Well, this is a bit of a sad tale. I have unpacked my latest kiln firing, only to find that 2 of my very expensive Japanese Silicon carbide kiln shelves had snapped during the firing and collapsed onto the work below.
Not a pretty sight.
Even though we lost 3 shelves worth of pots crushed or stuck together. There were still some very nice pieces to keep our spirits up.
The bottom shelf was OK.
Despite the disaster, there were still a lot of lovely pots that came out.
The collapse seems to have diverted the flame path a little, causing some parts of the setting to get hotter than usual. This resulted in some over-firing and running of the glazes.
When the pale celadon glaze runs, it forms a very nice emerald green pool in the bottom of the pots. I really like the whiteness of the sericite body, contrasting with the emerald green pool and the pale hazey grey of the carbon inclusion on the rim.
I get out my quality control hammer and start to process some of the sub-prime pieces. They go into the ball mill, where they are polished for a few hours. When they come out, they are used as hand made celadon porcelain gravel ‘jewels’ for the driveway and paths.
This is one of the over-fired bowls below. The glaze has started to run, but it is still really beautiful. The runs have a build up of fine white ash glaze crystals. The pot has remained startlingly white, even with the wood ash attack. The glaze stopped just short of sticking to to the kiln shelf. What I find amazing, is that the sericite is so translucent at this higher temperature, that I can not only see light through it, but I can see the runs of glaze on the out side of the pot from the inside!
This doesn’t happen very often. It also has a beautiful, intense, emerald-green pool of celadon inside the base.
Its a really unique piece. You can even see the pink colour of my little finger holding the base of the pot on the other side, underneath. That is translucency! I’ll probably show it at Kerrie Lowe Gallery in November/December, in her Xmas exhibition.
I have kept one really translucent, but damaged bowl on the window sill in front of my wheel for inspiration. It’s ruined, the rim was destroyed when the kiln shelf on top fell on it and it is warped out of shape from the pyro-plastic deformation at the high temperature of 1300oC. Luckily, I was able to prize it off the bottom of the kiln shelf in one piece. It is so white and translucent, it’s an inspiration to me to see what is possible with this special ground up rock style of clay body called sericite.
I try not to think of the hours I spent working on it, turning and trimming it over several days, in various sessions, until I got it down to an even 2mm thick to get this result.
I have just completed my first firing since I returned from China a month ago. I did a solar powered electric kiln bisque firing a couple of weeks ago and now this stoneware wood firing. I started very early at 4.00 am, simply because that is when I woke up. I usually do wake early on the day I’m due to fire the wood kiln. It’s somehow worked it’s way into my psyche. If I start early, it gives me plenty of time to get the firing done in one day.
I also really like the predawn time. It’s very quiet here. Mind you it’s always very quiet here most of the time, as we are one kilometre outside of a small village, with no shops or real activity much. We do have a road that runs right past our door, but there isn’t a lot of traffic along it. Our peak hour sees 20 cars and one bus go past. However, at 4 am there is no traffic, not even bird call. That comes later at dawn.
Dawn brings the silhouette of the huge pines that tower over our little school house building. The dawn chorus is beautiful, the firing is well under way and the front row of pots is illuminated by the flames.
I fire very discretely. By choosing to use a down draught fire box design kiln, I am able to fire without making very much smoke at all. If every thing goes according to plan, there is only the faintest pale grey haze during the reduction cycle of the firing, when most kilns make enormous quantities of smoke.
I spent the day before hand, preparing and stacking all the wood for the firing. I’m trying mostly casuarina for this firing. I haven’t had enough of it at any one time to try it out for a full firing before. It wasn’t a very nice experience. I found that it produced quite a buildup of charcoal in the ash pit. I had to open all the mouse holes to get enough air into the base of the firebox to keep it under control. I won’t be using it again as the sole fuel source. I don’t have anything against charcoal. Actually, I really like it to build up to a certain level, as this creates beautiful surfaces on my fired work, but I need to be able to keep the level under control. Otherwise, It can build up to the point that it blocks up the firebox. Luckily, I had taken the precaution of also preparing some old very dry stringy bark and a bit of pine as well. That got me out of trouble.
