Is the colour applied to an existing (white?) shiny glaze already on the surface of the (fired??) china clay, or does the colour become the glaze, having been applied to a matt/non-shiny clay surface? Thanks
@Alfred-University
5 жыл бұрын
These are typically very old (ancient) ceramics pieces. In some cases, there is color added to the glaze, as is common today. In the ancient Korean Celadons, the color resulted from the dissolution of the iron-containing body, changing the oxidation state of the iron from 3+ to 2+, and thus converting red to green in the glaze. The color does not appear to be added to the glaze but is a result of body dissolution into an otherwise colorless (clear) glaze. The long firing times increased the glaze thickness enhancing the green color. These firings appear to have been conducted in reduction and it is known that the Korean Celadons were fired in a wood kiln, in which reduction would have been relatively easy to maintain. In short, there was not color applied, but was the result of chemical reactions between the glaze and the body. The brown color is assumed to be due to poor reduction conditions, potentially oxidizing, or may have been the result of a truncated (shortened) firing schedule. The thickness of the brown glazes on Korean Celadons appears to be thinner than the glaze thicknesses of green glazes. In the case of white, sometimes this is a clear glaze on a white body. In other examples, this is an opacified glaze, usually with zircon in modern times, in which the white is in the glaze (and is often applied to a non-white body, thus masking the body color.
@malcolmcooke2024
8 ай бұрын
The pot is not held at top temperature for hours and hours but it is the slow climb to the peak and the very slow fire down and the firing moves up the kiln chambers which gives the interaction with the body. Gust going up quick and holding for a loge time is not the same as the slow climb at 30 to 50c per hour before the peak temp.
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