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The "hare's fur" patterning in the glaze of this bowl resulted from the random effect of phase separation during early cooling in the kiln and is unique to this bowl. This phase separation in the iron-rich glazes of Chinese blackwares was also used to produce the well-known "oil-spot" ( 油滴 ), "teadust" and "partridge-feather" ( 鷓鴣斑 ...
Most are natural wheel-formed bowls and dishes, and small vases or wine-carafes, mostly with a narrow neck, but some meipings. There are also boxes, jars, ewers and other shapes. [23] The foot of the later period ware is usually unglazed and brown; the rim of bowls can also be brown or greenish where the glaze is thinner.
Sometimes ceramic tiles are also used on the sides of the jar. Fist size stones are on top of the suikinkutsu to cover the jar completely. Traditionally suikinkutsu are always found near a hand wash basin chōzubachi used for the Japanese tea ceremony, and the suikinkutsu is buried between the basin and the stepping stone next to the basin.
Overglaze decoration, overglaze enamelling, or on-glaze decoration, is a method of decorating pottery, most often porcelain, where the coloured decoration is applied on top of the already fired and glazed surface, and then fixed in a second firing at a relatively low temperature, often in a muffle kiln. It is often described as producing ...
Shiwan wares provide a contrast with more conservatively rendered Dehua efforts. Clay for the ware was provided not only from the local area, but also from distant locations that could be mixed to provide a variety of textures and desired ceramic outcomes. The range could extend from a porcelain, rivalling Dehua in purity, to a rough stoneware ...
Sang de boeuf glaze, or sang-de-boeuf, is a deep red colour of ceramic glaze, first appearing in Chinese porcelain at the start of the 18th century. The name is French, meaning " ox blood" (or cow blood), and the glaze and the colour sang de boeuf are also called ox-blood or oxblood in English, in this and other contexts.
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