![]() ![]() A few months ago I fired about 20 pieces with Pinnell celadon with beautiful results except that the glaze crawled on every single pot. However, I’ve found that the glaze is difficult to apply given the large amount of Kaolin in the recipe. It’s a very beautiful, smooth and “natural-looking” blue celadon. Personally, I really like the Pinnell Blue Celadon recipe in John Britt’s book. These tests were fired in a public kiln, temperature is uncertain but at least Orton cone 12, I believe Tichane’s tests were fired to cone 10. ![]() On the right is the same formula but with Wollastonite instead of Whiting (of course this adds some silica to the mix). The type of kaolin added greatly affects the color of the glaze, for blue celadons a kaolin very low in titania such as Grolleg or New Zealand Halloysite is required.īelow on the left is Tichane’s 532.1 formula with 1% yellow iron oxide (YIO). The “5321.1” formula is the same but adds 10 parts kaolin. The “532.1” formula contains 50 parts feldspar, 30 parts silica, 20 parts limestone, and 1 part iron oxide. Through testing, Tichane arrives at two formulas. While perhaps not as informed as Nigel Wood’s Chinese Glazes, Tichane approaches the subject from the perspective of a glaze chemist and gains valuable insight into the nature of blue celadons. ![]() Robert Tichane’s Celadon Blues focuses primarily on Chun (Jun) glaze, but also covers Qingbai, Longquan, and other ancient Chinese glazes. ![]()
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