Discussion: Types of Shinos
L BURCH
Shinos, Canadian Shinos And American Shinos (other than carbon traping)?
Hank Murrow
Dear L;
Early Japanese shinos used a weathered feldspar only, relying on a ten
day firing to bring out the color and the satiny surface.
Japanese revival shinos sometimes added a bit of wood ash, and often a
slip was used under the glaze.
Canadian and American shinos mostly use soda ash, lithium compounds,
and hotter/shorter fires(C10_11).
new Zealand shinos tend to use Soda spars and kaolin with hot
fires(C11+).
There is a subset of very high alumina shinos practiced by myself and
Jim Robinson here in Oregon.
While in Japan earlier this summer, I had the opportunity to examine
both modern and ancient shinos, discovering a huge range of approaches
and results. The shinos of Shigemasa Higashida in Tokyo impressed me
the most. His spar was ground only to 80 mesh, ten day fire in a gas
kiln!
Your mileage may vary.
Cheers, Hank
www.murrow.biz/hank
Des & Jan Howard
Oz shinos seem to use salt instead of soda ash & C11-12 firing.
Des
Hank Murrow wrote:
>Early Japanese shinos used a weathered feldspar only, relying on a ten
>day firing to bring out the color and the satiny surface.
>Japanese revival shinos sometimes added a bit of wood ash, and often a
>slip was used under the glaze.
>Canadian and American shinos mostly use soda ash, lithium compounds,
>and hotter/shorter fires(C10_11).
>new Zealand shinos tend to use Soda spars and kaolin with hot
>fires(C11+).
>There is a subset of very high alumina shinos practiced by myself and
>Jim Robinson here in Oregon.
>
>
--
Des & Jan Howard
Lue Pottery
LUE NSW 2850
Australia
Ph/Fax 02 6373 6419
http://www.luepottery.hwy.com.au
Lee
>
> What is the difference between early Japanese Shinos, modern day Japanese
> Shinos, Canadian Shinos And American Shinos (other than carbon traping)?
Early shinos varied greatly. Most of them never looked like the
tea bowls we see photos of, because those nice spots in the kiln were
not numerous. The Eshinos, or "picture shinos" are a big area that
seem to be negelcted, along with the nezumi shinos (mouse or gray
shinos.) The various shino dishes were more oxidized and aren't so
toasty as the warmer tea bowls. The nezumi shinos have many
similarities to chun blues.
Both Japanese and America modern shinos were
"rediscovered." They waste a lot of wood or gas to produce modern
Japanese shinos. They put shino glaze here on the original clay:
Mogusa clay, which is light and porous. Reminds you have raku clays.
They are insulating.
I think Canadian and American are pretty similar. They
all get soda from soda ash or neph sye.
--
Lee in Mashiko, Japan
http://potters.blogspot.com/
"Let the beauty we love be what we do." - Rumi
Hank Murrow
On Sep 18, 2006, at 3:18 PM, Des & Jan Howard wrote:
>
> Hank
> Oz shinos seem to use salt instead of soda ash & C11-12 firing.
Dear Des;
Forgot to include Oz, and would have been wrong. Thanks for the update
on shino down under. We're still talking about that Shiraz, mate!
Cheerz, Hank
www.murrow.biz/hank
L BURCH
Lee
>
>
Only person I personally know here that single fires is Euan
Craig. He is an Aussie and works in porcelaineous stoneware.
Rob
Hori Ichiro is also doing some very fine Shino work as well and he
shows regularly at Kuroda Toen and has work up on their site. Of late,
Higashida-san has written to me that he has "lost" his Shino.
Hopefully he will find it again and be creating the deep and nuanced
Shino that has his own particular character. While open bodies are
best as they help to create a variety of surface effects, sticking to
the fabled Mogusa clay in not always necessasary as I saw a chawan by
Kato Tokuro in Tokyo a few years ago which was done in a fairly course
red bricklike clay body. Astonishing in depth and color as well with a
sort of reddish-pinkish-purple cast with some iron flecking as well due
to impurities in the body.
A recent attempt of mine is at:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ih=018&item=280029463035&rd=1&sspagename=STRK%3AMESE%3AIT&rd=1
Be well,
Rob
hambone
kilns. Basically it was a matte white or blue-grey glaze which red iron
breaks through. The grind and preparation of the iron if used for an
under decoration was essential. It has also been called a firing
technique since the iron color is coaxed out using reduction. It is
properly a mostly feldspar glaze. Originally the clay body used caused
pinholing in the glaze, which also pushed it slightly towards crawling.
Also a crackle pattern can be seen, but the firing wasn't meant to
highlight the crackle per se.
Modern Japanese Shino tends to focus more on a highly textured glaze
for exteriors whereas old shinos were used as a rustic liner glaze for
small footed dishes.
What is now called American Shino or Carbon Trap is a glossy glaze
using Soda Ash originally developed by Ginny Werts, a student of Warren
McKenzie. Back in the day carbon trapping was sought after. Also there
is a slight metallic irradesence. This really had nothing to do with
real Shino and I don't know who started calling it "Shino"
Canadian shino is made by Edouard, who posts here. Lithium
L BURCH
Very informative. What make a "shino" a "shino"? A feldspar base as in
the Canadian type, or other factors as in "acid - base" relationship? I see
many types out there as mentioned earlier in this discussion. Japanese,
Canadian, American etc.
Also --- I think your response was cut short, ---- " Canadian shino is made
by Edouard, who posts here. Lithium ". Was there more to the response?
rickma...@comcast.net
Your shinoage may vary,
-------------- Original message --------------
From: "hambone" <kansas...@gmail.com>
>
> Shino glaze is Japanese in origin. It was first developed in the Mino
> kilns. Basically it was a matte white or blue-grey glaze which red iron
> breaks through. The grind and preparation of the iron if used for an
> under decoration was essential. It has also been called a firing
> technique since the iron color is coaxed out using reduction. It is
> properly a mostly feldspar glaze. Originally the clay body used caused
> pinholing in the glaze, which also pushed it slightly towards crawling.
> Also a crackle pattern can be seen, but the firing wasn't meant to
> highlight the crackle per se.
>
> Modern Japanese Shino tends to focus more on a highly textured glaze
> for exteriors whereas old shinos wer e used as a rustic liner glaze for
Hank Murrow
On Sep 20, 2006, at 2:31 PM, rickma...@comcast.net wrote:
> Being a purist I would say that American shinos are not shinos, but
> that is just me.
You have good company, because Warren McKenzie in his essay on Shinos
in the catalog of the "American Shino Show", 2001 said that he was
encouraging students to look at japanese shinos which he loved the feel
of. Virginia came up with her test series and the shop loved it. Warren
remains unconvinced to this day with attempts to emulate the old
Momoyama originals, saying in part, "As admirable as some of these
attempts (on either side of the Ocean) seem, I cannot fall in love with
the resulting pots. I can admire them, but never lust after them."
Cheers, Hank
www.murrow.biz/hank
Edouard Bastarache Inc.
maybe Warren should a look at my Quebec shinos
(hehehehehe).
Right Hambone?
