wood Firing and the resulting aesthetic effects | ||||
| International Design Journal | ||||
| Article 18, Volume 6, Issue 2 - Serial Number 18, April 2016, Page 219-229 PDF (727.49 K) | ||||
| Document Type: Original Article | ||||
| DOI: 10.12816/0036483 | ||||
 View on SCiNiTO | ||||
| Author | ||||
| Nawal Ahmed Ibrahim | ||||
| Lecturer, Department of Ceramics, Faculty of Applied Arts, Helwan University, Egypt | ||||
| Abstract | ||||
| Wood fire is the first type of ceramic fire in history, furnace designs have evolved and the aesthetic effects of these designs have varied, and wood fire remained the dominant until other types of fuel appeared, especially electricity and natural gas, so the fire turned either with electricity or natural gas or other, and wood fire became rare It has become an individual case for some artists, given that it is a heavy fire and requires experience with fire, and many potters avoid it for these reasons, but due to its special and distinct aesthetics, we wanted to study this type of fire that produces aesthetic effects as a result of the ash deposits on shapes and its interaction with flames on the surface of the pots, Its melting made up a natural glass coating with special and distinctive aesthetics, and this type of fire appeared in the western Pacific region (China, Japan and Korea), and the traditional oven used called angama then developed its design after several centuries and became called noborigama, and other designs appeared All are based on the idea of depositing the ash on the pots and melting it to obtain distinct aesthetic effects, and the design of these ovens in which the house of fire and the stacking room will be in the same place without a separator and compact Products by drawing flames and ash to the chimney, or the house of fire is above the stacking room to ensure ash falls on the pots, and produces many aesthetic patterns and effects resulting from the interaction between the ash, salts and minerals present in the clay and the flame, and this is what gives the pots a distinct aesthetic value, the ash Wood may settle on the pots as a light layer, or accumulate abundantly on the surface to the extent that it falls on both sides of the pot, or accumulates around the pot as if it is completely immersed in it, and putting the pieces in the oven greatly affects their final appearance, when the piece is close to the fire it may become immersed in Flame and ash together, and the further away from the fire, the more effective the effect of ash and flame on it. Thus, several aesthetic patterns emerged from this type of fire. As for the types of wood used, soft wood should be used because it has a large thermal content, while hardwood produces many From embers, it is not preferable to burn wood that is used in architecture, because its thermal content is few, and after highlighting the fire with wood and its multiple effects, I invite potters to pay attention to this type of fire to revive it m Again, reviving the aesthetic effects resulting from it. | ||||
| Keywords | ||||
| Wood Firing; Wood Ash; Dragon Kiln; Covered Ash Kiln; Fire Box; Ware Chamber; Chimney; Flue; Atheistic Effects | ||||
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