Saggar

Last updated
Saggars in use in the Manufacture nationale de Sevres Sevres - Fours - four de blanc 16.jpg
Saggars in use in the Manufacture nationale de Sèvres
Bungs of saggars inside a bottle kiln Gladstone biscuit bottle oven 3811.JPG
Bungs of saggars inside a bottle kiln

A saggar (also misspelled as sagger or segger) is a type of kiln furniture. [1] [2] [3] It is a ceramic boxlike container used in the firing of pottery to enclose or protect ware being fired inside a kiln. The name may be a contraction of the word safeguard. [4]

Contents

Saggars are still used in the production of ceramics to shield ware from the direct contact of flames and from damage by kiln debris. [5] [6] [7]

Traditionally, saggars were made primarily from fireclay. [8] [9] Saggars have been used to protect, or safeguard, ware from open flame, smoke, gases and kiln debris: [10] Modern saggars are made of alumina ceramic, cordierite ceramic, mullite ceramic silicon carbide [11] [12] and in special cases from zirconia. [13]

Ming porcelain

The manufacturer of saggars in the fifteenth and sixteenth centuries occupied a large proportion of space, labour and material (fuel and clay) at the imperial manufactury, and there were more kilns devoted to creating them than to firing the final product. [14]

Staffordshire potbanks

By far the largest number of UK pottery manufacturers were based in and around Stoke-on-Trent in a region known as The Potteries. Their businesses, locally known as potbanks, fired their wares in distinctive bottle ovens. At the turn of the twentieth century over 4,000 of these were in use, although by 2014 only 47 survive, all of which are no longer in production but are listed buildings.

The saggars were used for the biscuit and the glost firing. They were expected to last for about 40 firings; each potbank made their own in a saggar making workshop. Saggars were made from fireclay, by a saggar maker and two assistants: the framemaker and the bottom knocker. The framemaker beat the clay into a sheet on a metal table using a large mallet, the mow or mawl. Using a frame he would cut it to size, sprinkle it with sawdust and wrap it around a wooden block to make the walls. The framemaker was usually an apprentice in his late teens. The bottom knocker, usually a boy in his early teens, did the same on a smaller scale, constructing the round or banjo-shaped bottom. Again the mow was used to beat the air out of the clay and flatten the sheet. The saggar maker was an experienced craftsman who paid his assistants out of his piece-work earnings: he took the bottom and the sides onto a wheel and using his thumbs joined the sides to the bottom. [15] The green saggars were dried and then placed on the top of bungs during the next firing of the kiln.

The unfired ceramic ware was placed in saggars and then biscuit fired, before being glazed and again placed in saggars prior to being glost fired. Ware may then be decorated, and placed on refractory bats and fired again such as in a muffle kiln.

A saggar maker's bottom knocker [16] was a job title considered sufficiently amusing for it to be featured on the television panel show What's My Line?. [15] Whilst saggar making was a skilled craft, bottom knocking was far less skilled, consisting of beating clay into a metal ring. [17]

Studio pottery

From the twentieth century studio potters have used saggars to create decorative ceramic pieces. [18] In this use saggars are used to create a localised reducing atmosphere, [18] or concentrate the effects of salts, metal oxides and other materials on the surface of their ware. [19]

Some pots may be carefully prepared for saggar firing. One method creates a smooth surface covered with clay slip, terra sigillata, which responds particularly well to the saggar technique. This slip covering may be burnished to achieve a gloss. Prepared pots are nestled into saggars filled with beds of combustible materials, such as sawdust, less combustible organic materials, salts and metals. These materials ignite or fume during firing, leaving the pot buried in layers of fine ash. Ware produced in filled saggars may display dramatic markings, with colours ranging from distinctive black and white markings to flashes of golds, greens and red tones. Porcelain and stoneware are ideal for displaying the surface patterns obtained through saggar firing. In addition to the use of saggars, some studio potters bundle pots and burnable materials within a heavy wrapping of metal foil.

