"Turbid" is a local dialect in Saga Prefecture, Japan, which means Taomi Water. Therefore, clay hand is white porcelain as warm as rice soup, which is a unique craft of Kajimen kiln.
The appearance and color of porcelain are determined by the tire and glaze. All kinds of colored glazed porcelain use iron, copper, cobalt, titanium, manganese, antimony, chromium and other metal elements as colorants, so that the utensils appear red, green, blue, purple, yellow and other glazed surfaces respectively. If the non-ferrous metals in the glaze are cleaned, especially if the iron content is reduced to the lowest point, pure white porcelain can be burned, so it is necessary to master certain iron removal technology for burning white embryos. Due to the limitation of ancient firing conditions, only porcelain clay with less iron content can be selected.
? When Kajimen developed the red painting technique in the early generation, Kajimen kiln had not yet made a clay hand. Other transparent glazed white porcelain fired on the spot will have a little blue surface after firing, and red painting will affect the aesthetic feeling to a certain extent. Although this degree can be ignored, the early generation of Kaqimen made the persimmon red glaze color belonging to Kaqimen kiln through painstaking efforts, and there must be a kind of porcelain that can best show its beauty. So he began to work hard on plain porcelain, which was initially completed in the 1650 s, and then continuously improved. After more than 20 years, turbidity surgery was finally completed in four generations of Kajimen.
? The clay hand is created as a blank that best reflects kakiemon's color painting. Close to pure white milky white, thin and opaque. For example, red painting is more vivid on a nearly pure white clay hand than on an ordinary porcelain body. This also influenced kakiemon's style to some extent. If it is mud hand-painted, in order to better set off the color painting and see the pure white porcelain body, a lot of blanks will be left in the painting, instead of painting everyone in cool colors such as cyan and yellow, as in Kajimen's early color painting. At the same time, when the Kajimeng style was formed, the clay hand was made perfectly and of high quality, which was deeply appreciated by the royal family and received many orders.
? According to the "Earth Account (1690)" circulated by the Sakai family, the raw materials for making clay hands are pottery stones selected from the spring mud of Izumimachi, the mountain mud of Shirakawa and the soil of Iwakawa in the ratio of 6: 3: 2 and * * * 660. Now it is roughly made according to the ratio of 6: 3: 1. Of course, if the proportion is not bad at all, then the works of clay hands will not be so rare. Even so, there is no strict matching data for the quality of pottery stone in actual operation, so it should be adjusted slightly according to the situation.
White clay and mountain clay contain less iron, are soft and difficult to form. Therefore, it is necessary to add hard white mud that can make it shape, but the iron content of white mud is not low, and it will be a little blue after firing, so iron should be removed.
? Porcelain clay is hand-drawn and shaped by skilled masters on wheeled vehicles, and some shapes need to be finalized. After drying, it is fired at the temperature of 800~900 degrees for eight or nine hours, which is convenient for glazing after complete drying. Carry out underglaze color painting. After completion, the glazier glazes thinly, dries it, puts it in a box and fires it with Korean pine for 40-45 hours. Check whether there are cracks, black spots and other problems after opening the kiln.
It is not easy to form mud hands. In order to control the risk, Kajimen kiln chooses to enter the kiln in batches, so as to avoid being wiped out by the whole army due to poor temperature control during the firing process. Nevertheless, the yield of clay hand is not high. Because the raw materials of clay hand are difficult to get started, and several kinds of clay are mixed, the shrinkage rate is high when firing, which will inevitably lead to distortion and cracking, so the yield is not high. Plates and other finished products are about 50%, and vases, pots and other three-dimensional finished products are only about 20%.
With such a low rate of return, it is difficult to make ends meet. In addition, the five generations (1660- 169 1) of Kajimen had no talent in porcelain. Since 1685, the Lord has stopped placing orders for Kajimeng kiln. Kajimen of the Six Dynasties was born in 1690, and died at the age of one in the Five Dynasties. After the seventh generation of Kaqimen, Kaqimen kiln could not make clay hands at all. In addition, Jingdezhen porcelain began to be shipped overseas during the Kangxi period, and domestic gilded hands began to rise, which led to the lack of competitiveness of Kajimen kiln. In the eyes of aristocratic families at that time, Kajimen was equal to the mud hand, and the mud hand lost. On the premise that ivory porcelain has no clay hands, Kajimen waits for imitation, just like the general Kajimen style. Therefore, during the Edo period, there were very few khaki doors with mud in their hands, and most of them were products left over from the early Edo period.
? Kajimen of the 20th century 12 generation (1878- 1963) and Kajimen of his son 13 generation (1906- 1982) are based on the land accounts of the five generations. Yu 197 1 was established as an important intangible cultural heritage in Japan.
? At present, most of the works in Kaqimen Kiln still have no painted porcelain with muddy hands, which is a helpless move. If all the dirty hands are sold, kakiemon's price will be added with a zero, which can only appear in the exhibition hall.