Ancient Invention and Technology
So thereby a little preamble to some of these things learned entries. When it comes to writerly research, this was a class to die for :-) My classmates' projects (we all helped each other out where we could) included recreating nettle weavings, stone and bone implement construction, the recreation of a Roman shield, furniture carving replication, recreation of a bread oven, comparison of chicha beer making processes, fashioning of arrow tips, a scalpel, tanning and curing of hides, making of stone and shell beads, carding and cleaning of various wool, etc.
One of the "new" things was coming to better understand, in terms of forging and pottery, the ideas of flux, reducing and oxidizing atmospheres and why they are so important. A flux can be any addition to the clay or metal that alters its melting/sintering temperature. For example, the hematite used to create a cobalt blue in a bead completely melted my faience beads, while those who added other fluxes for different colors ended up with a glazed bead at the same temp. Among pigments added include ground lapis, arsenic ores, cinnabar, etc. It all has to do with the chemical/mineral change and the point at which various carbons, salts, sulfides and carbonates become gas. The amount of oxygen that reaches the pots at various points in the firing will also alter their composition. This occurs at different temperatures for all the different kinds of ceramic effects. Various additions of temper can alter how the pots shrink once dried and fired, affecting their strength, and how thin the walls can be made. We found that pots tempered with chopped straw had some of the least shrinkage and cracking, with various amounts of sand serving a similar purpose. Other tempers include rice husk, crushed shell and grog (broken ground up previously fired pots). Porosity tends to be important in tropical regions because it helps cool the liquids within. Resin was introduced in some pottery to reduce porosity.
About 500 degrees C. you have low-fired pottery, which is mostly solidified and hardened, above these temps, up into the 800s to and above, high-fired pottery that have almost a glass like property as the quartz minerals melt. While the flux alters the sheen and color and melt-point, it can also be part of the firing process, from the ash blowing across the pots. But to get these effects you need to start with a slow rise in the heat to prevent the pots from blowing up until the water is removed from intercrysalline spaces. Then you have to insulate the pots to maintain the heat. You put slow burning fuel on the bottom of the your kiln, and use plaster and ash to insulate. Some kiln methods involve completely burying the pots in ash and coal and dung. I have a bunch of photos of the kiln we built that I will try to upload soon.
There were two main styles of ancient kilns were updraft and down draft, where the fire is lit at one end and drawn through the kiln to heat the pots as the heat seeks the chimney out. A tourniere is used to draw the air in to feed the constantly stoked fire. A minimum firing of this type usually lasted about 12-24 hours with a cool down lasting several days. Various dung additions can add to the carbon content of the kiln and the atmosphere that may change the colors of the pots. It's a tentative process getting it to a temperature where it won't melt the pots, nor fail to fire them. I had one pot shatter, another scorch, and a third that came out halfway decent :-)
M