This was a very good precautionary move. I always prepare more wood than I think that I will need. I nearly always have a fall back position, a plan ‘B’ as it were. It’s just the way I am. Perhaps just a little aspy? I even recommend doing just exactly this in my book on wood firing called ‘Laid Back Wood Firing’. Good to see that I even take my own advice!
Janine has picked fresh artichokes from the garden for lunch. She has steamed them and prepared a warm seasoned olive oil dipping sauce, with salt, pepper, garlic and chilli. It’s pretty yummy. She has thoughtfully prepared the dipping sauce in a twin-bowl bain-marie of hot water to keep the sauce hot on its 100 metre trip down from the house to the kiln shed, and throughout the meal.
We peel off the leaves one by one and pull them between our teeth to collect the fleshy, flavoursome pulp. It’s a great reward for our efforts to be able to eat gourmet food like this at virtually no cost. For us though, it’s not gourmet food, it’s ancient peasant food. Home grown, home cooked, consumed on site, within minutes of its picking, in its season, just as it should be. A meal like this has very low embedded energy and is SO delicious.
While the kiln is firing, you can’t even tell that the kiln is alight for most of the time. I get to sit and write or do odd jobs, some cleaning up. It takes about 20 minutes in-between stokes, sometimes 40 mins, or even up to one hour when I stoke in a large piece of heavy hardwood. There is very little to do for a lot of the time.
I repaired an old kitchen chair that was given to us by the son of an ex-pupil of the school, That is pretty amazing when you consider that the school was built in 1893 and closed in the 1920’s. Jan Riphausen gave us his Mothers chair after she died and he was cleaning out her house. It has two broken spindles, but he thought that I might be the only person that he knew that might value old junk like this. Jan’s mother had lived almost next door to us here in the ‘Green Gate’ Farm, just down the road. The chair is quite ordinary, and was missing a couple of spindles. I repaired it with hazel water-shoots from our orchard. Not the most usual way to repair a chair, but a chair like this has no value these days except for the sentimental value it carries. I use it as my firing chair.
I like it a lot, because it is made with craftsmanship, from real wood. Therefore I can repair it, again with craftsmanship, using real wood. In this case, wood that I grew myself. The new spindles are not like the originals, they are quite uneven and ‘natural’. I love it for this very reason. Because it now has a very special personality. linked to us through the medium of the Old School building that is our home, but also because I have added myself into it now. A little bit of sabi-wabi. It’s like repairing a chipped, but beautiful pottery bowl with gold inlay. Kintsugi style. I have developed my own ‘kintsugi-like’ way of repairing my favourite pots. It’s not the ‘pure’ traditional Japanese technique. It’s my own way. It’s the way that I can do it using what I have around me. I’m not Japanese, but I can appreciate their culture. I really treasure being able to take something that everyone else would throw out, and spend a little bit of time and effort on it, and turn it into something very special, with real value. At least to me, and that is all that matters. I might hazard a guess that this chair must be pushing on for 100 years old. I can’t imagine any piece of Ikea, melamine-coated, woodpulp and glue, furniture being treasured like this in another 100 years. This is my life, reflecting all of the choices that I have made along the way, attempting to live a gentle, green, passive, life of minimal consumption. An existence based on creative endeavour.
So I’m sitting on my special ‘enhanced’ firing chair, contemplating the firing, listening, smelling, sensing the process. I play some music, I write, I even talk to the chickens when they come in to visit, and they come in often throughout the day.
I get up every now and then and look into the firebox through the air inlet holes in the lid, Only then can I see the wood burning inside. If it needs it, I open the lid and drop in a few more logs. That’s it. It’s a simple process.