Saggar clay

Saggar clay [20] is a coarse grained fire clay which gets its name from the saggars which it is used to make.

Related Research Articles

<span class="mw-page-title-main">Kiln</span> Oven for clay products

A kiln is a thermally insulated chamber, a type of oven, that produces temperatures sufficient to complete some process, such as hardening, drying, or chemical changes. Kilns have been used for millennia to turn objects made from clay into pottery, tiles and bricks. Various industries use rotary kilns for pyroprocessing and to transform many other materials.

<span class="mw-page-title-main">Pottery</span> Craft of making objects from clay

Pottery is the process and the products of forming vessels and other objects with clay and other raw materials, which are fired at high temperatures to give them a hard and durable form. The place where such wares are made by a potter is also called a pottery. The definition of pottery, used by the ASTM International, is "all fired ceramic wares that contain clay when formed, except technical, structural, and refractory products". End applications include tableware, decorative ware, sanitaryware, and in technology and industry such as electrical insulators and laboratory ware. In art history and archaeology, especially of ancient and prehistoric periods, pottery often means vessels only, and sculpted figurines of the same material are called terracottas.

<span class="mw-page-title-main">Raku ware</span> Type of Japanese pottery traditionally used in tea ceremonies

Raku ware is a type of Japanese pottery traditionally used in Japanese tea ceremonies, most often in the form of chawan tea bowls. It is traditionally characterised by being hand-shaped rather than thrown, fairly porous vessels, which result from low firing temperatures, lead glazes and the removal of pieces from the kiln while still glowing hot. In the traditional Japanese process, the fired raku piece is removed from the hot kiln and is allowed to cool in the open air.

<span class="mw-page-title-main">Earthenware</span> Nonvitreous pottery

Earthenware is glazed or unglazed nonvitreous pottery that has normally been fired below 1,200 °C (2,190 °F). Basic earthenware, often called terracotta, absorbs liquids such as water. However, earthenware can be made impervious to liquids by coating it with a ceramic glaze, and such a process is used for the great majority of modern domestic earthenware. The main other important types of pottery are porcelain, bone china, and stoneware, all fired at high enough temperatures to vitrify. End applications include tableware and decorative ware such as figurines.

<span class="mw-page-title-main">Japanese pottery and porcelain</span> Overview of Japanese pottery and porcelain

Pottery and porcelain, is one of the oldest Japanese crafts and art forms, dating back to the Neolithic period. Kilns have produced earthenware, pottery, stoneware, glazed pottery, glazed stoneware, porcelain, and blue-and-white ware. Japan has an exceptionally long and successful history of ceramic production. Earthenwares were made as early as the Jōmon period, giving Japan one of the oldest ceramic traditions in the world. Japan is further distinguished by the unusual esteem that ceramics hold within its artistic tradition, owing to the enduring popularity of the tea ceremony.

<span class="mw-page-title-main">Fire clay</span> Refractory clays used in ceramics manufacturing

Fire clay is a range of refractory clays used in the manufacture of ceramics, especially fire brick. The United States Environmental Protection Agency defines fire clay very generally as a "mineral aggregate composed of hydrous silicates of aluminium (Al2O3·2SiO2·2H2O) with or without free silica."

<span class="mw-page-title-main">Refractory</span> Materials resistant to decomposition under high temperatures

In materials science, a refractory is a material that is resistant to decomposition by heat or chemical attack that retains its strength and rigidity at high temperatures. They are inorganic, non-metallic compounds that may be porous or non-porous, and their crystallinity varies widely: they may be crystalline, polycrystalline, amorphous, or composite. They are typically composed of oxides, carbides or nitrides of the following elements: silicon, aluminium, magnesium, calcium, boron, chromium and zirconium. Many refractories are ceramics, but some such as graphite are not, and some ceramics such as clay pottery are not considered refractory. Refractories are distinguished from the refractory metals, which are elemental metals and their alloys that have high melting temperatures.

