Second glaze inlay in the silvery oil spot glaze - a closer look at the interface between the two glazes.
Here is the previous work on the silvery oil spot glaze.
The surface texture of the mashiko glazes is dominated by the oil spots, which
often are large and heavily dimpled,
but even when not dimpled these
glazes are active to the time when the glaze solidifies. the result is that the
interface between
the background mashiko glaze and a contrast glaze is a
dynamic part of the design. I show several examples
of this with
pictures both of the pot, and a close up of the boundary between the
background glaze and inlay glaze.
Note the irregular boundary between the two glazes, the cutouts in the inlay
glaze which has been etched by the
background glaze. Notice also the
band about the inlay which is distinct from both the ground glaze and the
inlay glaze.
The glazes candaceBlackB and satIron_ZJ_1PPP are closer in chemistry to the
background mashiko glazes, resulting in a less
'violent' encounter at the
interface.
The inlaid second glaze decoration is created by applying a glaze over a
mask,
waxing, the glaze and mask, then removing the mask and filling in
the second decorative glaze.
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K2O 0.13
Na2O 0.12
Li2O 0.11
CaO 0.22
MgO 0.42
Al2O3 .84
Fe2O3 .23
SiO2 5.8
molecular percent Silica 74 %
K2O 0.02
Na2O 0.31
Li2O 0.25
CaO 0.4
MgO 0.02
Al2O3 .49
Fe2O3 .21
SiO2 3.2
P2O5 0.13
molecular percent Silica 63 %
K2O 0.33
Na2O 0.14
Li2O 0
CaO 0.4
MgO 0.13
Al2O3 .62
Fe2O3 .24
SiO2 5.4
molecular percent Silica 74 %
K2O 0.1
Na2O 0.36
Li2O 0.04
CaO 0.03
MgO 0.3
SrO 0.17
Al2O3 .49
SiO2 2.5
molecular percent Silica 60 %
K2O 0.21
Na2O 0.23
Li2O 0.05
CaO 0.2
MgO 0.01
SrO 0.3
Al2O3 .6
SiO2 3
molecular percent Silica 63 %