Research

Other Ceramics // V&A

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Jill Shaddock – V&A Gift Shop.

A graduate from Manchester School of Art, Shaddock designs and makes her own ceramics by hand from her West Yorkshire studio. Fascinated by process, Shaddock’s unique pieces are created with multiple layers of a parian semi-porcelain slip, and a refined colour pallette is developed through a methodical, experimental approach. The pieces are high fired, making them waterproof even when unglazed, and suitable for food use.

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Kiln Waster – Netherlands, Delft, 1655-70

These tin glazed earthenware dishes have collapsed and fused together during firing. Fragments and kiln furniture have become attached to them. Such ruined wares are known as ‘wasters’.

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Stoneware 500-1925

The Japanese began making high fired unglazed ceramics known as Sue ware in about AD 400. From the 12th century, kilns in Bizen, Iga, Siharaki and elsewhere produced stoneware that was not intentionally glazed, but was often partially covered in natural ash glaze.

The Seto and Mino kilns in central Japan, by contrast, made intentionally glazed stoneware, initially an imitation of Chinese ceramics but later in native Japanese styles.

The introduction of Korean ceramic technology in the 1590′s led to the establishment of stoneware kilns in many parts of Western Japan. As the Japanese economy expanded in the 18th & 19th centuries, kilns producing vernacular ceramics for everyday local use sprang up around the country.

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Unglazed & Green-Glazed Stoneware 400-1500.

During the Three Kingdoms (57 BC-AD 676) and Unified Silla (676-935) periods, the majority of high-fired ceramics made in Korea were dark-bodied, unglazed funerary wares. Then, during the 9th century, Korean potters started making green-glazed wares, particularly at kilns near the south and west coasts.

Green-glazed wares from the first half of the Koryo Dynasty (918-1392) were often decorated with highly refined incised motifs. After 1150, black and white inlay, a uniquely Korean innovation, was used to create a rich variety of patterns. The use of inlaid slip continued into the succeeding Choson Dynasty (1392-1910) in the form of so-called punch-ong wares.

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Qing Monochromes – 1662-1910. Yellow glaze for the Imperial Court. Various bowls and vases with lotus flowers, peonies, phoenixes, and dragons painted in underglaze blue.

When the kilns at Jingdezhen re-opened in the early 1680′s, numerous experiments were carried out with new colours and glazes. These took place under the supervision of specialist officers appointed by the imperial authorities.

As well as high fired colour glazes of supreme quality, the potters perfected the making of a striking variety of low fired glazes. These were fired on in secondary, low-temperature firings.

Green, turquoise, and opaque varients of turquoise, such as ‘robin’s egg’ blue, were derived from copper. Aubergine was made from manganese, and iron was used to produce several different shades of yellow as well as a distinctive matt red.

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