This little town situated at the western shore of the Inlay Lake, Shan State, Burma, and its occupants - barely 100 Shan families who live in excellent, customary Shan cabins and houses containing wood and bamboo outlines, tangling, bamboo and wood floors and cover rooftops - are prestigious for the generation of astounding stoneware/ceramic, which here as wherever in the nation is both an industry and a workmanship. Subsequent to having gone by this fundamental earthenware focal point of the Shan State, seen the potters at work and showered in this present town's environment you will unquestionably take a gander at stoneware through various eyes.
A vital actuality is that the predecessors of Khaung Daing's potters would no uncertainty not perceive that decades, hundreds of years even centuries have gone since they passed away and would absolutely have the capacity to instantly join into the way toward making earthenware whenever and any of its phases from the earliest starting point to the very end as nothing has changed in the conventional strategies since they themselves once did this work.
The fundamental materials utilized, their sources, the strategies for their readiness, the instruments, the methods of framing the ceramics and its consuming, the plans, the sizes, the various types of earthenware, the sorts of ovens utilized, and so on., everything - totally everything - has continued as before. Regarding ceramics, time has clearly stopped and will most likely keep on doing so. Stoneware is normally a privately-run company and the learning and abilities expected to play out this art are passed on from age to age; and the present potters' descendents are not prone to transform anything. Be that as it may, that is simply the future and we will now worry about the present and Khaung Daing's available day ceramics workshops.
Presently as ever ceramics or stoneware assumes a focal part in Burma's families as earthenware is put to countless utilizations: plates, bowls, containers, measuring glasses, vases, pots of any size to cook, save and serve nourishment and refreshments, to influence rice to wine, to plant blossoms and plants into them, as safe for cash, gems, gold, and so forth (still regular in rustic territories), statues, puppets, kids toys, entombment urns, etc; all earthenware. In like manner, all these various types of stoneware articles are created in Khaung Daing Village.
The primary material utilized is preparing earth. Either damped and massaged mud powder (earthenware) or already absorbed water for a more drawn out time and after that after the water is poured away stamped until smooth and flexible. Sometimes, these two various types of earth are mixed. The mud is made of earth and residue from the lake. The strategy used to make littler ceramics, for example, silverware is the 'wheel tossing' procedure. Give us now a chance to watch a potter utilizing this strategy at work.
To make e.g. a bowl on the potter's wheel (set in a shallow form and turned either by foot or hand by the potter himself or an aide) a chunk of mud is put in the middle that is then pulled and pushed by the potter into a round and hollow shape. He at that point squeezes his thumb onto the highest point of the barrel, making a gap that he grows while pulling up the sides. A short time later he starts to frame the lip utilizing one hand on either side of the edge of the article. After finishing the potter runs a thin wire under the base or foot of the piece and expels it from the wheel. The ceramic is delivered in one continuous and smooth process out of one piece of dirt.
For expansive pots and jugs the 'looping method' is connected. Enormous jugs -, for example, those called 'hundred-compartment' since they have a holding limit of hundred 'Viss' ( 157 kilogram) - are 4 feet/1.2 meters high, have an opening of 18 inches/43 centimeters, a bulbous body and a thin base. Capacity pots have a holding limit of up to 60 gallons.
The procedure to make and shape such a colossal ceramics article comprises of four phases, the first is that the base or base of the container is framed and semi-dried. In the second phase of make the potter shapes out of a long string of mud the mass of the lower half of the container. The string is shaped into a circle or ring and the container is developed by superimposing the rings, which are scratched smooth at the outside as the article develops, 'stuck' to the base by wetting the edges and put to dry. The third stage is to frame the upper half with the lip a similar manner by which the lower part was made. Contingent upon the utilization the container is proposed for, facilitate components, for example, circles close to the opening/mouth are included. The fourth stage comprises of putting the 'a large portion of jugs' as one and giving the entire thing a chance to dry in the sun.
Subsequent to being dried earthenware articles are let go (additionally called heated or consumed). This is normally done in furnaces however when bring down consuming temperatures and shorter consuming periods get the job done - similar to the case with customary earthenware pots - it is finished by what is called 'start shooting'. The potters essentially cover the sun-dried stoneware that is heaped in stacks on the ground with a thick layer of straw, which is then determined to flame. This fire achieves a temperature of around 1.202 to 1.382 degrees F (650 to 750 degrees C).