When the wood has burned down and the charcoal drops into the ash pit, I stoke it up and fill it with new logs. The bottom logs slowly burn away and the logs on top drop down to replace them, until it is time to stoke again. In this way the firebox is partially self-stoking.
This firing has gone very well, and after 12 and a half hours, when I look into the kiln through the spy hole, cone 10 has melted and this indicates to me that the full temperature has been reached. It is now time to sit and wait for the wood to burn away, so that I can slowly close down the firing and allow it to cool for two days. I celebrate with a glass of chilled white wine and a bowl full of freshly picked broad beans. This is a special springtime treat that I learnt to enjoy in Italy.
It is only now that it is all over, that it is clearly apparent that the kiln is actually alight, simply because I have opened all of the air inlet holes. 14 hours well spent, with still plenty of time to spare, just in case I might have needed it.
Because we choose to fire alone, we have developed a firing schedule that we can fit into one day. An early start, sometime around 4am, to 6 am. When ever I wake up. I don’t require an alarm. This allows up to an 18 or even a 20 hour firing without missing a nights sleep. 14 to 15 hours is just right. We have chosen not to do the longer types of firings that require more people to be involved and organising and changing of shifts throughout the night.
This is meant to be a simple life, rich in experiences with just enough rewards for our efforts to make it worthwhile.
I am reminded that, nothing lasts, nothing is perfect and nothing is ever finished.
While in the Longquan traditional celadon region researching celadon, we took some time out to visit a former celadon factory, that was forced to close when the economy was modernised. It has now re-opened as a celadon museum/cultural park.
I found it a bit shallow and lacking in depth. That is to say what was there didn’t grab me. It may be of interest to the more general tourist, but there wasn’t enough there to speak to me, as I’m interested in the more intricate details and technical information/insights that could be included, but weren’t.
However, there was an old wood fired tunnel kiln that had been restored. This kiln was the main means of firing the celadons here right up until 1998. One can understand why it went broke and couldn’t compete with more modern factories with up to date facilities and equipment.
There was also an clay processing section that used the old fashioned water-driven, wooden clay hammers, that is a technology that dates back 1000 years. It was exactly fitted with the age of the kiln technology, So out of date for a factory setting, it is hard to believe that it managed to last right up until the 1990’s.
Clearly, this equipment hasn’t been used for many years, possibly since 1998? Just like the kiln.
All the pots produced in the wood fired tunnel kiln, were packed in saggers to protect the ware from the fly ash from the wood fuel, which is so important when making a subtle glaze like celadon.
It is interesting to see that sometime between 60 and 20 or so years ago, they wrapped some parts of the wooden roof frame with ceramic fibre to stop it singeing or charring during firing.
The saggers that were used in the kiln firings are these days used as retaining walls and breeze way walls.
We take the bullet train out of Shanghai for the three and a half hours trip heading South West. We arrive at Lishui station and wait for a cab. There isn’t much at the station and the crowd that we arrived with soon disperse, but are soon replaced with another hoard of people from the next train. They all swirl past us, coming through in waves every 10 mins. There are just so many bullet trains passing through here with astounding regularly. It’s hard to believe. This is a very popular service. It must be on the way to somewhere more important, because this place isn’t anywhere in particular, that I’m aware of. But with 1.4 billion people needing to get around, even if only a small fraction of them live and work around here, it is keeping this service very well patronised. 10 years ago there were very few of these super-fast trains in China. 20 years ago there were none.
These days you can get to near almost anywhere quickly using this service, but mostly on the eastern side of the country. The government has produced a miracle in building this high speed rail system so extensively and quickly. Half of it is bored through the mountains in tunnels and the other half is suspended on concrete pillars above the valleys. It’s a masterpiece of engineering and it appears to run like clockwork. We comment on how Australia takes 5 years to make a 3 km road tunnel across Sydney. While the Chinese are building 3km of high speed rail infrastructure per day here.
