Email:

Soshyfish@outlook.com

Shop our sale!

The Clay: Crafting the Jian Zhan (Part 1)

The Clay: Crafting the Jian Zhan (Part 1)

Posted on September 10 2025, By: suyonghua

The exquisite, mystical, and endlessly captivating Jian Zhan begins with what seems like humble, unremarkable clay.

To create a Jian Zhan, clay is shaped into a body, bisque-fired, glazed with carefully prepared mineral glaze, and finally reduction-fired at around 1300°C. The result is a finished piece—a true Jian Zhan.

But not just any clay can be used.

The clay must be naturally unpolluted, sourced specifically from Nanping City, Fujian Province, China—mainly from Shuiji Town in Jianyang District.

The essential clays include:

Oxblood Clay from Houjing Village (Left second from the below picture, high iron content, 8–10%, makes up ~70% of the mix)

Rose-red Clay from Dali Village (Left third from the below picture, low iron, improves heat resistance and shape stability, ~20%)

Ochre-white Clay from Nanshan Village (Left fourth from the below picture, high silica and aluminum, aids reduction reaction, ~10%, indispensable)

Only by blending these three clays in precise proportions can the distinct iron-rich body—the “iron biscuit”—of Jian Zhan be achieved.

The mixed clay undergoes washing, kneading, and aging before it becomes ready for shaping.


While the process once relied entirely on skilled handwork, machines like pug mills are now commonly used, improving efficiency.

Using only these three clays produces the authentic iron body, but often leads to cracking or warping—resulting in low success rates. Some manufacturers add kaolin to improve yield, but this dilutes the distinct iron texture and undermines the essence and charm of true Jian Zhan.

While the raw materials may seem ordinary, and clay recipes vary only slightly among kilns, the human factor becomes crucial beyond this stage. The potter’s skill in shaping, glaze formulation, and kiln control all play vital roles.

Yet, even with expertise, achieving truly extraordinary pieces—like rare oil spots, partridge feathers, or iridescent “Yohen” glazes—still depends greatly on luck.

Mastery meets serendipity: only then can mysterious, one-of-a-kind masterpieces emerge.

This is the allure of Jian Zhan.


 

0 comments

Leave a comment