Later,
Edouard Bastarache
Le Français Volant
The Flying Frenchman
Sorel-Tracy
Quebec
edou...@sorel-tracy.qc.ca
www.sorel-tracy.qc.ca/~edouardb/Welcome.html
http://perso.wanadoo.fr/smart2000/index.htm
http://www.pshcanada.com/Toxicology.htm
http://www.flickr.com/photos/30058682@N00/
http://thepottersshop.blogspot.com/
Lee
> Being a purist I would say that American shinos are not shinos, but that is
> just me.
>
Actually. Modern American and Japanese shinos were both
"rediscovered". So neither of them are "shinos", to a purist.
Shinos were only made in Japan for 60 years in the 17th century, then
they dissappeared until the 20th century when the were independently
brought back in Japan and the USA.
The big advantage in the Minnesota Shinos (Wirt/MacKenzie are
who brought them to the attention of the public), is that you don't
have to burn down a small forest to fire them.
With my experience firing my small woodkiln, I have come to
realize too, that our reduction glazes fired in gas and oil are not
the same as the traditional reduction fired in woodkilns. The nature
of the atmposheres are different. While the gas/oil reduciton
shinos depend heavily on iron in the body for color, the shinos fired
in the cycling atmospheres depend on alumina and smaller amounts of
iron.
The old woodkilns spent a lot of time in oxidation. Our
modern woodkilns have been heavily influenced by our expectations and
created by our experience in gas/oil reduction. It gives the glazes
a different character.
Lee
>originals, saying in part, "As admirable as some of these
> attempts (on either side of the Ocean) seem, I cannot fall in love with
> the resulting pots. I can admire them, but never lust after them."
I think sometimes, we confuse the patina of age with the nature
of the original pot. It is also difficult to compare the general
nature of our work done in a specific period of time to all the
precious pieces preserved up to this time. There are reasons some
pieces were preserved as "special" while others were broken in daily
use.
We need to broaden our view of shino, including exploring
clay bodies and the broad range of what was made at Mino for a very
short time. We are too influenced by a few color photographs of a
handful of shino tea ceremony bowls. They are just the tip of the
iceburg.
Hank Murrow
On Sep 20, 2006, at 4:19 PM, Lee wrote:
> With my experience firing my small woodkiln, I have come to
> realize too, that our reduction glazes fired in gas and oil are not
> the same as the traditional reduction fired in woodkilns. The nature
> of the atmposheres are different. While the gas/oil reduciton
> shinos depend heavily on iron in the body for color, the shinos fired
> in the cycling atmospheres depend on alumina and smaller amounts of
> iron.
>
> The old woodkilns spent a lot of time in oxidation. Our
> modern woodkilns have been heavily influenced by our expectations and
> created by our experience in gas/oil reduction. It gives the glazes
> a different character.
Dear Lee and shinoistes everywhere;
Don't forget that you can fire your gas kiln differently for shinos
than for other glazes. Go in and out of reduction, fire in oxidation
for awhile, do a soak in oxidation during the cooling. Matsuzaki Ken
said during our visit, "North American shinos are achieved by chemistry
mostly." It is time for us to be more imaginative with the fire.
Higashida Shigemasa's shino gas kiln is around 18 cu ft capacity(if
that) and he fires for days to get his shinos(among the best I saw),
though Rob says he is having trouble with them since June. Mine would
STILL be grey and shiny (like oribe) if I fired them the way I did for
8 years at the beginning.
Cheers, Hank
www.murrow.biz/hank
Lee
>
>>> Don't forget that you can fire your gas kiln differently for shinos
> than for other glazes.
I think your discoveries in cooldown and oxidation are important
Hank. But I think short cycle experiments with atmposhere need to
be made too. Computer control might make this possible.
> Higashida Shigemasa's shino gas kiln is around 18 cu ft capacity(if
> that) and he fires for days to get his shinos(among the best I saw),
> though Rob says he is having trouble with them since June.
I have only seen photos, but Shigemasa's shinos aren't the kind
that interest me. These kinds of work try too hard.
>Mine would
> STILL be grey and shiny (like oribe) if I fired them the way I did for
> 8 years at the beginning.
If you look at the bulk of work made in Mino, the vast
majority of the orignal work were gray.
I have a big struggle with the way tea ceremony influence
pulls work in a certain way. It really keeps us from the big
picture and recognizing the mountain of work that was required just to
come up with a few non-ordinary tea bowls.
I am guessing that part of the problem is that while the
original founders of tea were immersed in zen practice, it is only
seen as peripheral today. Especially as we see it, 3 times removed.
Hank Murrow
On Sep 20, 2006, at 4:46 PM, Lee wrote:
>
> I think your discoveries in cooldown and oxidation are important
> Hank. But I think short cycle experiments with atmposhere need to
> be made too.
That is exactly what I was suggesting.
Cheers, Hank
Richard Mahaffey
I would agree that we need to broaden our view of what was made at Mino. But, I would not argue for broadening our view of what is Shino.
If we do that the term Shino would have less meaning than it does now. We might as well just call them all glazes (an exaggeration but you get my drift). I agree that Shino was rediscovered in the 20th C, but Arakawa studied it where it was made and tried to figure out what materials were used in the originals and use those materials. I say we need to narrow the view of what a shino is and broaden our appreciation of other wares.
The Minnesota line does not do that, it does not even try for the character, or feel of the original. I would say that those Soda ash glazes are different. The unity formulas might be similar, but it is the idea that purely by having the same elements in similar proportions makes the same thing. It does not and of course there is the clay. I learned in Japan that it is fire, clay, glaze, and potter that combine to make a particular thing. Most folks elsewhere in the world miss the concept that when you leave one out you miss the mark.
My current experimentation is aimed at finding clay and glaze that, for me, capture some of the character of the Momoyama Shinos and perhaps some of the modern Japanese glazes that are called Shinos there. The soda ash shinos are nice and I will continue to use them but they do not have the character that I am looking for.
As for the old pots, I agree that some are revered because they are old. I have a Heian Jidai pot and it is old. It has some nice qualities, but it is mostly old, not a great work of art. Growing up in the house of an Antique collector and dealer I know about how age colors our perception of something. It is hard, sometimes to detach from that and see the piece for it's merits other than age.
Your shinoage may vary,
Rick
Irakusa
How would you describe shino to a newbie like me?
Lee <tog...@gmail.com> wrote:
Yahoo! Messenger with Voice. Make PC-to-Phone Calls to the US (and 30+ countries) for 2¢/min or less.
L BURCH
the Canadian type, or other factors as in "acid - base" relationship? I see
many types out there as mentioned earlier in this discussion. Japanese,
Canadian, American etc.
>>On 9/20/06, Hank Murrow <mailto:hmu...@efn.org><hmu...@efn.org> wrote:
>>
>>
>>>
>>>originals, saying in part, "As admirable as some of these
>>>attempts (on either side of the Ocean) seem, I cannot fall in love with
>>>the resulting pots. I can admire them, but never lust after them."
>>>
>>
>>
>> I think sometimes, we confuse the patina of age with the nature
>>of the original pot. It is also difficult to compare the general
>>nature of our work done in a specific period of time to all the
>>precious pieces preserved up to this time. There are reasons some
>>pieces were preserved as "special" while others were broken in daily
>>use.
