47:
133:
197:; however, the ratio of these chemicals depend on the location, soil, and type of wood the ash came from. The varying chemical compositions of ashes used to make the glaze produce different results from batch to batch. Furthermore, two pieces with the same glaze batch can even have different results. If the ash is not cleaned or mixed thoroughly the glaze mixture may be inconsistent in chemical composition.
31:
141:
texture. As the ash percentage decreases, the artist has more control on the color and the final glaze color, using wood, differs from light to dark shades of brown or green, if no other coloring agents are added. Rice-straw ash glaze produces an opaque creamy-white glaze; it is high in silica. If the ash is very thick, there may be sufficient
165:
to eliminate the excess clumps from the ash. At this point, artists can process the ash further to create a more uniform mixture or leave it unprocessed so there are more random final results. To process the ash, water is first added to the mixture and left to settle for a couple of hours. The
140:
The glaze has glasslike and pooling (buildup of glaze) characteristics which puts emphasis on the surface texture of the piece being glazed. When the glaze is mostly made up of wood ash, the final result is mostly dark brown to green. The pots with these glazes resemble the earth in color and
85:
in the West and East. Some potters like to achieve random effects by setting up the kiln so that ash created during firing falls onto the pots; this is called "natural" or "naturally occurring" ash glaze. Otherwise the ash is mixed with water, and often clay, and applied as a paste.
209:
than they did when the majority of the glaze was ash. The decrease in ash percentage is to give the artist some control over the chemical make up and result of the glaze. Currently, ash glazes are mostly used by artists as a decorative tool, but some still use ash glaze ware. In
148:"Natural" ash glaze from ash falling in the kiln tends to collect thickly on the shoulders of typical shapes of storage jar, and begin to drip down the walls of the vessel. This effect might be aided by tying plaits of straw around the shoulders before placing in the kiln.
403:
93:, initially by accident as ash from the burnt wood in the kiln landed on pots. Around 1000 BC, the Chinese apparently realized that the ash covering the pieces was causing the glaze so they started adding the ash as a glaze before the pot went into the
160:
is around 1% the mass of the original wood, though some kinds of straw leave ash at a much higher percentage of the original weight. Usually a large quantity of wood or straw is necessary to produce the ash. The ash is then put through a
854:
887:
132:
46:
279:
Lombardo, Daniel. 2003. "Ash Glazes (Book)." Library
Journal 128, no. 19: 66. Academic Search Complete, EBSCOhost (accessed January 19, 2010).
509:
54:) in the form of a bamboo node, with "naturally occurring" ash glaze, most heavily collected on the shoulder. Japan, 18th century.
352:
214:, the traditional ash glaze composed of only ash and water is used to make functional pottery such as bowls, cups, and teapots.
112:
family, not all of which use ash. In some ash glazes extra lime was added to the ash, which may have been the case with
Chinese
892:
478:
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A wide range of plants have been used, and their differing chemical compositions can give very different effects.
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823:
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solution is drained and dried and the result is ash containing less harmful chemicals like some soluble alkalis.
965:
587:
469:
Wood, Nigel, "Some implications of the use of wood ash in
Chinese stoneware", in Shortland, Andrew J. (ed),
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793:
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116:. A relatively high temperature of around 1170 °C is required, high enough to make the body into
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783:
743:
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81:. Many traditionalist East Asian potteries still use ash glazing, and it has seen a large revival in
39:
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Svoboda, Petra. "Earth, Soil, Mud, Clay - Processing
Progression" Australian Ceramics. 7 Feb. 2010
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made from the ash of various kinds of wood or straw. They have historically been important in
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295:
882:
630:
620:
495:
270:
Vainker, 220; Rogers, Phil. Ash Glaze. University of
Pennsylvania Press; 2nd edition. (2003)
97:. Ash glaze was the first glaze used in East Asia, and contained only ash, clay, and water.
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or tea cup with an ash glaze, pooling at the horizontal ridges, made from pine ash by
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181:), which is used in many glaze recipes. The ash also contains potassium carbonate (K
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412:, 2013, Bloomsbury Publishing (UK)/University of Pennsylvania Press (US),
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113:
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Japanese Art from the Gerry
Collection in The Metropolitan Museum of Art
108:(CaO), commonly known as quicklime, and most ash glazes are part of the
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798:
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682:
612:
518:
487:
223:
30:
773:
238: – Type of Japanese pottery traditionally used in tea ceremonies
35:
471:
From Mine to
Microscope: Advances in the Study of Ancient Technology
385:
Covered at length throughout
Tichane, especially Chapters 3, 4, 5, 7
156:
To create the ash, the material needs to burn completely in a kiln.
229:
162:
131:
45:
29:
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758:
562:
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94:
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to give an "opalescent blue"; rice-husk ash is good for this.
