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The potter's wheel is spun counter-clockwise
with a stick. |
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A dry bowl is trimmed
to make it paper thin. |
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| Blue-white ware is
glazed by dipping and puring. |
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Firewood is specially
stacked to dry it and protect it from the elements. |
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Saggars with fired Bowls.
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The front of a small
wood-fired saggar kiln. |
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Inside a large kiln(50'
long x 20' high)with saggars on sides and chimney in
rear. |
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The chimney of the kiln
is being rebuilt. |
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The kiln is shaped like
an egg, with the narrower part located near the chimney
in the back. |
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| Production
techniques used in Jingdezhen today. |
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| Porcelain is
mined, powdered, mixed with water, slaked, squeezed,
then pugged. |
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| Porcelain is
press molded to make an edition of figurines. |
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| Vessels
are slip cast, then trimmed. Some are cast in several
parts that are luted together. |
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| Sections of large vessels
are thrown, dried, trimmed, then joined. |
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| A pot is trimmed in
the foreground, while clay is prepared for throwing
in the middle ground and centered in the background. |
Several young men join
forces to throw a large pot on an electric wheel. |
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| A stencil
is often used to lay out the pattern on the blue-white
ware . Underglaze is then painted over the stenciled
lines, which burn off during the firing. |
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| A wet overglaze stencil
is removed after it has transferred the pattern onto
a fired glazed vase. |
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| This overglaze painter
does not use a stencil, but is inspired by a painting
in a book. |
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| Red overglaze is painted
free-hand onto a fired underglaze blue plate. |
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| Silkscreened overglaze
decals are used to create inexpensive repeat patterns. |
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| This gas car
kiln with a dolly to move the car onto the track
is typical of the kilns used today. Most ware
is once fired. Only pieces with overglaze are
fired several times. |
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| Although electric
and gas kilns have replaced coal and wood-burning
kilns, smokestacks from abandoned coal-burning
kilns can still be seen. |
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