>>
>> We need to broaden our view of shino, including exploring
>>clay bodies and the broad range of what was made at Mino for a very
>>short time. We are too influenced by a few color photographs of a
>>handful of shino tea ceremony bowls. They are just the tip of the
>>iceburg.
>>
>>
>> --
>>Lee in Mashiko, Japan
>><http://potters.blogspot.com/>http://potters.blogspot.com/
Lee
>
> Lee, Hank, et al.
> I would agree that we need to broaden our view of what was made at Mino.
> But, I would not argue for broadening our view of what is Shino.
This is a major point of disagreement. Historically speaking,
e-shinos make up the majority of shinos. But modern shinos in Japan
and America almost toally ignore brush decoration. To me, the
biggest asset of Shino is the heartfelt and free decoration on
e-shino. It is when the Mino decoration was alive. It lost this
playful feeling in Oribe, when it became codified.
Part of the problem is that we take ourselves too seriously to be playful.
We have a truncated idea about what shino was because of our narrow exposure.
>
> The Minnesota line does not do that, it does not even try for the
> character, or feel of the original. I would say that those Soda ash glazes
> are different.
Reverse enginnering is a valid approach. Some of the
Minnesota shinos are truer to the original than many of the modern
"cake frosting" shinos here in Japan.
Most shinos in Japan are not made of the same materials as
the original, so they have nothing on the American in that area.
Folks are always finding new deposits of feldspars to use in shinos
here in Japan. The great advantage of Minnesota shinos is its
positive effects on the environment. No need to burn $10,000.00
worth of wood for a few gaudy pots.
> thing. It does not and of course there is the clay. I learned in Japan
> that it is fire, clay, glaze, and potter that combine to make a particular
> thing. Most folks elsewhere in the world miss the concept that when you
> leave one out you miss the mark.
I brought this point up earlier. There is no reason
shino-like clay cannot be developed in America. Actually, if I went
back to school, my focus would be on shino clay and glazes.
I've dropped some clues here for changing shinos and making
them without soda ash and spodumene. Use a soda feldspar. Up- your
alumina. Fire in a woodkiln that cycles through
oxidation/neutral/reduction. If your kiln holds heat, crash cool in
oxidation, to 1100*C and close it up. If it doesn't hold heat, hold
at 1100*C after cooling.
e
> modern Japanese glazes that are called Shinos there. The soda ash shinos
> are nice and I will continue to use them but they do not have the character
> that I am looking for.
There are a variety. Visit Minnesota and you will see them.
Most are closer in feeling of the original than the cake frosting
Japanese shinos are. MacKenzie has been putting them over crackle
slip with good effect. They become more matt.
The characters for shino mean, top first: Wish or promise
with the bottom character meaning rustic. Folks working in the
countryside in Minnesota have some handle on this feeling. I think
more so than the wealthy potters here in Japan. It is just like the
Heavy Metal band Metallica: They lost their heart with financial
sucess.
> As for the old pots, I agree that some are revered because they are old.
That's not what I meant. The have a particular look because they
have been used for many years. They did not look that way out of the
kiln. They have a patina that comes with age and use. Partially,
because the glazes are not perfect and the clay body is porous.
Back to glazing shinos!
Des & Jan Howard
I mentioned to the group in June about a test rig I was building
using a mechanical timer to run a gas solenoid.
The extremely cunning Roger Graham flang together some bits,
wrote a Visual Basic program running on a junkyard comp.
As soon as I can find a window in the workshop production
I'll do a test run & let the group know the outcomes.
Des
Lee wrote:
>But I think short cycle experiments with atmposhere need to
>be made too. Computer control might make this possible.
>
>
--
Lee
Please keep us posted. Will you be controling fuel,
air or damper? Some kind of verticle damper on a motor and cam
could bypass a computer.
CVs...@cs.com
I'm a lurker on ClayCraft, so I should introduce myself. I'm Jeff Abney, 46, from Tallapoosa, Georgia. I've been teacher high school art for 19 years, and my own work is mostly in clay. Most of what I know about making pots I've picked up here and there over the years, but I'm presently taking a graduate course in ceramics at the University of West Georgia. I was given the wonderful experience of visiting Japan as a Fulbright Memorial Fund participant (program for U.S. teachers, sponsored by the Japanese government) in 2004. I spent three weeks in Tokyo and Mihara, and got to visit Kyoto, Osaka, Nara, and Bizen. So sorry that I missed Mashiko, but I did get to visit with a Bizen potter and see his work and kilns.
I've been reading the discussion on shinos, and I have seen glazes that are identified as such, but I was wondering if anyone could point me to any websites that might show good examples of each type of shino you are discussing.
Thanks!
Hank Murrow
On Sep 21, 2006, at 11:45 AM, CVs...@cs.com wrote:
> I'm Jeff Abney, 46, from Tallapoosa, Georgia. I was wondering if
> anyone could point me to any websites that might show good examples of
> each type of shino you are discussing.
Well, Jeff;
Here are some contemporary ones:
http://www.nihon-kogeikai.com/KOKUHO-E/SUZUKI-OSAMU-E/SUZUKI-OSAMU-
SAKUHIN-E.html
http://www.soshintougi.com/english/index.html
http://www.ceramicsmonthly.org/mustreads/shinofire.asp
Also Google Arakawa Toyozo, Kato Kozo, and others your search will lead
you to.
Google Images of Momoyama Shino to see what the originals looked like,
realizing that until you hold one of these originals you will never
understand the allure. One touch convinced me back in '69. Been on the
Shino Trail ever since. Finally made it to Japan this summer where I
had the chance to examine lots of contemporary and momoyama shino. It
was a revelation.
Cheers, Hank
Des & Jan Howard
At this stage the idea is to set the gas kiln into oxidation firing & use
the solenoid to introduce enough gas to put the kiln into/outof reduction
using a wood stoking rhythm, say, 10-15 mins.
The tendency for the kiln to lag after gas pressure changes should
emulate a solid fuelled kiln's
oxidation/neutral/reduction/neutral/oxidation cycling.
The very slow cooling component of the firing routine will be done as
usual in the electric kiln as I described to the group in June.
Des
Lee wrote:
--
Hank Murrow
On Sep 21, 2006, at 3:25 PM, Des & Jan Howard wrote:
>
> Lee
> At this stage the idea is to set the gas kiln into oxidation firing &
> use
> the solenoid to introduce enough gas to put the kiln into/outof
> reduction
> using a wood stoking rhythm, say, 10-15 mins.
> The tendency for the kiln to lag after gas pressure changes should
> emulate a solid fuelled kiln's
> oxidation/neutral/reduction/neutral/oxidation cycling.
very interesting to follow thie development of this idea, Des.
> The very slow cooling component of the firing routine will be done as
> usual in the electric kiln as I described to the group in June.
Why is this not done during the cooling cycle of the gas kiln?
Cheers, Hank
www.murrow.biz/hank
rickma...@comcast.net
-------------- Original message --------------
From: Des & Jan Howard <djho...@hwy.com.au>
>
> Lee
> At this stage the idea is to set the gas kiln into oxidation firing & use
> the solenoid to introduce enough gas to put the kiln into/outof reduction
> using a wood stoking rhythm, say, 10-15 mins.
