Making a 9th century Iraqi lustreware bowl replica subtitles

I'm Andrew Hazelden and I've been a potter for over 30 years.I think the one of the fascinations with lustre in historywas that they were creating goldout of what wasn't goldand they were thought to be alchemists.You feel you can get lost inin looking at the iridescence of a lustre potwhich makes you think that you're in another world.The lustre is the technique where you use metal sulphidesto create an iridescent surface on the pot.It's a very subtle and complex technique.This bowl is a copy of an Iraq 9th century bowl.I actually used it in making this bowl a clay from Italy from Derutawhich is a buff colour.So I take the the ball of clay isjust over a kilogram in weight and it's thrown on the potter's wheeland may take five minutes to throw the shape.It's left for a couple of days to get leather hard.Once it's leather hard it's turned over and that the foot is turned.Once the foot is turned the bowl has to be dried completely in the Sunand after that it has its first firing which is the biscuit firingthen it's taken and dipped into a white glazewhich is primarily tin oxide to make it whitethen it's fired again.The next process is to paint it with the lustre pigment.The pigment that I'm using to paint for this bowl is mainly made of copper sulphidebut it also has some silver in itand it will also be made with a red oxide and clay.It's then calcined so it's fired to about glowing temperature - 650 centigrade.After it's been calcined it's taken and ground andand then it's mixed with vinegar that's when it's then painted.The dot design was copied from this 9th century Iraq bowl.In fact how to work out what brushes they used andtried to use a similar brush.A lustre firing does need a kiln that has the capability of reducing the oxygenyou're trying to create an an atmosphere where there's no oxygenwhich reduces the pigments to bring out the silver and the copper.You create smokeThe way I do that is to post small pieces of wood into the kiln through the spy holeand that pushes out the oxygen.Then you allow the oxygen back in for a short period to clear the chamberand that oxidation and reduction spasm is important to create the iridescence on the pot.When the pot comes out of a lustre kiln it still looks like it's just claycovered in clayyou then have to rub the ochre off with a with an abrasive.You get to know then whether the blast firing has worked or notbecause if it has worked you'll start to see an iridescent red or a silver.So that's the most magic part is the rubbing off of the pots after the firingyou're never sure what's going to happen and the results are not predictablebut it's the the iridescence seems to have a life of its own.You have to sometimes slant the pot to the towards the light to see the iridescenceso depending on the angle that you hold the pot depends on whetheryou see the iridescence or not.So it seems quite a mysterious thing happening