For coated ceramics a glue is made of powdered ash or magma from the Shan mountains, a little part of dirt and 'thamin-yahoo' (rice water that is spilled out of the pot when the rice is prepared cooked and fills in as the paste or restricting operator) and slapped on the dried earthenware before the consuming procedure. The heating of coated ceramic that is infrequently called 'center fire product' needs high temperatures of 1.650 to 2.192 degrees F/900 to 1.200 degrees C.
Different strategies for finishing earthenware are painting or the stamping as well as etching of outlines. Ceramics can be painted previously or after the consuming.
Concerning furnaces there are fundamentally two various types: those worked over the ground and those worked under ground. Both of these are supposed 'irregular furnaces' since they should be quenched before being emptied and revived. By differentiate, 'consistent furnaces' can be stacked and revived while the fire is consuming. In Khaung Daing the underground sort is utilized. An underground oven is a pit with ventures to enter and abandon it on one side and a screened smoke opening on the opposite side. The over the ground furnaces are made of blocks with a passageway on one side and screened smoke openings. Once the earthenware is altogether stacked in the furnace and the spaces between the greater articles are loaded with littler ceramics, for example, kids toys (play pots, dolls, and so on.) the oven is loaded with kindling, which is set land before the passageway is appropriately shut with blocks, dirt and earth/soil. Following a few days of preparing - the lengths of the period is picked by the size and number of bits of ceramics - the oven is permitted to step by step chill off for various days before it is opened to empty the earthenware.
To observe every one of the phases of the entire stoneware making process performed in old customs by the Shan individuals of Kyaung Daing is a teaching as well as an extremely engaging occasion that influences you to build up a vibe for pottery and as expressed already you will starting now and into the foreseeable future take a gander at e.g. the plate you are eating from, the glass you are drinking out and the dishes in which your sustenance is presented with various eyes.
I am presently leaving this excellent town to come back to Nyaung Shwe, where I have begun my visit. I will spend whatever remains of the day and the night in Nyaung Shwe. Tomorrow morning I will proceed with my adventure ashore to Pindaya. I trust you have appreciated the visit to Kyaung Daing. I did and trust we will see once more.
I am German by birth yet am living since 25 years in Burma/Myanmar and know the nation, its kin, its way of life and its history extremely well. This has made me an expert on Burma. Subsequent to resigning in 2012 I turned essayist and am composing books on Burma the nation I am special to call home. Kindly do likewise observe my Professional Photos and my profile.
A vital actuality is that the predecessors of Khaung Daing's potters would no uncertainty not perceive that decades, hundreds of years even centuries have gone since they passed away and would absolutely have the capacity to instantly join into the way toward making earthenware whenever and any of its phases from the earliest starting point to the very end as nothing has changed in the conventional strategies since they themselves once did this work.
The fundamental materials utilized, their sources, the strategies for their readiness, the instruments, the methods of framing the ceramics and its consuming, the plans, the sizes, the various types of earthenware, the sorts of ovens utilized, and so on., everything - totally everything - has continued as before. Regarding ceramics, time has clearly stopped and will most likely keep on doing so. Stoneware is normally a privately-run company and the learning and abilities expected to play out this art are passed on from age to age; and the present potters' descendents are not prone to transform anything. Be that as it may, that is simply the future and we will now worry about the present and Khaung Daing's available day ceramics workshops.
Presently as ever ceramics or stoneware assumes a focal part in Burma's families as earthenware is put to countless utilizations: plates, bowls, containers, measuring glasses, vases, pots of any size to cook, save and serve nourishment and refreshments, to influence rice to wine, to plant blossoms and plants into them, as safe for cash, gems, gold, and so forth (still regular in rustic territories), statues, puppets, kids toys, entombment urns, etc; all earthenware. In like manner, all these various types of stoneware articles are created in Khaung Daing Village.
The primary material utilized is preparing earth. Either damped and massaged mud powder (earthenware) or already absorbed water for a more drawn out time and after that after the water is poured away stamped until smooth and flexible. Sometimes, these two various types of earth are mixed. The mud is made of earth and residue from the lake. The strategy used to make littler ceramics, for example, silverware is the 'wheel tossing' procedure. Give us now a chance to watch a potter utilizing this strategy at work.