> The tendency for the kiln to lag after gas pressure changes should
> emulate a solid fuelled kiln's
> oxidation/neutral/reduction/neutral/oxidation cycling.
> The very slow cooling component of the firing routine will be done as
> usual in the electric kiln as I described to the group in June.
> Des
>
> Lee wrote:
>
> >Cool Des!
> >
> > Please keep us posted. Will you be controling fuel,
> >air or damper? Some kind of verticle damper on a mot or and cam
> >could bypass a computer.
> >
> > --
> >Lee in Mashiko, Japan
> >http://potters.blogspot.com/
> >"Let the beauty we love be what we do." - Rumi
> >
> >>
> >
> >
> >
>
> --
> Des & Jan Howard
> Lue Pottery
> LUE NSW 2850
> Australia
> Ph/Fax 02 6373 6419
> http://www.luepottery.hwy.com.au
>
>
> R>>
Des & Jan Howard
I'd love to, but, our fibre kiln doesn't cool slowly, it's of a style
called LTM (Low Thermal Mass), another way of saying thin walls.
I could actively fire down, but, cooling to 1030C, sneaking from
1030C to 920C in 6 hours then 920C to 720C in 4 hours,
tried that, puts it way past my bedtime.
Looks like another device coming up Roger!
Des
Hank Murrow wrote:
>>The very slow cooling component of the firing routine will be done as
>>usual in the electric kiln as I described to the group in June.
>>
>>
>
>Why is this not done during the cooling cycle of the gas kiln?
>
>Cheers, Hank
>www.murrow.biz/hank
>
>
--
Hank Murrow
On Sep 21, 2006, at 3:59 PM, Des & Jan Howard wrote:
>
> Hank
> I'd love to, but, our fibre kiln doesn't cool slowly, it's of a style
> called LTM (Low Thermal Mass), another way of saying thin walls.
> I could actively fire down, but, cooling to 1030C, sneaking from
> 1030C to 920C in 6 hours then 920C to 720C in 4 hours,
> tried that, puts it way past my bedtime.
My Doorless Fiberkiln is 6" thick with a lifting chamber. It seals
quite tightly, but still cools down to 1900F in two hours, when I
start it up at 1/3 pressure with the damper set for oxidation. The
temperature holds that way for anywhere from 3 to 8 hours, depending
upon how dark I want the shinos. I just go back to bed for the soaking
period. Microcrystal development is wonderful.
Cheers, Hank
www.murrow.biz/hank
Lee
Welcome aboard Jeff! Did you visit the Osaka Prefectural museum of
Oriental ceramics? It has one of the best collections of Korean Yi
in the world.
Shino stuff below....
Photo weblog:
http://shinoglaze.blogspot.com/
The next two are searches using the Japanese kanji for e-shino.
These are the kind of shino that dominated in Mino when they were
first made, but are almost totally unknown in America:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
e-shino photos (contemporary and historic:
e-shino webpages:
http://tinyurl.com/f4kgx
Below are some posts on shino from the past:
Shino, From Tatsuo
Hi All:
Wanted to post on this topic the first time it came up, but too busy
with kids to get to much e-mail these days. Glad that it has surfaced
again. I'm no expert on Shino wares, but had done some reading &
looking a few years ago when our daughter was born and we named her
"Shino." Wanted to have the info for when she grew up, but also to
answer everyone's question "What does that mean?"
In fact, most Japanese people don't feel that their name has any
literal meaning, but just explain the etymology of the Chinese
characters used to write their name. In this case, we wanted her to
know the pottery history as well.
In terms of being called a "white glaze," most historical sources
start Shino wares with early 16th century "White Temmoku" items,
possibly from nearby Ise. Early glazes were ash, and then replaced by
feldspathic glazes. The local clay in the Tajimi and Toki areas was/is
"mogusatsuchi." Other clays still in this area are "gotomaki" and
"odo," but most like the tea wares that we see used in the historical
Shino wares were comprised of the mogusa clay. The clay/glaze
combination is what produces the small pin holes, "suana" (lit. "nest
holes") that give he texture of "yuzu hada" (citron skin) that is a
Shino characteristic.
Painting on "e-shino" (picture Shino) was done with brown
iron-oxide.The actual use of the name "Shino" doesn't start till later
in the 16th century. As Lee wrote, the name is usually associated the
Tea & Incense Master, Shino Soushin, who died sometime around 1500
(there are different dates.) Because the name of the pottery doesn't
jive with his dates, some see this as big hole in the story. But,
think of all of the
things that are named for people after they die. Doesn't seem such a
stretch for me. And, we do know that he was influential enough to have
a "Koudou" (Way of Incense) School named after him.
Lee gave several given translations for "Shino." The first character
is kokorozashi," and read as "Shi" in this case. A standard
translation is "ambition." The character "no" as in "nohara", can mean
field or plain. We tell people our daughter's name means "Boundless
Ambition," but again names usually don't carry a literal meaning.
Lee also names the several types of Shino wares. To that list, I'll
add other names that I've seen used: "Hai-Shino" (Ash Shino),
"Beni-Shino" (Crimson Shino), and "Neriage-Shino" (Marbled Shino).
To this day, I don't know the difference between Beni-Shino & Aka
(Red)-Shino, but have seen both names appear on the same list, so
there must be a difference. If anyone knows, and has photos, please
post.
What makes Shino unique is that the history of this Momoyama Period
ware was unclear until re-discovered and revived by Arakawa Toyozo and
others in the 20th century. This is probably why there is such
confusion over what qualities constitute the designation "Shino."
This historical rhetoric might not mean much to most, but consider
this in the arguments for and against calling something "Shino." It's
been described, on this list & elsewhere; as a glaze, a firing
technique, a color, etc. Bear in mind that historical Shino-yaki is a
regional ware,
as it is a branch of Mino-yaki (which also includes Oribe, SetoGuro
[Black Seto], and Ki-Seto [Yellow Seto].) As such, the clay body,
glaze, firing technique, and decorating traditions all play a part in
the definition of this ware.
In this day and age, availability of materials makes it possible to
make wares outside of their region of origin. For example, I have no
problems in calling something Mashiko-yaki that is produced outside of
Mashiko with Mashiko materials & traditions. However, substituting
materials,even when the pot is made in Mashiko, makes is what we call
"Mashiko-fuu" ("fuu" being "like, apperance, style, type, etc.") and
"Mashiko-rashii" (similar to Mashiko), or possibly not Mashiko-yaki at
all. I think the same should hold true of Shino-yaki. "Shino" has
become a term widely used without regard to traditional pottery
nomenclature in Japan, because it is somewhat of a mystery ware. But
consider that no one calls something truly "Bizen," unless it is Bizen
clay. All extant wares in Japan have gone through some sort of
evolution (good and bad), so change is not an issue in nomenclature.
But, some respect for tradition is important is name designation of
wares.
I think that calling something American Shino or Quebec Shino is a
good start in recognizing that not every Shino is the same as
historical Japanese Shino. However, there should also be some
standard, in terms of materials and methods, as to what comprises an
American Shino. Has this happened yet?