Making a 9th century Iraqi lustreware bowl replica

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<text sub="clublinks" start="7.76" dur="5.24">I'm Andrew Hazelden and I've been a potter for over 30 years.</text>
<text sub="clublinks" start="13" dur="3.96">I think the one of the fascinations with lustre in history</text>
<text sub="clublinks" start="16.96" dur="2.42">was that they were creating gold</text>
<text sub="clublinks" start="19.38" dur="2.2">out of what wasn't gold</text>
<text sub="clublinks" start="21.58" dur="2.8">and they were thought to be alchemists.</text>
<text sub="clublinks" start="24.38" dur="1.92">You feel you can get lost in</text>
<text sub="clublinks" start="26.3" dur="2.96">in looking at the iridescence of a lustre pot</text>
<text sub="clublinks" start="29.26" dur="5.4">which makes you think that you're in another world.</text>
<text sub="clublinks" start="34.66" dur="5.28">The lustre is the technique where you use metal sulphides</text>
<text sub="clublinks" start="39.94" dur="4.8">to create an iridescent surface on the pot.</text>
<text sub="clublinks" start="44.74" dur="4.06">It's a very subtle and complex technique.</text>
<text sub="clublinks" start="48.8" dur="6.14">This bowl is a copy of an Iraq 9th century bowl.</text>
<text sub="clublinks" start="54.94" dur="7.92">I actually used it in making this bowl a clay from Italy from Deruta</text>
<text sub="clublinks" start="62.86" dur="4.8">which is a buff colour.</text>
<text sub="clublinks" start="67.66" dur="1.46">So I take the the ball of clay is</text>
<text sub="clublinks" start="69.12" dur="4.48">just over a kilogram in weight and it's thrown on the potter's wheel</text>
<text sub="clublinks" start="73.6" dur="7.2">and may take five minutes to throw the shape.</text>
<text sub="clublinks" start="80.8" dur="4.58">It's left for a couple of days to get leather hard.</text>
<text sub="clublinks" start="85.38" dur="4.33">Once it's leather hard it's turned over and that the foot is turned.</text>
<text sub="clublinks" start="89.71" dur="5.77">Once the foot is turned the bowl has to be dried completely in the Sun</text>
<text sub="clublinks" start="95.48" dur="5.12">and after that it has its first firing which is the biscuit firing</text>
<text sub="clublinks" start="100.6" dur="4.54">then it's taken and dipped into a white glaze</text>
<text sub="clublinks" start="105.14" dur="3.689">which is primarily tin oxide to make it white</text>
<text sub="clublinks" start="108.829" dur="3.651">then it's fired again.</text>
<text sub="clublinks" start="112.48" dur="4.16">The next process is to paint it with the lustre pigment.</text>
<text sub="clublinks" start="116.64" dur="7.26">The pigment that I'm using to paint for this bowl is mainly made of copper sulphide</text>
<text sub="clublinks" start="123.9" dur="4.46">but it also has some silver in it</text>
<text sub="clublinks" start="128.36" dur="4.86">and it will also be made with a red oxide and clay.</text>
<text sub="clublinks" start="133.22" dur="6.96">It's then calcined so it's fired to about glowing temperature - 650 centigrade.</text>
<text sub="clublinks" start="140.18" dur="3">After it's been calcined it's taken and ground and</text>
<text sub="clublinks" start="143.18" dur="6.72">and then it's mixed with vinegar that's when it's then painted.</text>
<text sub="clublinks" start="150.12" dur="6.06">The dot design was copied from this 9th century Iraq bowl.</text>
<text sub="clublinks" start="156.18" dur="4.6">In fact how to work out what brushes they used andtried to use a similar brush.</text>
<text sub="clublinks" start="160.78" dur="6.15">A lustre firing does need a kiln that has the capability of reducing the oxygen</text>
<text sub="clublinks" start="166.93" dur="3.59">you're trying to create an an atmosphere where there's no oxygen</text>
<text sub="clublinks" start="170.52" dur="5.68">which reduces the pigments to bring out the silver and the copper.</text>
<text sub="clublinks" start="176.2" dur="1.46">You create smoke</text>
<text sub="clublinks" start="177.66" dur="6.96">The way I do that is to post small pieces of wood into the kiln through the spy hole</text>
<text sub="clublinks" start="184.62" dur="2.84">and that pushes out the oxygen.</text>
<text sub="clublinks" start="187.46" dur="4.68">Then you allow the oxygen back in for a short period to clear the chamber</text>
<text sub="clublinks" start="192.14" dur="9.069">and that oxidation and reduction spasm is important to create the iridescence on the pot.</text>
<text sub="clublinks" start="201.5" dur="5.129">When the pot comes out of a lustre kiln it still looks like it's just clay</text>
<text sub="clublinks" start="206.629" dur="2.351">covered in clay</text>
<text sub="clublinks" start="208.98" dur="8.82">you then have to rub the ochre off with a with an abrasive.</text>
<text sub="clublinks" start="217.8" dur="5.4">You get to know then whether the blast firing has worked or not</text>
<text sub="clublinks" start="223.2" dur="4.4">because if it has worked you'll start to see an iridescent red or a silver.</text>
<text sub="clublinks" start="227.6" dur="5.43">So that's the most magic part is the rubbing off of the pots after the firing</text>
<text sub="clublinks" start="233.03" dur="5.51">you're never sure what's going to happen and the results are not predictable</text>
<text sub="clublinks" start="238.54" dur="5.6">but it's the the iridescence seems to have a life of its own.</text>
<text sub="clublinks" start="244.18" dur="7.1">You have to sometimes slant the pot to the towards the light to see the iridescence</text>
<text sub="clublinks" start="251.28" dur="2.819">so depending on the angle that you hold the pot depends on whether</text>
<text sub="clublinks" start="254.099" dur="2.421">you see the iridescence or not.</text>
<text sub="clublinks" start="256.52" dur="7.42">So it seems quite a mysterious thing happening</text>