Here in Lishui, we are about an hours car journey from our destination, as we wait for our car to pick us up. We try the local station food. This is just OK, not what I would usually want to eat, but I’m in a foreign country, so it goes down a treat.Anyway, there is only one choice. It’s a bowl of monosodium glutamate clear soup, with some fried tofu skin, 2 very small dumplings, a couple of dreadfully, scarily, luminously, bright pink ‘sausage’. I use that descriptor very loosely, and this is brought to life with some really great, bright red, slices of HOT, I mean very hot, chilli. A few drops of oil, some pepper and a lot of salt. It’s fantastic! I love it, but I try not to think about what was in the bright pink, extruded, sausage-like objects. I’ll never know. But when in Lishui, eat like a Lishuan! It was delishuious.
Our car arrives and drives at a little bit scary high speed to get us to our hotel for the night. We settle in and have a dinner of stirred vegetables. Soya beans and onion, mushrooms, fried tofu, steamed and then stir fried green beans, something brown that I don’t recognise, either in shape or in taste, which is quite bland and finally some little, green, mild chilis. something more akin to a small capsicum. It’s all delicious. but there is a lot of it, so I pass on the steamed rice and the soup.
The next day we are off to see the local Longquan Museum of celadon history. Longquan was a centre for the production of Celadon wares for several hundred years, from about the mid 900’s, through to almost 1600 – and it still is an important producer of high quality ceramic Art wares based around celadon.
Apart from Celadon, they also have some Guan ware and something that looks suspiciously like Ru ware, but can’t be, because Ru ware was only made in the Northern Song Dynasty. We’ve been tipped off, we have some local information, about an important new archaeological site. We spend our time dutifully taking in as much as we can in the Museum. But more importantly for me, there is the recently excavated archaeological site. I want to get some understanding of the early celadon manufacturing in these surrounding valleys. I have my pet theories, the possibility of seeing this site takes preference for me over other possible things to see and do while we are here.
The site is a half hour drive out into the country side. We wind our way out into the hills away from the fertile valleys. This is all very familiar to me. Even though I have never been here before. It is the same story. I can see it all unfolding. It has the ‘look’ that I recognise. These fertile valleys were colonised for food production first and pottery came later. The potters had to make do with the hilly surrounds where food production wasn’t a premium.
This is the same story or scene in so many other places where I have been researching in China, Japan and Korea. It also just happens that there are useful minerals to be found exposed in the wash-away edges of the streams up in the hills. This liminal country is very rich in feldspathic material I can see that from the car window. I’ve seen it all before. I call out to stop the car at one point. I say “We must be getting close now”! I can see out of my window, that we are passing a deposit of kaolinised porcelain stone. This is the local geology writ large in the road cutting. I recognise it from all the other deposits that I have studied over my lifetime of fossicking for porcelain stone and glaze rocks.
If this is the local geology, of course someone would have been inquisitive enough at some point in time over the very long history of human occupation of these vallieys, to just pop a bit of that paler stuff into the existing pottery kiln where they were making earthenware and then later, stoneware, until finally they made porcelain. But it was only because the ‘stuff’ was here and available on site. No sericite and kaolin, no discovery of porcelain. It’s that simple.
The story is much the same where ever it happened in several different sites in a few different countries. If the suitable material was there, exposed near the surface, then it happened. If you are a potter, or several generations of potters. You can’t not make it!
We drive on, eventually reaching the dig site. All digging has now been completed and written up. There is a sign that tells all – but it is mostly in Chinese script and I can only decipher a bit of it using my phones translation app. But this is of little or no consequence, as the signage has a small section of English translation. How very thoughtful! Anyway, I’ve been in this situation before, and I know what I’m looking for and what I’m looking at in the most general sense. I can see what I need to see. As we wander the site for an hour, even making our way down to the small runnel of a stream at the bottom of the hill. There are even a few bits of broken shards in the water, all ground and polished into rounded edges of pale green celadon and off-white/grey-olive, guan-like glazes.
