This little town situated at the western shore of the Inlay Lake, Shan State, Burma, and its occupants – hardly 100 Shan families who live in delightful, customary Shan cabins and houses containing wood and bamboo outlines, tangling, bamboo and wood floors and cover rooftops – are prestigious for the creation of astounding stoneware/ceramic, which here as wherever in the nation is both an industry and a workmanship. In the wake of having gone by this primary ceramics focus of the Shan State, seen the potters at work and washed in this current town’s climate you will unquestionably take a gander at earthenware through various eyes.
An essential reality is that the predecessors of Khaung Daing’s potters would most likely not perceive that decades, hundreds of years even centuries have gone since they passed away and would surely have the capacity to quickly 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 techniques since they themselves once did this work.
The essential materials utilized, their sources, the strategies for their readiness, the instruments, the methods of framing the stoneware and its consuming, the outlines, the sizes, the various types of ceramics, the sorts of ovens utilized, and so forth., everything – completely everything – has continued as before. As for earthenware, time has clearly stopped and will most presumably keep on doing so. Earthenware is normally a privately-owned company and the information and abilities expected to play out this art are passed on from era to era; and today’s potters’ descendents are not liable to change anything. In any case, that is simply the future and we will now worry about the present and Khaung Daing’s available day earthenware workshops.
Presently as ever ceramics or stoneware assumes a focal part in Burma’s family units as earthenware is put to endless uses: plates, bowls, mugs, measuring utencils, vases, pots of any size to cook, save and serve nourishment and refreshments, to make rice wine, to plant blossoms and plants into them, as store for cash, adornments, gold, and so forth (still regular in country zones), statues, puppets, youngsters toys, internment urns, et cetera; all stoneware. In like manner, all these various types of ceramics articles are delivered in Khaung Daing Village.
The fundamental material utilized is preparing earth. Either damped and massaged earth powder (earthenware) or beforehand absorbed water for a more drawn out time and after that after the water is poured away stamped until smooth and flexible. Once in a while, 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 earthenware, for example, flatware is the ‘wheel tossing’ procedure. Give us now a chance to watch a potter utilizing this system 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 associate) a piece of mud is set in the inside that is then pulled and pushed by the potter into a round and hollow shape. He then presses his thumb onto the highest point of the chamber, making an opening that he grows while pulling up the sides. Thereafter he starts to shape the lip utilizing one hand on either side of the edge of the article. After fruition the potter runs a thin wire under the base or foot of the piece and expels it from the wheel. The stoneware is delivered in one continuous and smooth process out of one chunk of mud.
For extensive pots and jugs the ‘snaking method’ is connected. Enormous jugs -, for example, those called ‘hundred-holder’ 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 tremendous stoneware 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 produce the potter shapes out of a long string of mud the mass of the lower half of the container. The string is framed 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 route in which the lower part was made. Contingent upon the utilization the jug is expected for, further components, for example, circles close to the opening/mouth are included. The fourth stage comprises of putting the ‘a large portion of containers’ as one and giving the entire thing a chance to dry in the sun.
Subsequent to being dried ceramics articles are terminated (additionally called heated or consumed). This is normally done in ovens yet when lower consuming temperatures and shorter consuming periods suffice – similar to the case with standard earthenware pots – it is finished by what is called ‘start shooting’. The potters just 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 stoneware a glue is made of powdered soot or magma from the Shan mountains, a little bit of dirt and ‘thamin-yippee’ (rice water that is spilled out of the pot when the rice is prepared cooked and fills in as the paste or restricting specialist) and slapped on the dried ceramics before the consuming procedure. The heating of coated ceramic that is in some cases called ‘center fire product’ needs high temperatures of 1.650 to 2.192 degrees F/900 to 1.200 degrees C.
Different strategies for brightening ceramics are painting or the stamping and additionally etching of plans. Stoneware can be painted before or after the consuming.
With respect to ovens there are fundamentally two various types: those worked over the ground and those worked under ground. Both of these are supposed ‘discontinuous ovens’ since they should be doused before being emptied and revived. By differentiation, ‘consistent furnaces’ can be stacked and energized 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 stoneware is completely stacked in the furnace and the spaces between the greater articles are loaded with littler earthenware, for example, kids toys (play pots, puppets, and so forth.) the oven is loaded with kindling, which is set land before the passageway is legitimately 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 stoneware – the furnace is permitted to slowly chill off for various days before it is opened to empty the ceramics.
To watch every one of the phases of the entire stoneware making process performed in old customs by the Shan individuals of Kyaung Daing is an instructing as well as an extremely engaging occasion that makes you build up a vibe for ceramic 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 container you are drinking out and the dishes in which your sustenance is presented with various eyes.