177:
Most wood ash is primarily made up of calcium carbonate (CaCO
226: – Term for ceramics with two different types of glazes
120:
or (above about 1200 °C and with the right materials)
136:
Detail of dripping rice-straw ash glaze (top), Japan, 1852
289:
Chinese glazes: their origins, chemistry, and recreation
89:
Ash glazing began around 1500 BC, in China during the
855:
Conservation and restoration of ancient Greek pottery
863:
847:
724:
681:
611:
535:
503:
8:
398:Ford, Barbara Brennan, and Oliver R. Impey,
205:Current ash glazes usually contain 50% less
459:, 1991, British Museum Press, 9780714114705
428:The Oxford Companion to the Decorative Arts
510:
496:
488:
444:, 1998, Krause Publications Craft, 1998,
376:Forrest, Chapter 5; Tichane, throughout
254:
410:Natural Glazes: Collecting and Making
7:
402:, 1989, Metropolitan Museum of Art,
232: – Type of Korean earthenware
25:
27:Ceramic glazes made from wood-ash
244: – Type of Japanese pottery
353:"Great Glazes - Petra Svoboda"
1:
457:Chinese Pottery and Porcelain
819:Northern Black Polished Ware
982:
305:Osborne, 179; Vainker, 220
536:Base minerals, and glazes
529:Glossary of pottery terms
526:
725:Processes and decoration
332:Ford & Impey, 46-50
314:Ford & Impey, 46-50
426:Osborne, Harold (ed),
137:
55:
43:
888:Pre-conquest Americas
473:, 2009, Oxbow Books,
135:
49:
33:
613:Main types, by body
865:History of pottery
789:Black and red ware
683:Forming techniques
408:Forrest, Miranda,
341:Tichane, chapter 6
138:
56:
44:
948:
947:
824:Painted Grey Ware
737:biscuit porcelain
481:, 9781782972778,
440:Tichane, Robert,
420:, 9781408156667,
261:Osborne, 179, 503
104:in ash glazes is
16:(Redirected from
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631:Egyptian faience
621:Asbestos-ceramic
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355:. Archived from
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79:Japanese pottery
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933:list of potters
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464:Further reading
455:Vainker, S.J.,
452:, 9780873416603
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291:Nigel Wood p.35
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71:Chinese pottery
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5:
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966:Ceramic glazes
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928:Studio pottery
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794:Blue and white
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732:Biscuit firing
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716:Wheel throwing
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152:Making the ash
150:
129:
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102:ceramic fluxes
83:studio pottery
75:Korean pottery
63:ceramic glazes
26:
24:
14:
13:
10:
9:
6:
4:
3:
2:
978:
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430:, 1975, OUP,
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359:on 2011-07-07
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201:Present glaze
200:
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107:
106:calcium oxide
103:
98:
96:
92:
91:Shang dynasty
87:
84:
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76:
72:
69:, especially
68:
64:
60:
53:
50:Sake bottle (
48:
41:
37:
32:
19:
878:Ancient Rome
848:Conservation
784:Black-figure
711:Slip casting
706:RAM pressing
582:
521:and claywork
483:google books
470:
456:
441:
427:
422:google books
409:
404:fully online
399:
381:
372:
361:. Retrieved
357:the original
346:
337:
328:
323:Vainker, 220
319:
310:
301:
292:
288:
284:
275:
266:
257:
204:
193:, and other
176:
168:
155:
147:
139:
109:
99:
88:
58:
57:
51:
961:Ceramic art
839:Sea pottery
626:Earthenware
598:Salt glazed
588:Lead-glazed
548:China stone
173:Composition
100:One of the
40:Phil Rogers
955:Categories
834:Red-figure
829:Rang Mahal
744:Burnishing
673:Terracotta
661:soft-paste
656:hard-paste
646:Jasperware
603:Tin-glazed
593:Lustreware
479:1782972773
450:0873416600
442:Ash Glazes
436:0198661134
418:1408156660
393:References
363:2010-02-09
242:Shino ware
191:phosphates
143:phosphorus
128:Appearance
110:lime glaze
59:Ash glazes
18:Lime-glaze
918:Delftware
769:Pit fired
668:Stoneware
651:Porcelain
641:Ironstone
583:Ash glaze
568:Kaolinite
236:Raku ware
122:porcelain
118:stoneware
67:East Asia
940:Tilework
809:Kakiemon
779:Slipware
764:Painting
701:Pinching
696:Moulding
636:Fritware
573:Petuntse
558:Feldspar
543:Bone ash
218:See also
207:wood ash
158:Wood ash
114:Yue ware
923:Faience
908:Islamic
799:Celadon
754:Glazing
691:Coiling
519:Pottery
224:Celadon
52:tokkuri
913:Persia
774:Saggar
749:Firing
477:
448:
434:
416:
195:metals
77:, and
36:Yunomi
898:Korea
893:Japan
883:China
814:Malwa
804:Jorwe
249:Notes
230:Onggi
212:Korea
163:sieve
903:Maya
759:Kiln
578:Slip
563:Frit
553:Clay
475:ISBN
446:ISBN
432:ISBN
414:ISBN
95:kiln
61:are
189:),
957::
293:ff
185:CO
124:.
73:,
34:A
511:e
504:t
497:v
366:.
187:3
183:2
179:3
42:.
20:)
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