The story board tells us that along this stream was once a well-worn track along the banks that is mentioned in old documents. The finished ceramic work was carried out of this valley along here. We make our way back up to the kiln site. It’s a long tunnel kiln – or was. Only the base is left now. This site dates from 1000 to 1300. There are several layers of occupation/development on the site. The kiln has been partially excavated to reveal at least 3 layers of different kilns on the site over time. This site is called “Fengdongyan” and is 4.5 kms up stream from the small village of Daoyao. Daoyao village is where there would have been other potteries at that time. This higher and more remote pottery site was an ‘official’ government sponsored site. So it must have been important. Or so the info board tells me.
To extend my earlier proposition of the thesis that potters migrated up into suitable nearby valleys, Actually, I believe that they were pushed out by the farmers. I propose that the potters were originally farmers, who grew crops and made pots part time. Pots made from mineral rich clays from the valley floor. Something akin to red earthenware, fired in bonfires, or simple up-draught kilns made from mud, straw and shards. Over eons of time the space on the fertile valley floor became too precious for pottery making and firing. The potters who had by now become specialists, were relocated off the fertile valley floor and the now well developed paddy fields and their sophisticated watering systems.
The potters now finding themselves on higher sloping ground, built their up-draught kilns into the sides of the slopes, becoming more like cross-draught kilns. This resulted in them achieving higher temperatures much quicker and with ease. The clays that they were close to on the slopes and valleys were better drained with certain fluxing minerals leached out. The clays became less fuseable, lower in iron and more refractory, needing the higher temperatures that were now possible, so paler stoneware bodies were evolved. etc, etc. Eventually semi cross-draught, down-draught tunnel kilns were developed because of their greater fuel efficiency and ease of achieving the higher temperatures. The rest is history!
When sites with porcelain stone were located nearby, in these valleys, it is impossible for me not too believe that someone like me, an inquisitive potter, could have resisted trying out this new white material. It needed a bit more work to get the kiln to mature it, it needed to go in the hottest spot, but it was possible, and therefore, at some point in time, it happened. The same porcelain stone body used for making the pots, could be mixed with limestone or wood ash and this now became a proto-celadon glaze that could be raw glazed, it’s that easy! It could be done, so it was done, it’s still being done! You only need 2 materials. Later, saggers were developed/employed to maximise packing and firing efficiency, but also to keep a lot of the wood ash off the beautifully refined glazes. Of course it didn’t happen over night, it took centuries. So much experimentation by generations of potters, each adding just a little refinement to the overall knowledge. That’s my thesis. I believe it. What is missing here is a clay supply. Why, this place so far up the valley?
When we were finished looking at this early Long Quan celadon site, we made our way back up the hill to the road, and on the other side of the road was a short track, that I hadn’t noticed previously, this led to an ancient mine site of very friable, crumbly weathered porcelain stone material. So this is why these potters migrated up here, 4.5 kilometres up this valley, away from the village, into this more remote spot, between 600 to 900 years ago. Now it’s obvious to me. They came here, all this way, simply because this is where the best material was to be found in its easiest, most workable form. No crushing required, just washing/blungeing, settling and stiffening. It all makes perfect sense to me. I’m dying to step off the walkway and go in and steal a little sample for analysis, but I resist the temptation. I’d put money on this stuff being a mix of sericite and silica, perhaps with a small amount of kaolinite or something similar. But I’ll never know!
In a way, I don’t need to. I already know. It’s just like every other site in a general sense. This place would fit very well into my book of ‘5 Stones’, except that I’ve already finished writing it. Every one of the 11 sites I studied in the 5 different countries, all fitted the pattern in some way, and every sample that I collected and and had analysed, with only one exception, contained sericite mica! That exception is Mittagong, where I live, where the mineralogy is similar but the mica is in the form of illite not sericite.