To make e.g. a bowl on the potter's wheel (set in a shallow form and turned either by foot or hand by the potter himself or an aide) a chunk of mud is put in the middle that is then pulled and pushed by the potter into a round and hollow shape. He at that point squeezes his thumb onto the highest point of the barrel, making a gap that he grows while pulling up the sides. A short time later he starts to frame the lip utilizing one hand on either side of the edge of the article. After finishing the potter runs a thin wire under the base or foot of the piece and expels it from the wheel. The ceramic is delivered in one continuous and smooth process out of one piece of dirt.
For expansive pots and jugs the 'looping method' is connected. Enormous jugs -, for example, those called 'hundred-compartment' since they have a holding limit of hundred 'Viss' ( 157 kilogram) - are 4 feet/1.2 meters high, have an opening of 18 inches/43 centimeters, a bulbous body and a thin base. Capacity pots have a holding limit of up to 60 gallons.
The procedure to make and shape such a colossal ceramics article comprises of four phases, the first is that the base or base of the container is framed and semi-dried. In the second phase of make the potter shapes out of a long string of mud the mass of the lower half of the container. The string is shaped into a circle or ring and the container is developed by superimposing the rings, which are scratched smooth at the outside as the article develops, 'stuck' to the base by wetting the edges and put to dry. The third stage is to frame the upper half with the lip a similar manner by which the lower part was made. Contingent upon the utilization the container is proposed for, facilitate components, for example, circles close to the opening/mouth are included. The fourth stage comprises of putting the 'a large portion of jugs' as one and giving the entire thing a chance to dry in the sun.
Subsequent to being dried earthenware articles are let go (additionally called heated or consumed). This is normally done in furnaces however when bring down consuming temperatures and shorter consuming periods get the job done - similar to the case with customary earthenware pots - it is finished by what is called 'start shooting'. The potters essentially cover the sun-dried stoneware that is heaped in stacks on the ground with a thick layer of straw, which is then determined to flame. This fire achieves a temperature of around 1.202 to 1.382 degrees F (650 to 750 degrees C).
For coated ceramics a glue is made of powdered ash or magma from the Shan mountains, a little part of dirt and 'thamin-yahoo' (rice water that is spilled out of the pot when the rice is prepared cooked and fills in as the paste or restricting operator) and slapped on the dried earthenware before the consuming procedure. The heating of coated ceramic that is infrequently called 'center fire product' needs high temperatures of 1.650 to 2.192 degrees F/900 to 1.200 degrees C.
Different strategies for finishing earthenware are painting or the stamping as well as etching of outlines. Ceramics can be painted previously or after the consuming.
Concerning furnaces there are fundamentally two various types: those worked over the ground and those worked under ground. Both of these are supposed 'irregular furnaces' since they should be quenched before being emptied and revived. By differentiate, 'consistent furnaces' can be stacked and revived while the fire is consuming. In Khaung Daing the underground sort is utilized. An underground oven is a pit with ventures to enter and abandon it on one side and a screened smoke opening on the opposite side. The over the ground furnaces are made of blocks with a passageway on one side and screened smoke openings. Once the earthenware is altogether stacked in the furnace and the spaces between the greater articles are loaded with littler ceramics, for example, kids toys (play pots, dolls, and so on.) the oven is loaded with kindling, which is set land before the passageway is appropriately shut with blocks, dirt and earth/soil. Following a few days of preparing - the lengths of the period is picked by the size and number of bits of ceramics - the oven is permitted to step by step chill off for various days before it is opened to empty the earthenware.
To observe every one of the phases of the entire stoneware making process performed in old customs by the Shan individuals of Kyaung Daing is a teaching as well as an extremely engaging occasion that influences you to build up a vibe for pottery and as expressed already you will starting now and into the foreseeable future take a gander at e.g. the plate you are eating from, the glass you are drinking out and the dishes in which your sustenance is presented with various eyes.
I am presently leaving this excellent town to come back to Nyaung Shwe, where I have begun my visit. I will spend whatever remains of the day and the night in Nyaung Shwe. Tomorrow morning I will proceed with my adventure ashore to Pindaya. I trust you have appreciated the visit to Kyaung Daing. I did and trust we will see once more.
I am German by birth yet am living since 25 years in Burma/Myanmar and know the nation, its kin, its way of life and its history extremely well. This has made me an expert on Burma. Subsequent to resigning in 2012 I turned essayist and am composing books on Burma the nation I am special to call home. Kindly do likewise observe my Professional Photos and my profile.
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