In the meantime, shall we call it "Shino-fuu", Shino-type,
ware?Another aside about Mino wares is that Shino and Oribe wares,
highly influenced by not only the Tea Ceremony, but by individual Tea
Masters and tastes (Shino Soushin & Furuta Oribe in these cases) might
be considered as some of the first wares in Japan that are similar to
whatto the artist-potter creates today. We often assume that late 19th
& early 20th century potters, such as Tomimoto, Hamada, Rosanjin, &
Kawai broke out of the mold of traditional potters to become the first
studio or artist-potters, but I think that Shino & Furuta may have
done something similar back in the Momyama Period, although they may
have not been actual potters, but the designers of truly creative
wares that speak to us differently (in an almost modern and fresh way)
than almost
anything that preceded them in traditional Japanese pottery.
Tatsuo Tomeoka
Seattle, WA
P.S. I hope that my daughter takes up pottery some day. Maybe she'll
invent "Shino-Shino".
I added in response to Tatsuo's post:
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~^^^
Thanks Tatsuo! I was hoping you'd have something to say about your
daughter's name-sake. :-) I will put this on a shino photo weblog I
just put up.
One thing I'd like to add, that along with calling American Shinos
"American Shinos", the newly developed shinos here in Japan should be
called something different, like maybe Shin-shinos "New Shino" because
the tradition of shino here is not an unbroken tradition but one that
was independently "recovered." Many of the shinos, like Osamu Suzuki's
or Ken Matsuzaki or the Murasaki Shinos of Tomio Suzuki sometimes look
less like the traditional shinos than do American shinos, that were
based on the Freer analysis of mino samples.
I remember seeing Osamu Suzuki's humongous bright orange shino bowls
at the opening show of National Living Treasures at the Ibaraki
Ceramic museum. I wondered if he made them for Bozo the Clown. ;-)
Speaking of Matsuzaki, he did a workshop in Liverpool in May. You can
read more here (see images of his work, essay and bio):
http://www.clayart.org.uk/ken/matsuzaki-ken.htm
Svend Bayer is listed at this site too. I cannot think of two more
different potters. I wish I could arrange to get Sven to come here and
do a kiln building workshop.
~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~
The Name Shino
Kanji for Shino: 志野 しの Shino
If you use the Kanji above to search Google, you will find Japanese
shinos that the word shino does not pick up.
These are the root kanji for Shino:
志 3B56 [2754:8e75] U5fd7
べ べし ゆき intention; plan; resolve; aspire; motive; hopes; shilling
野 4C6E [4478:96ec] U91ce
【埜】XJ1384F
【ヤ ショ の の- T1 ずけ つけ ぬ plains; field; rustic; civilian life
SOD
*Shino*
In Momoyama Era(1570's - 1598), only feldspar was used as material
for Shino glaze. In Hiromi area, eastern part of Mt. Sanage, there
are holes where feldspars were digged.
In Akazu, west of Mt. Sanage, there are holes where feldspars were
digged. Pottery with Shino glaze in Mino area is called generally
"*Aka-Shino*"(Red Shino) because the work becomes red due to
feldspar glaze which includes many iron. While,
Shino glaze in Akazu area is called generally "*Shiro-Shino*"(White
Shino) because the work becomes white due to feldspar glaze which
includes little iron.
*
Shino Substyles:*
* e-Shino (decorated, or "pictured" ware;
iron-oxide designs applied under shino glaze)
* muji 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
Lee In Mashiko, Japan
--
Lee Love
in Mashiko, Japan http://mashiko.org
http://hankos.blogspot.com/ Visual Bookmarks
http://ikiru.blogspot.com/ Zen and Craft
About the best pots:
"They are not necessarily amenable to intellectual analysis, and, in
fact, that analysis can destroy a person's real appreciation and
understanding of a piece."
-- Warren MacKenzie
Jeff Abney
reading for quite a while and have learned a lot. I didn't get the
chance to visit the museum in Osaka. We were on quite a tight schedule
with the group of teachers during my visit to Japan, and did not have a
lot of time for our own activities. I did, however, get to visit the
Raku Museum in Kyoto, where the staff was very accomodating and showed a
few of us a video on the methods of traditional raku making/firing. When
my group was assigned to Mihara for our school visits, each of us spent
two days with a Japanese family. My hosts, knowing of my interest in
pottery, volunteered to take me to Bizen to visit a potter they knew.
That visit was one of the highlights of my three weeks in Japan.
Jeff Abney
hambone
as Bill Burroughs used to say.
Use the links to Edouard Bastarache's sites to see his tests.
Whimiscally I want to believe that if you dig feldspar and make glazes
with it and fire it a certain way - long and slow, with that
reoxidation stage (also necessary in iron reds) your underdecoration in
red iron should be maximised. Obviously some spars make work better
than others. It is possible that outcroppings of spar occur with both
potassia and soda; maybe calcium should be avoided because it can
bleach the iron; also fluorospar and phosphorus have been reported to
help. All this could have just been dug up that way.
The second close-by thing to Momoyama shinos in my mind is Momoyama
Oribe (the white glazed side, not the green), again you see the
underglaze decoration coming up to the surface, setting on top of the
surface. To make this effect work the glaze has to be matte.
There is something to be said about the ability of feldspar - the slow
viscosity - that it can fire for 10 days at less than cone 5
temperatures and reach cone 10 or thereabouts. This makes it hard to
"get" the old glazes. Shino was fired in some kind of huge semi
underground super atmospheric kilns - I don't know what the shape of
the kiln was but the reports I have read don't just say "anagama"
Anyway don't be misled by my bookishness & wordiness - these other guys
are the authorities as per better pot making
H A M B O N E
Edouard Bastarache Inc.
for those you want to see my different Shinos,
access my blogs
via Smart.Conseil's site :
http://perso.wanadoo.fr/smart2000/index.htm
Later,
>
Paul Herman
Lee
>
> Last firing Joe made up a glaze with almost all local feldspar (90%), and it
> did look like some of those old Japanese shino glazes. He didn't grind it
> very fine, and there was nice iron color around the thin spots. Icy textured
> grey elsewhere.
Can you share any photos?
Paul Herman
Craig Miron
----- Original Message -----From: Paul HermanSent: Friday, September 22, 2006 9:52 PMSubject: *ClayCraft* Re: Discussion: Types of Shinos
Lee
> Lee,
>
> I sent a photo to the claycraft blog, http://claycraft.blogspot.com/ and it
> hasn't showed up yet.
>
Paul,
It hasn't been working for some time. Hank pointed this
out to me. It is because of some changes at Blogger.
You can view the photos here (Hanks photos too)(:
http://www.flickr.com/photos/claycraft/
I had to make a new address:
heart26i...@photos.flickr.com
heart26idea2blogATphotos.flickr.com
Now, to appear at the weblog, they have to be signed in by
typing in the graphic word you see.
Everyone is welcomed to join the weblog. That way, you
can check your photos in.
Loading for a firing. Will fire tomorrow. After the
firing, I will start entering new photos on to the weblog.