The mine site is quite extensive, it goes in two directions. I might imagine that they simply followed the softest, most plastic, easily dug material. I can see 300 years of potters endeavour, scratching out this hole here. It all makes so much sense to me.
I’m feeling really chuffed. This has been a really rewarding day. Even if nothing else happens on this trip. It has already been completely worthwhile for me.
We are in peak Poppy season now with a lovely display of colour throughout the garden. Over the years I have selected only the single petaled variety, removing the doubles as they appear, I let the doubles flower, but remove the seed heads before they ripen.
There are hundreds of poppy varieties, but I really love the single intense red variety. Particularly the one with the black centre. I’m not so keen on the white centred variety of the same flower, so I have slowly removed that one as well. I just love the contrast of the black with the bright red.
These wild flowers just suit themselves where they grow, but they love to come up where the soil has been disturbed, ie, dug over, just like in a garden bed. They will come up in the orchard and sometimes in the lawn too, but all the wild life around here love them just as much as I do and they get eaten off pretty quickly. I doubt that there is any opium in the young leaves of the seedlings, but the locals seem to love them. The don’t stand a chance if they are not fenced. They must seem like junk food or cake to a kangaroo. They seek them out and selectively nibble them down to the ground.
I have selected a few slightly different shades of red over time, from pale orange red to dark claret crimson, but I love the fire engine red the most.
Some yers back I scattered a few poppy seeds around, down in the vineyard among the rows of cabinet sauvignon. I had this romantic idea of there being rows of grapes and an understory of crimson red flowers. Something like you might see in an impressionist painting. Well that was a very nice idyl on my part. Dream on Walter!.
They grew quite well in there as it was a fenced off area to keep all the locals out. The rabbits, wallabies, kangaroos, and wombats. They all like to graze on tender grape vine shoots and tendrils. The fence worked, but there was some thing that I hadn’t counted on. Wood ducks! The wild wood ducks figured out that they could fly in, swooping down low and land length wise in-between the rows of vines, just like a landing strip. They spent the day in there. Grazing on the poppies in the morning, and then lay about chatting amongst them selves for the rest of the day. After that first year, and my cunning plan was discovered by the ducks. I never got another poppy from the vineyard. Such is life!
These days the local wildlife cleans up any attempt to grow poppies out in the open areas of lawn. Poppies only thrive inside the protective surrounds of the aesthetic environment of the garden with its totally netted protective cover. A bit like artists in the larger society!
I enjoy my little hobby of supporting and protecting this delicate and vulnerable species. It’s a bit like being a patron of the arts. We have so many poppy flowers at the moment that Janine picks a few each day and puts them in a vase in the kitchen and bathroom. The only survive for a day and start dropping petals by the evening. They are looking pretty drowsy by the next day and comatose in the evening. Luckily we have a lot of them just now and we can afford to replace them each alternative day.
My own little memento mori! Life is short and can be brutal. Enjoy the beauty while you can.
It’s so wonderful to be home again. I love being away somewhere exotic, learning something new and having experiences that lead me to make synaptic connections that I hope will lead to new ideas.
I really like to be back in my own kitchen too. I was very happy eating steamed and stir fried vegetables with offal every meal while in China. I cook a lot of steamed and stir fried veggies my self. I do tend to go a bit light on the intestines though, most, if not all of the time. Actually totally all of the time.
I’m back just in time to get the last truffle of the season. It was harvested while I was in China. My son Geordie kept it for me while I was away. He had it in his fridge for a week, safely stashed in a sealed container with 4 eggs on a bed of rice.
The weather has warmed up a lot this last week. I’m pretty sure that the last frost has gone. We have planted out a lot of summer veggies in the open in the garden. If I had been at home, I would have got some early seedlings planted out under my portable shrink-wrapped closhes a few weeks earlier.