<span class="mw-page-title-main">Fire brick</span> Building material

A fire brick, firebrick, fireclay brick, or refractory brick is a block of ceramic material used in lining furnaces, kilns, fireboxes, and fireplaces. A refractory brick is built primarily to withstand high temperature, but will also usually have a low thermal conductivity for greater energy efficiency. Usually dense fire bricks are used in applications with extreme mechanical, chemical, or thermal stresses, such as the inside of a wood-fired kiln or a furnace, which is subject to abrasion from wood, fluxing from ash or slag, and high temperatures. In other, less harsh situations, such as in an electric or natural gas fired kiln, more porous bricks, commonly known as "kiln bricks", are a better choice. They are weaker, but they are much lighter and easier to form and insulate far better than dense bricks. In any case, firebricks should not spall, and their strength should hold up well during rapid temperature changes.

<span class="mw-page-title-main">Salt glaze pottery</span> Pottery with ceramic glaze made of salt

Salt-glaze or salt glaze pottery is pottery, usually stoneware, with a glaze of glossy, translucent and slightly orange-peel-like texture which was formed by throwing common salt into the kiln during the higher temperature part of the firing process. Sodium from the salt reacts with silica in the clay body to form a glassy coating of sodium silicate. The glaze may be colourless or may be coloured various shades of brown, blue, or purple.

<span class="mw-page-title-main">Bizen ware</span> Type of Japanese pottery

Bizen ware is a type of Japanese pottery traditionally from Bizen province, presently a part of Okayama prefecture.

<span class="mw-page-title-main">Gladstone Pottery Museum</span> Industrial museum in Staffordshire, England

The Gladstone Pottery Museum is a working museum of a medium-sized coal-fired pottery, typical of those once common in the North Staffordshire area of England from the time of the industrial revolution in the 18th century to the mid 20th century. It is a grade II* listed building.

<span class="mw-page-title-main">Ceramic glaze</span> Fused coating on ceramic objects

Ceramic glaze, or simply glaze, is a glassy coating on ceramics. It is used for decoration, to ensure the item is impermeable to liquids and to minimise the adherence of pollutants.

<span class="mw-page-title-main">Glaze defects</span> Flaws in a ceramic glaze

Glaze defects are any flaws in the surface quality of a ceramic glaze, its physical structure or its interaction with the body.

This is a list of pottery and ceramic terms.

<span class="mw-page-title-main">Bottle oven</span>

A bottle oven or bottle kiln is a type of kiln. The word 'bottle' refers to the shape of the structure and not to the kiln's products, which are usually pottery, not glass.

<span class="mw-page-title-main">Potbank</span>

A potbank is a colloquial name for a pottery factory in North Staffordshire used to make bone china, earthenware and sanitaryware.

Dick Lehman is an American ceramics artist based in Indiana. Dozens of articles and photos featuring his techniques and insights have appeared in periodicals and books on ceramic art since 1985, including 34 articles in U.S.-published Ceramics Monthly, the largest circulating magazine in the field, plus articles in 11 other international periodicals.

<span class="mw-page-title-main">Mantou kiln</span>

The mantou kiln or horseshoe-shaped kiln was the most common type of pottery kiln in north China, in historical periods when the dragon kiln dominated south China; both seem to have emerged in the Warring States period of approximately 475 to 221 BC. It is named after the Chinese mantou bun or roll, whose shape it resembles; the ground plan resembles a horseshoe. The kilns are roughly round, with a low dome covering the central firing area, and are generally only 2 to 3 metres across inside. However it is capable of reaching very high temperatures, up to about 1370°C. There is a door or bricked-up opening at the front for loading and unloading, and one or two short chimneys at the rear.