--
Lee in Mashiko, Japan
David
Craig Miron
Swanica Ligtenberg
L BURCH
When I was at SJSU, I remember Sanders use to chuck moth ball into his luster kiln in what he called flash reduction. I would come in the ceramic lab in the early morning hours to do my work and there would be a faint smell of moth balls lingering in the air. He had a very detailed scheduled firing. What this all leading up to is that why could you use moth balls to induce a reduction environment and work out some cyclic procedure to emulates a wood firing?
At 10:56 PM 9/21/2006 +0000, you wrote:
Des,
I heard a grad student at San Jose discussing this idea. He fired the kiln moving the damper back and forth every 15 minutes. No Shinos in the kiln, but some celadons. I do not remember the quality of the glaze that resulted other than it was celadon. Do let us know how it turns out.
I read an article that talked about throwing a small amount of wood into a gas kiln every few minutes to alter the atmosphere a few years ago, but dismissed it as I was focused on firing in an Anagama at that time. Now I am more open minded about the topic.
Rick
- -------------- Original message --------------
- From: Des & Jan Howard <djho...@hwy.com.au>
- >
- > Lee
- > At this stage the idea is to set the gas kiln into oxidation firing & use
- > the solenoid to introduce enough gas to put the kiln into/outof reduction
- > using a wood stoking rhythm, say, 10-15 mins.
- > The tendency for the kiln to lag after gas pressure changes should
- > emulate a solid fuelled kiln's
- > oxidation/neutral/reduction/neutral/oxidation cycling.
- > The very slow cooling component of the firing routine will be done as
- > usual in the electric kiln as I described to the group in June.
- > Des
- >
- > Lee wrote:
- >
- > >Cool Des!
- > >
- > > Please keep us posted. Will you be controling fuel,
- > >air or damper? Some kind of verticle damper on a mot or and cam
- > >could bypass a computer.
- > >
- > > --
- > >Lee in Mashiko, Japan
- > >http://potters.blogspot.com/
- > >"Let the beauty we love be what we do." - Rumi
- > >
- > >>
- > >
- > >
- > >
- >
- > --
- > Des & Jan Howard
- > Lue Pottery
- > LUE NSW 2850
- > Australia
- > Ph/Fax 02 6373 6419
- > http://www.luepottery.hwy.com.au
- >
- >
- > R>>
Paul Herman
You asked:
> What this all leading up to is that why could you use moth balls to
> induce a reduction environment and work out some cyclic procedure
> to emulates a wood firing?
Because you couldn't think of anything else?
Best,
Paul Herman
Great Basin Pottery
Doyle, California US
http://greatbasinpottery.com
muchimi
Hey, I'm jealous! I want to go back up and visit Mashiko again. Sounds like you're having fun at Furuki san's place. Please pass a 'hello' on to him from me. So what are your plans while you're there? Is there anything related to your award that you have to work on? Work for a show or something like that, or are you there mostly for fun right now?
OT Speaking of last June, Lee (if you're reading this), did you ever have a chance to upload the pics from the Mashiko gathering firing of your kiln to your computer? I'm really interested to see how everything turned out, especially the Hank shino stuff out of your rf/of cycling.
Mike
Richard Mahaffey
I would think that used chopsticks might be ideal in a gas kiln with small spyholes, it would take a lot of them, however.
Rick
L BURCH
Lee
>
> OT Speaking of last June, Lee (if you're reading this), did you ever
> have a chance to upload the pics from the Mashiko gathering firing of your
> kiln to your computer? I'm really interested to see how everything turned
> out, especially the Hank shino stuff out of your rf/of cycling.
Hi Mike,
I fired yesterday. In recovery today.
Our cool down and hold firing didn't seem to make any
difference, except that everything ended up with a ruff surface that
had to be sanded. We were careful not to stir up ash at 1100*C, but
some still got into the air. What I normally do is crash cool to
1100*C, and then close it up. Because of the coals and the
insulation of the kiln, it holds at near the temp for some time.
Hank's shinos were difficult to tell from mine, except they
were a tad redder and had a line with the glaze drips run on the rims
(I think because of the CMC.)
My camera is on the fritz since England. I did take
some photos for ebay today, with the camera plugged into the wall
(pain in the butt.) You can see the Shimaoka piece I put up here:
http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&ih=001&item=110037356383
Need to make some money for Taiko's clinic and funeral bills
(Taiko fell into the largest category for cremation. Goes by weigh!)
Starting to look for another Akita or Hokkaido pup.
Will take some photos today of the pots today
Paul Herman
L BURCH
A lot of moths in Los Gatos. Maybe he had some left over.
Miriam Nathanson
Lee
in America, N. Calif. is the best place to find them. When they were
building the monastery buildings at Hokyoji in New Albin Iowa, one of
the carpenters worked wih Japanese carpenters in California.
Other buildings at Hokyoji are built in the nailess Amish barn style.
Any of those folks around where you live? Or, is their a tradition
of pole barn building there? Certainly, it makes sense to borrow
anagama or noborigama technology. But for building buildings out of
logs, we have some good local traditions to draw upon.
As far as "mingei style" goes, it doesn't necessarily need to
be Japanese or Asian. Mingei is to be influenced by local
traditional craftsmanship using local materials with a focus on
function. I believe it is more of a tea aesthetic to uproot things
and put them in alien environments.
Good luck!
--
Lee in Mashiko, Japan
Craig Miron
goes!craig
----- Original Message -----
From: "Lee" <tog...@gmail.com>
To: <Clay...@googlegroups.com>
Sent: Monday, September 25, 2006 12:51 AM
Subject: *ClayCraft* Re: Mingei Architecture Kiln Shed Design Sought-
>
gnav...@uplogon.com
for the Halloween firing. Ahoompahoopfma
G in Da UP
Navarre Pottery
Navarre Enterprises
Norway, Michigan, USA
http://public.fotki.com/GindaUP/
http://www.youtube.com/user/GindaUP
gnav...@uplogon.com
Around here a thing to do is use Cedar. Out back is a patch Les and Rick
said we can get poles from for a shed. Man I need one bad! I've seen some
mighty impressive structures in links on the three clay sites but I had
to learn how to use this machine first. I really still don't know much
how it works but I can get by. And in a pinch I can always throw up a
WigWom with some Maple saplings and a hunk of last years greenhouse
plastic I got from work. It must be around 50mil or something, thick
white. I kinda thought a Quonset frame with clear plastic would be cool.
Not only could we see the stars but also watch the stack from the stoke
holes without getting wet if it rains. I doubt that would hold up to our
snow load so I'll probably do something along the lines of the sugarshack
Peter Hayes built only with no side walls. The firewood can fill that
role. The sugarshack is in http://public.fotki.com/GindaUP/mup/msidup/ I
haven't looked at this for details but all Pete used was a chain saw,
shovel, string, square, level, and long spikes. I helped a few days on a
visit and pealed a bunch of logs. Cedar is good to use because it is
light weight and lasts forever.
I would immagin a local library of book store would have something about
basic log construction. Might try searching back issues of Mother Earth
News too. Stay in there!
Swanica Ligtenberg
Hi Mike,
I’m back today from Mashiko in Kamakura.
