267s Making a 9th century Iraqi lustreware bowl replica images and 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

In 9th century Iraq, potters who could master the lustre technique were considered alchemists - people who could turn dull clay into something almost gold. We teamed up with ceramicist Andrew Hazelden to see if he could recreate a 9th century Iraqi lustre bowl in the British Museum collection. To find out more about the original bowl: bit.ly/33t6ca6 To see this bowl in person, as well as other amazing objects from the historic and contemporary Islamic world, check out The Albukhary Foundation Gallery of the Islamic world: bit.ly/3a4TKQf
Archaeology, Museum, Art, British Museum, Anthropology, History,
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< start="7.76" dur="5.24">I'm Andrew Hazelden and I've been a potter for over 30 years.>

< start="13" dur="3.96">I think the one of the fascinations with lustre in history>

< start="16.96" dur="2.42">was that they were creating gold>

< start="19.38" dur="2.2">out of what wasn't gold>

< start="21.58" dur="2.8">and they were thought to be alchemists.>

< start="24.38" dur="1.92">You feel you can get lost in>

< start="26.3" dur="2.96">in looking at the iridescence of a lustre pot>

< start="29.26" dur="5.4">which makes you think that you're in another world.>

< start="34.66" dur="5.28">The lustre is the technique where you use metal sulphides>

< start="39.94" dur="4.8">to create an iridescent surface on the pot.>

< start="44.74" dur="4.06">It's a very subtle and complex technique.>

< start="48.8" dur="6.14">This bowl is a copy of an Iraq 9th century bowl.>

< start="54.94" dur="7.92">I actually used it in making this bowl a clay from Italy from Deruta>

< start="62.86" dur="4.8">which is a buff colour.>

< start="67.66" dur="1.46">So I take the the ball of clay is>

< start="69.12" dur="4.48">just over a kilogram in weight and it's thrown on the potter's wheel>

< start="73.6" dur="7.2">and may take five minutes to throw the shape.>

< start="80.8" dur="4.58">It's left for a couple of days to get leather hard.>

< start="85.38" dur="4.33">Once it's leather hard it's turned over and that the foot is turned.>

< start="89.71" dur="5.77">Once the foot is turned the bowl has to be dried completely in the Sun>

< start="95.48" dur="5.12">and after that it has its first firing which is the biscuit firing>

< start="100.6" dur="4.54">then it's taken and dipped into a white glaze>

< start="105.14" dur="3.689">which is primarily tin oxide to make it white>

< start="108.829" dur="3.651">then it's fired again.>

< start="112.48" dur="4.16">The next process is to paint it with the lustre pigment.>

< start="116.64" dur="7.26">The pigment that I'm using to paint for this bowl is mainly made of copper sulphide>

< start="123.9" dur="4.46">but it also has some silver in it>

< start="128.36" dur="4.86">and it will also be made with a red oxide and clay.>

< start="133.22" dur="6.96">It's then calcined so it's fired to about glowing temperature - 650 centigrade.>

< start="140.18" dur="3">After it's been calcined it's taken and ground and>

< start="143.18" dur="6.72">and then it's mixed with vinegar that's when it's then painted.>

< start="150.12" dur="6.06">The dot design was copied from this 9th century Iraq bowl.>

< start="156.18" dur="4.6">In fact how to work out what brushes they used andtried to use a similar brush.>

< start="160.78" dur="6.15">A lustre firing does need a kiln that has the capability of reducing the oxygen>

< start="166.93" dur="3.59">you're trying to create an an atmosphere where there's no oxygen>

< start="170.52" dur="5.68">which reduces the pigments to bring out the silver and the copper.>

< start="176.2" dur="1.46">You create smoke>

< 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>

< start="184.62" dur="2.84">and that pushes out the oxygen.>

< start="187.46" dur="4.68">Then you allow the oxygen back in for a short period to clear the chamber>

< start="192.14" dur="9.069">and that oxidation and reduction spasm is important to create the iridescence on the pot.>

< start="201.5" dur="5.129">When the pot comes out of a lustre kiln it still looks like it's just clay>

< start="206.629" dur="2.351">covered in clay>

< start="208.98" dur="8.82">you then have to rub the ochre off with a with an abrasive.>

< start="217.8" dur="5.4">You get to know then whether the blast firing has worked or not>

< start="223.2" dur="4.4">because if it has worked you'll start to see an iridescent red or a silver.>

< start="227.6" dur="5.43">So that's the most magic part is the rubbing off of the pots after the firing>

< start="233.03" dur="5.51">you're never sure what's going to happen and the results are not predictable>

< start="238.54" dur="5.6">but it's the the iridescence seems to have a life of its own.>

< start="244.18" dur="7.1">You have to sometimes slant the pot to the towards the light to see the iridescence>

< start="251.28" dur="2.819">so depending on the angle that you hold the pot depends on whether>

< start="254.099" dur="2.421">you see the iridescence or not.>

< start="256.52" dur="7.42">So it seems quite a mysterious thing happening>