<span class="mw-page-title-main">Stilt (ceramics)</span>

Stilts are small supports used when firing glazed ceramics to stop the melting glaze from fusing them to each other or the kiln. Stilts are a form of kiln furniture. Their presence in archaeological sites, where they may be known as pernette, along with other kiln furniture such as saggars and kiln bars can be used to support a case for local production. Some potters avoid the need for stilts by not glazing the bottom of their products. This is known as dry footing.

<span class="mw-page-title-main">Kiln furniture</span>

Kiln furniture are devices and implements inside furnaces used during the heating of manufactured individual pieces, such as pottery or other ceramic or metal components. Kiln furniture is made of refractory materials, i.e., materials that withstand high temperatures without deformation. Kiln furniture can account for up to 80% of the mass of a kiln charge.

References

  1. New Ideas And Proven Solutions For Kiln Furniture Made From Cordierite And Oxide Ceramics. W.Haase & L.Sedda. Ceramic Forum International. Ber.DKG 76, No.7, 1999.
  2. Saggar Plants In Tableware Production. G. Sper. Interkeram. 41, No.8, 1989.
  3. A.Dodd & D.Murfin. Dictionary Of Ceramics; 3rd ed. The Institute of Minerals. 1994.
  4. 'The Concise Oxford Dictionary of English Etymology'. T.F. Hoad. Oxford University Press. 1996. Retrieved October 14, 2009 from Encyclopedia.com: http://www.encyclopedia.com/doc/1O27-saggar.html
  5. 'Extending The Useful Life Of Saggars'. Karpova N.G., Voitovich V.A. Glass and Ceramics. Vol. 37, No 12. 1980
  6. http://amic.biz/Data%20Brochure/AMI%20Kiln%20Furniture%20%28Cordierite-Mullite-Corundum%29.pdf. [ dead link ]
  7. http://www.ikf-solutions.com/pdf/KF%20for%20TC%20CFI%20April09.pdf. Archived 2011-07-13 at the Wayback Machine
  8. 'A Study of the Properties of Saggar Mixtures. Part XVIII: The Use of Fused Silica as Grog in Saggar Mixes.' White R.P, Rigby G.R. British Ceramic Research Association.RP13. 1948
  9. 'Kiln Furniture Mixes Containing Highly Refractory Grog'. White R.P, Rigby G.R. British Ceramic Research Association. RP161. 1952
  10. "Archived copy" (PDF). Archived from the original (PDF) on 2012-03-07. Retrieved 2012-11-26.{{cite web}}: CS1 maint: archived copy as title (link).
  11. 'Development Trend Of Dense Alumina Saggar For Electric Materials'. Hayashi K. Ceram. Jap. 38, No.8, 2003. pg.561-563
  12. 'Silicon Carbide Sagar For Firing Non-oxide Ceramics.' Sakaguchi M., Taskeshita S., Hirota T., Aratani K., Kawakami T. Refractories in the Ceramics Industry. Aachen Proc., 32nd Int.Colloquium on Refractories Aachen, 12–13 October 1989, pg.75-78 Verlag Schmid GmbH
  13. Sonntag, Kiss; Banhidi, Weber (2009). "New Kiln Furniture Solutions for Technical Ceramics". Ceramic Forum International. 86 (4): 29–34.
  14. Anne Gerritsen, The City of Blue and White: Chinese Porcelain and the Early Modern World (Cambridge: Cambridge University Press, 2020), 144-46
  15. 1 2 Saggar making
  16. "The Sagger-maker's Bottom-knocker". Archived from the original on 2012-07-17. Retrieved 2010-06-10.
  17. 'Automatic Saggar Handling Plants'. Lippert J., GmBH & Co. Pressath, 1991
  18. 1 2 "Archived copy" (PDF). Archived from the original (PDF) on 2008-08-21. Retrieved 2010-06-10.{{cite web}}: CS1 maint: archived copy as title (link)
  19. Cort, Louise. Seto and Mino Ceramics. University of Hawaii Press, 1992, p. 68
  20. alternative spelling at the Free Dictionary