We shared the truffle with Geordie, half each. It is a real beauty, so aromatic! A wonderfull, deep, earthy, sensuous, almost hormonal fragrance.
We decided to make scrambled eggs with shaved truffle and some garden fresh asparagus. Perfect!
I steamed the asparagus for a couple of minutes, quckiy drained and sautéed in a bit of butter with course ground salt and fresh ground pepper. Pretty yummy by itself, but totally excellent in combination with the truffled eggs.
I served it with a few shavings of piquant pecorino for balance.
I’m so glad to be back in the kitchen! The truffle was so big that we were able to get another meal out of it and have a repeat the next day for lunch. This time with a small glass of very fragrant and complex, wooded chardonnay.
It’s a hard life. But someone has to live it. I quite like being retired!
I’m recently back from China. It’s my 4th trip there in 15 years. I’m always amazed. Each time for different reasons.This time I was amazed how clean the air was. We had only 3 days of smog during the month. On previous trips in had some days where I found it hard to breath. Maybe their efforts to clean up their environment are working? But I don’t travel regularly enough to know. It just could be good luck?
This is Shanghai where we arrived and spent a day in the museum. We were there at the Museum before the doors opened and stayed inside looking at everything until they asked us to leave when they closed the doors.The Museum was a very popular destination it seems, as there were already a 1000 people in the queue to get in when we arrived early. Everything beautifully organised with people queueing in a very orderly fashion, in the zig,zag, hurdles, just as you get in airports to keep it all neat and orderly. As it was 38oC the Museum had placed water misting fans at various places along the queueing system to help keep us cool. There were also a few industrious folk selling very cold water in bottles from ice filled ‘eskyies’. The Museum had erected shade covers all along the lines of waiting patrons. It was all most impressive.
The Museum was great. It’s a good collection, of course I was especially interested in the ceramics, which didn’t disappoint. I won’t bore you with too many images, suffice to say that there was too much to see and 7 hours wasn’t enough, but was too long, in the way that we get when we spend a long time in Museums. We get museum blindness, so after 2 or 3 hours we have to find the coffee shop. Which doesn’t exist in China, not even in Shanghai with all its international flavour and influences. So I spent a month without real coffee, or any coffee at all. No big deal. There was a product by that name, but it wasn’t coffee!I got used to weak green tea. Quite different from the Japanese super strong, slightly slippery, alkaline tasting, high caffeine, sen cha. The Chinese green leaf tea is mild by comparison. We got through the day with just 2 art-blindness, sit-down, recovery breaks.
This was a nice pot!
This begonia? bowl looked to me to be every bit like a simple microcline or possibly a plagioclase felspar and water, kind of pink blushed shino glaze. I wouldn’t have called it a celadon, but hey. What would I know? It appeared to be very low in calcium with no hint of green about it.Colour me confused. It was a really gorgeous pot! This was a very nice opalescent glazed object. Interesting use of both ‘zun’ and ‘jun’ in the English translation of the Chinese?
It had a lovely depth to the milky opalescence. I’d have a guess at there being 1or 2% phosphorous in there somewhere, as bone ash, with the rest being 2/3 , or 3/4 felspar and another 1/3rd , or 1/4 ash? Somewhere between 2:1 and 4:1.
This Guan bowl was also very nice. Pity about the images through smudgy fingerprinted glass.
This is a superb pot. I really like guan ware. No! I love them! They really hit my Ge Spot. I’m an old guy and I have an old guys tastes. As always, I am principally interested in all the oldest pots. I start to loose interest at about the Ming. Maybe that is when my blood sugars start to run low:)
So that’s it. I won’t bore you with any more. That’s 7 hours and 1000 images condensed into a 5 minute read, and 12 images. I didn’t go to spend too much time in Shanghai. It just happened to be where the airport was on this trip. I haven’t been there before, other than in transit. My real interest was in getting out into the country side to visit the smaller pottery towns and villages. Our next stop was to check out some celadon wares.