It ended up being garage. It dribbles everywhere, from the spout and the lid.
Seems its just a bad design. Its cute though and looks good in the cabinet.
I have a glass pot on the way, maybe it will be better
It ended up being garage. It dribbles everywhere, from the spout and the lid.
@GailC, the teapots made by Inge Nielsen are not expensive and are very well made. I use mine as my assessment teapot since it brews neutrally. @klepto loves his as well.
Could be how you are pouring. It took me several months to get the hang of this f1 pot. Pour slowly but not too slowly - let the pot guide you (if you see water from lid, then too fast; if you sew water dribble down spout, then you too slow).
Great pot! I love celadon and glad to learn of Inge Nielson's Etsy store.Janice wrote: ↑Fri Sep 30, 2022 11:19 amI’ve been feeling the need for a small porcelain pot to supplement the larger ones I bought from Seong-Il years ago. This thread, and a discount coupon from Etsy, inspired me to buy an Inge Nielsen porcelain pot. It’s only 80 ml, and I’m a big fan of a crackled celadon glaze.
I have the same cup from Chiangmai.
I think she is underrated. Her pots have the cleanest and fastest pour I've experienced. The simple shapes and neutral glazing are ideal for tea. @klepto is also a fan of her work.Janice wrote: ↑Thu Oct 13, 2022 4:46 pmMy Inge Nielsen pot arrived today. Naturally I had to try it out immediately. The only Chinese green I have right now is a small bag of Lu’an Gia Pian, which I’m not familiar with. I’ll need to experiment with different times/temperatures but I know from my first session that the pot is a pleasure to use. The handle and lid make this a comfortable pot to hold even with hot water, and the pour is clean and fast. I think the lid knob is too small to use to remove the lid from the pot, but the design of the lid makes it comfortable to grip from the edges so there’s no problem there.
Dating Edo period Edo era (ko-Imari) soba choko production falls into three distinct periods, Shoki period (1620–1720), Chuki period (1721–1788) and Koki period (1789–1867). Each period characterised design, shape and style transformation. Within in each era there are exceptions in hallmark designs and shapes.
Shoki period soba choko (1620-1720 - Genwa-Kyoho eras) generally featured poorer quality, often disfigured, thick sides and bases with oxide assuming a washed out appearance through thicker clear glaze. As the era progressed refinements and higher quality finishes become the norm. Traditional design were simple hand painted and also used stencils/stamping known as inban. The soba choko was generally heavy in feel. The shape and design were stable and featured similar base, oxide designs and patterning.
Chuki period soba choko (1720–1788) saw a rapid progression of designs and intricate patterns. Kiln stamps appeared and the quality of glazes and porcelain bodies improved. These early to mid era choko featured thin bases and rims, no kiln/era marks (Mikomi-moyo) and no top inner border markings (Renzoku mon). It was only in the last few years of Chuki leading into the Koki period did kiln marks and seals, top inner border patterns start to evolve.
Koki period soba choko spanned the final 78 years of Edo (1789–1867). The period is the easiest to identify. The underside base featured an 'eyeball' style circle (Janome kodai), used kiln marks, had decorative inner borders and also featured at time decorative top rims.
Designs were hand painted or stenciled in freeform, embedded in frames or placed within bands. Four main design categories were used and included:
Plants - symbolising prosperity, health and long life
Landscapes - sea, mountains, temples, garden scenes
Mingei - geometrics, repeating patterns, seasonal images such as harvests
Animals - horses, fish, birds, bats, turtles, seaweed, clams and dragons
Certain designs today are highly sought by collectors and usually center around animal design and highly ornate polychrome choko as productions numbers were limited and are very difficult to source today.