag (it comes wet
John's recipe has much less cobalt, but it turns white shinos blue, as
though the cobalt helps bump the iron into blue. But using this slip
under Wirt type shinos gives you and opaque blue and not a blue like the
photo above. This is John's recipe:
Blue Slip for Shino
.25% Cobalt Carb.
This is my Chun blue. I call it Paul's Chun because Paul Morse from
the UofMN gave it to me:
Y. Ocher 1
For purple splash: 3% copper slip on raw body. Sky blue on
porcelain or white stoneware. The color of the above Nezumi Shino on
iron bearing Stoneware. I plan on experimenting without ocher and on
different slips and clay bodies.
in Mashiko, Japan http://mashiko.org
http://journals.fotki.com/togeika/Mashiko/ Commentary On Pottery