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A ceramic flux functions by promoting partial or complete liquefaction. [1] [2] The most commonly used fluxing oxides in a ceramic glaze contain lead, sodium, potassium, lithium, calcium, magnesium, barium, zinc, strontium, and manganese. These are introduced to the raw glaze as compounds, for example lead as lead oxide.
The fifty years from 1150 saw great developments in Iranian ceramics. Firstly the fritware body and the glazes used on it were greatly improved, which allowed thinner walls and some of the translucency of Chinese porcelain, which was already imported into Persia, and represented the main competition for local fine wares. This "white ware" body ...
The glaze was made using clay similar to that used for forming the body, except fluxed with wood-ash. They share some similarities with Jizhou ware, which developed around the same time. Many examples have distinct finishes in the glaze, which are much prized by collectors. The main three types of glaze patterns are: "hare's fur" (兔毫盞)
Wax resist, which is painted over the bare clay, is a suspension of wax in water; [17] the glaze does not cover the area where the wax resist was applied, thus creating a design. When in the kiln, the wax melts off and the carbon that results from oxygen reduction replaces it. [ 16 ]
The wax will "resist" the dye, and after it is removed there will be a pattern in two colours. Batik, shibori and tie-dye are among many styles of resist dyeing. [3] [4] Wax or grease can also be used as a resist in pottery, to keep some areas free from a ceramic glaze; the wax burns away when the piece is fired. [5]
The technique seems to have been to soak a real leaf in the glaze mixture, then place it on the vessel, where the leaf itself burnt away in firing. [9] Another, rather rare, resist glaze effect is called "leopard-spot". [10] "Deer-spot" decoration, with rows of light brown spots with a white centre, was painted into place. [11]