Yes, I had a great time. First, I thought working for myself, because in Kamakura I don’t have anything and in Tokyo at the clay center it is sooo expensive. But now I indeed could relate it to my award and I made horsehair pieces and have now a show at Furuki-san, when you enter the front door. Also, I put 2 pieces in the front window. It is wonderful and what a chance for me. And Furuki-san that he gives me this possibility. I never had thought.
I also met a really nice Canadian woman, who lives in New York and who was a gallery owner. She is an architect now and a Japanese ceramic art collector. She stayed already 2 times before at Furuki-san’s. But with her knowledge she helped me with the set-up. What a coincidence. Then we went to a potter, Miyazawa-san, who she knows and reps to the Dai Ichi gallery in New York. The next day, we went to Kasama to the ceramic art museum.
Also, in the beginning of the week it still what somewhat humid, but now it is nice and cool and you still can be without a coat. So, the weather was great too.
Today, I was going to get my husband, Adriaan, from the airport from Mashiko, but he lost his passport. Luckily, he found it later at the check-in counter, but his plane had left. Now, he comes tomorrow.
I’ll put more pictures on my blog.
Greetings and all the best,
Swanica
Linda Ferzoco
Linda
muchimi
Mike
muchimi
http://www.kiarts.com/
Mike
Lee
his shelter.
My friends who I worked with in Iowa (and so did my son Matt), worked
with Japanese carpenters in Californai, I think at Tasajara. If not
at Tasajara, at temples related to it. They could never afford to
have anything made by the carpenters, but they worked with them either
for cheap or nothing and learned enough to build on their own.
My friend Matt Souviyani did the same here in Mashiko and
is finishing off his two story house in the mountains. Many of the
large beams in his house came off of his property. An old guy that
runs a mill near him took him under his wing and taugh him how to use
the old guy's equipment to mill his own lumber.
Linda Ferzoco
Oh well, I have my tract 1970s house and I'm grateful for that.
Linda
Louis Katz
Do you really want to use napthalene as fuel? What kind of weird organics might you get from this? When I was young I was foolish enough to do this, but that was in the seventies. There is nothing special about napthalene except its posionous nature. Use some other fuel.
Louis
> > Lee > At this stage the idea is to set the gas kiln into oxidation firing & use > the solenoid to introduce enough gas to put the kiln into/outof reduction > using a wood stoking rhythm, say, 10-15 mins. > The tendency for the kiln to lag after gas pressure changes should > emulate a solid fuelled kiln's > oxidation/neutral/reduction/neutral/oxidation cycling. > The very slow cooling component of the firing routine will be done as > usual in the electric kiln as I described to the group in June. > Des > > Lee wrote: > > >Cool Des! > > > > Please keep us posted. Will you be controling fuel, > >air or damper? Some kind of verticle damper on a mot or and cam > >could bypass a computer. > > > > -- > >Lee in Mashiko, Japan > >http://potters.blogspot.com/ > >"Let the beauty we love be what we do." - Rumi > > > >> > > > > > > > > -- > Des & Jan Howard > Lue Pottery > LUE NSW 2850 > Australia > Ph/Fax 02 6373 6419 > http://www.luepottery.hwy.com.au <http://www.luepottery.hwy.com.au/> > > > R>>
David
Edouard Bastarache Inc.
GENERAL: Flash point: 65.6 C (150 F) (closed cup). Hazardous
decomposition products: Toxic gases and vapors (such as hydrogen
chloride and carbon monoxide) may be released in a fire involving
p-dichlorobenzene (14).
EXTINGUISHER TYPE: Foam, carbon dioxide, dry chemical (14).
----- Original Message -----From: Louis Katz
Sent: Monday, September 25, 2006 1:14 PMSubject: *ClayCraft* Re: Discussion: Types of Shinos
Craig Miron
myself-using my 4x4 truck and winch to get a lot of the big pieces of cedar
off the hill or where ever they may be- I guess I heard it's important to
cut the wood before the big rains set in because then they'll have much less
water/moisture to lose when they are drying and will have less checks in
them-
I can find books on old barn building and such and will probably go with the
basic construction ideas and techniques but wanted a little bit of a
japanese flair to it-I have no where any where near what Ken's cost to build
to put it up- I use local misfits( they can't get a job elsewhere) to help
around here and pay them mimimum- I have a lot that come by looking for the
work! But I have to chose the trees I'm going to cut and do it soon and then
work on them over the winter-stripping them of the bark and making the cuts
in them- a lot of people up here do mill there own wood on machines made for
do-it yourselfers-Okay thanks so much and sorry about taking up so much
space on the site!
craig
Subject: *ClayCraft* Re: Mingei Architecture Kiln Shed Design Sought-
>
Swanica Ligtenberg
No kidding Swanica, that lady you met wouldn't happen to be Gail Swithenbank by any chance?
Mike
Swanica Ligtenberg wrote:
Hi Mike,I¡Çm back today from Mashiko in Kamakura.Yes, I had a great time. First, I thought working for myself, because in Kamakura I don¡Çt have anything and in Tokyo at the clay center it is sooo expensive. But now I indeed could relate it to my award and I made horsehair pieces and have now a show at Furuki-san, when you enter the front door. Also, I put 2 pieces in the front window. It is wonderful and what a chance for me. And Furuki-san that he gives me this possibility. I never had thought.I also met a really nice Canadian woman, who lives in New York and who was a gallery owner. She is an architect now and a Japanese ceramic art collector. She stayed already 2 times before at Furuki-san¡Çs. But with her knowledge she helped me with the set-up. What a coincidence. Then we went to a potter, Miyazawa-san, who she knows and reps to the Dai Ichi gallery in New York. The next day, we went to Kasama to the ceramic art museum.
Also, in the beginning of the week it still what somewhat humid, but now it is nice and cool and you still can be without a coat. So, the weather was great too.Today, I was going to get my husband, Adriaan, from the airport from Mashiko, but he lost his passport. Luckily, he found it later at the check-in counter, but his plane had left. Now, he comes tomorrow.
I¡Çll put more pictures on my blog.
Greetings and all the best,Swanica-----Original Message-----
From: Clay...@googlegroups.com [mailto:Clay...@googlegroups.com] On Behalf Of muchimi
Sent: Monday, September 25, 2006 12:47 PM
To: Clay...@googlegroups.com
Subject: *ClayCraft* Re: Back in Mashiko
Hello Swanica,
Hey, I'm jealous! I want to go back up and visit Mashiko again. Sounds like you're having fun at Furuki san's place. Please pass a 'hello' on to him from me. So what are your plans while you're there? Is there anything related to your award that you have to work on? Work for a show or something like that, or are you there mostly for fun right now?
<!--[if !supportLineBreakNewLine]-->
<!--[endif]-->
Mike
On my blog, there are pictures of my workshop going up with some closeup(s) of the framing. It was all tongue in groove construction backed up with very large bolts (which you don't need if you use seasoned well selected wood). The construction type is traditional Japanese 'zairai kouhou' and you may get some sense of how it works from the pics. I believe the same ideas are used for covered areas, just no filled in walls. Of course my joints were all machine cut, but the general method is the same.
