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Clays
Note that many of these end in dei [泥], which means mud or clay. This is the same character for ní in Chinese.
Shudei (Red clay) [朱泥 or しゅでい]
Traditional earth color. This clay is the basis of Tokoname kyusu. Modern shudei often has iron oxide added to give a bright red color, while natural/traditional shudei (hon shudei [本朱泥]) has more of an orange tone.
wanted: comparison image of red doped shudei vs orange honshudei
Although the kanji for shu dei is the same as the characters for zhu ni in Chinese, the clays are not the same.
Shidei (Purple clay) [紫泥 or しでい]
In some works, purple color is achieved through the addition of manganese dioxide (MnO2).
In others, purple color is produced via reduction firing. For example, purple Banko-yaki is made from a clay that is yellow before firing.
In Chinese, the characters are the same as for zi ni, though the clays are different.
wanted: shidei image
Udei (Black clay) [烏泥 or うでい]
wanted: udei info and image
Hakudei (White clay) [白泥 or はくでい]
One of the traditional Tokoname clays.
Hakudei is shown on the right.
Techniques
Yakishime (Fired) [焼締め or やきしめ]
Refers to ceramics fired without glaze.
Rihi (Pear skin) [梨皮 or りひ]
A technique where grog (sand, porcelain chips, or similar) is kneaded into the clay to give a gritty texture reminiscent of pear skin.
Mogake (Seaweed) [藻掛け or 藻がけ]
Sometimes affixed with string, seaweed is draped over the piece. Minerals from the seaweed melt and form a glaze when fired, and a pale red pattern is left behind.
Credit: Artistic Nippon
Credit: Fugetsu / tokoname.or.jp
Oxidation & Reduction Firing [酸化/還元 焼成]
Many clays are rich in transition metals which change colors depending on their oxidation state. For example, Iron(III) compounds are often reddish, while Iron(II) compounds are often brown-black-purple.
Here is a nice image from Hojo Tea showing how two different clays look before firing, after reduction firing, and after oxidation firing:
Because clay is only so permeable, the color change is usually limited to the surface. This effect is exploited in this reduction-fired piece:
(source)
The surface has been scraped away to reveal red clay beneath.
See also: Demystifying the Reduction Firing Process
Yohen (Kiln transformation) [窯変 or ようへん]
A technique where often heterogeneous conditions in the kiln result in a visual effect or transformation. It can be achieved in various ways but is usually dependent on special positioning in the kiln or partially covering the workpiece. For example, in a wood fired kiln, a more exposed part of a piece may "transform" if wood ash is allowed to fall on it and form a glaze.
wanted: some kind of mayake transformation image
A common type of yohen arises from a carbon monoxide (CO) gradient in the kiln's atmosphere, either from a draft or from partially covering the piece. Many clays are rich in transition metals which change colors depending on their oxidation state. For example, Iron(III) compounds are often reddish, while Iron(II) compounds are often brown-black-purple. Areas that are exposed to a more reducing atmosphere turn darker in color:
(original post)
Shizenyu (Natural ash glaze) [自然釉]
or Kaiyū (ash glaze) [灰釉]
Usually fired at >1100°C in a wood-fired kiln, ash from the fire is deposited onto the clay and melts to form a natural glaze. The effects are mostly random but are influenced by airflow and position in the kiln.
Hidasuki (Scarlet/fire cord) [緋襷 or ひだすき]
Bizen technique where ceramics are wrapped with rice straw before firing. A red pattern is left behind.
Credit: Fugetsu / tokoname.or.jp
wanted: image after firing
Nanban (Foreign style, lit. southern barbarian) [南蛮 or なんばん]
Nanban literally means "southern barbarians" and originally refers to the people of South/Southeast China. It seems to also refer to trade with Europeans in the 16th and 17th centuries, so perhaps more generally, it refers to foreign influence.
Ceramics imported from South China, Vietnam, the Philippines, etc. during this time were referred to as nanban-yaki. Nonuniform in appearance, these ceramics were prized by Japanese tea masters of the era.
Over time, the definition of Nanban has become unclear, but generally, it means inspired by foreign pottery.
In Tokoname, Nanban refers to yakimono with a coarse surface.
Further reading:
https://ja.wikipedia.org/wiki/南蛮焼
https://en.wikipedia.org/wiki/Nanban_art
https://en.wikipedia.org/wiki/Nanban_trade
(original post)
Resources:
- Textured Porous Clay: Aesthetics & Transformations in Japan (wood fired effects): viewtopic.php?t=1121
- Glossary of Pottery Related Japanese Words: http://www.anagama-west.com/anagama/boo ... ossary.php
- chano-yu.com:
To do:
mayake
Glazed: Shino glaze, Oribe glaze