Mike
karatsupots.blogspot.com
Swanica Ligtenberg
Thanks, David.
I hope you’re well too.
Arizona must still be nice weather this time of year and less hot.
Didn’t you start some renovation at your house?
Greetings,
Mike
I found 30kg of some sort of white, toothy stuff at my clay guy's house the other day. He bought it from some guy in Tajimi to work on selling in Kyushu, then the guy died and the clay is no longer mined. It's just the clay as it was mined, nothing mixed in, and it seems to be very plastic. Very big particles of something in it too. Supposed to fire completely white. I might try your sawdust idea if it's too dense. Could be really nice guinomi, chawan clay.
Sorry for bugging you about the work in June, I know you're a busy man.
Mike
Lee
>
> Hope your firing came out well. Sounds like it must have been different
> without Taiko to talk to. I've found that firing with Raz just seems to be
> less tiring for me. Hope you find a good pup.
Thanks. Akitas here cost more than my kiln. I could go to
America and pick one up and bring it back and save $3,000
Am looking into Ainu Inu and maybe Kai ken, which don't cost as much.
>
> I found 30kg of some sort of white, toothy stuff at my clay guy's house
Cool. I don't think sawdust would work good. I tested wedging in
some wholewheat flour and found it doesn't take much to make the clay
short. When bent, the surface behaves like Mogusa. I added it to
Mashiko Nami. Also added it to my wads on the bottom of pots.
(hey, I glazed and fired your big bottle. In the peep, it looks like
it might have run some off the pot, but I put it on wads on a broken
piece of shelf. will ship you the pot with the shelf.) Wads smell
good too, but might not over time.
I have been baking since coming back from Cornwall. One of
Jean's students is in a cooperative and can get me good whole wheat
bread flour.
>
> Sorry for bugging you about the work in June, I know you're a busy man.
My camera broke. Have been saving money for a pug mill, but
spend half of it on Taiko's hospital and funeral bills (Taiko weighed
in at the top end of their creamation fees.) Have been trying to
negotiate with Jean about spending the other half on a Nikon D50
before I"disappears" on bills, but no luck yet.
Lee
>
> Thanks. Akitas here cost more than my kiln. I could go to
> America and pick one up and bring it back and save $3,000
>
I didn't mention, the problem about going to the States to get an
Akita, is the quarrentine. They let us bring Taiko right to Mashiko
for in-house quarrentine, but they might not let us with a puppy. I
don:t know.
Mike
Mike
Paul Herman
Paul,
It hasn't been working for some time. Hank pointed this
out to me. It is because of some changes at Blogger.
You can view the photos here (Hanks photos too)(:
http://www.flickr.com/photos/claycraft/
I had to make a new address:
heart26idea2blogATphotos.flickr.com
David
----- Original Message -----From: MikeSent: Monday, September 25, 2006 7:34 PMSubject: *ClayCraft* Re: Back in Mashiko
Rob
Rob
gnav...@uplogon.com
On Mon, September 25, 2006 4:02 pm, Craig Miron wrote:
>
> Hi Lee- Yes, it's true-I'll probably have to do most all of it buy
> myself-using my 4x4 truck and winch to get a lot of the big pieces of
> cedar off the hill or where ever they may be- I guess I heard it's
> important to cut the wood before the big rains set in because then they'll
> have much less water/moisture to lose when they are drying and will have
> less checks in them-
A 4x4 with a winch, eh? Are you luckey enough to have a grannie gear? You
ought to see some of the loads Peter crawled out of the woods with. A
winch comes in handy cause you don't have to cut as much road. And where
you find Ceadr is in the Ceadr swamp. Around here it is easiest to cut
when the ground is frozen and we can get in (and out) without getting
stuck. And ya, the sap is down making it lighter, it ain't that heavy
compaired to Maple, it get's a chance to dry defore sinking in a hole
lined with gravel, and there is less staining.
Another thing about Cedar is the brush can be sold to Cedar oil
distillers. Or better yet now is the time greenhouses buy Cedar greens
cut to under 24" at as much as $400/ton for Christmas decorations. Ask
these local drunks that help you who buys brush and other non-timber
forest products like pine cones. There's people around here who make a
years beer money in 6 weeks.
I use local misfits( they
> can't get a job elsewhere) to help around here and pay them mimimum- I
> have a lot that come by looking for the work! But I have to chose the
> trees I'm going to cut and do it soon and then work on them over the
> winter-stripping them of the bark
I used an antique draw knife from my Grandpa.
and making the cuts in them- a lot of
> people up here do mill there own wood on machines made for do-it
> yourselfers-
If the machines are portable like the one Mase got maybe one would bring
it over if you help them with milling theirs.
Okay thanks so much and sorry about taking up so much space on
> the site! craig
I don't think they mind, Craig, just wanna see ya make some progress pal.
Stay in there!
gnav...@uplogon.com
I would have to agree with David. I waited for a while the next dog that
needed my help appeared again, probably because I'm the one who needs
help, and there is Olof. Actually his name was Ollie and came from
Fairfield, California. Looke like he is Boxer/Rhod...R... ? Dianne got me
his vet papers and I can geolocate the hood. Wonder if he escaped from
the brothers? A rescue is practicing compassion.
I too was thinking about the quarentine. Not good for puppy bonding or
future long term visits back to the states, if those are in your plans.
What ever ya do easy does it and stay in there!
That's a sweet story, David!!
On Tue, September 26, 2006 12:42 am, David wrote:
> Lee,
>
>
> Considering what sounds like the very high cost of purebred dogs in
> Japan, I'd be very interested to know if you and Jean have considered
> adopting an unwanted, and perhaps mixed breed dog. Here in Arizona, the
> animal shelters are full of unwanted, and abandoned dogs looking for a
> loving home. Does that situation exist in Japan too?
>
> Several years ago, I lost my dog when she died of old age at 16+ years.
> What a wonderful companion she was. We got her as a puppy from an old
> woman who lived across the street. The woman kept the dog tied up outside
> her door, and never let it into her house, nor took it for a walk.
> Watching the poor dog alone over there, tied up, day after day, we felt
> such pity for her. Then when it rained one day, and we saw that the dog
> was standing in the cold rain, we went over and knocked on the door. We
> asked the old woman if she really wanted the dog, considering that it
> never got any attention whatsoever. The woman replied " No, do YOU want
> it?" Stunned, my wife and I quickly untied the young pup, and took her
> home with us. The years of joy and affection received from that creature
> could never be expressed.
>
> I hope you and Jean are doing well. David McDonald
> Lee wrote:
> On 9/26/06, Lee <tog...@gmail.com> wrote:
> On 9/26/06, Mike <muc...@potteryofjapan.com> wrote:
>
>
> Thanks. Akitas here cost more than my kiln. I could go to
> America and pick one up and bring it back and save $3,000
>
>
>
> I didn't mention, the problem about going to the States to get an
> Akita, is the quarrentine. They let us bring Taiko right to Mashiko
> for in-house quarrentine, but they might not let us with a puppy. I don:t
> know.
>
> --
> Lee in Mashiko, Japan
> http://potters.blogspot.com/
> "Let the beauty we love be what we do." - Rumi