Shinot Noir

Warning: some Shino enthusiasts may find content in this post offensive and/or snarky. 

When I was in Korea this last  October, the subject of Shino came up. Shino, like Raku, Chawan, and Geisha, tends to have a different set of meanings and expectations, depending on who you are talking to (usually Japanese vs non-Japanese).

Most Shino enthusiasts in Japan get their pantaloons in a twist when they see this smooth orange, white, or carbon trapping glaze that most Americans call Shino. “Sore wa Shino janai” is a  common thing to hear when showing off your American Shino to a Japanese Shino lover.

In Japan, Shino is a combination of clay, glaze, and firing method. The definition is somewhat cramped , and leaves little wiggle room. Same with Raku, Chawan, and Geisha. There is all this history and tradition hanging on at the end of the label, foiling our attempts to  add new dimensions to the term.

Here’s the problem: The Shino purists are vastly outnumbered. Actually, I’m one of them (to a degree) but acknowledge that on the worldwide level, Shino means more  to a whole lot of world potters and enthusiasts. I really wish the word had not been co-opted by English, but it has, so oh well…

Embracing this trend, I have decided to widen the definition of Shino even further. Here are some examples:

Satin black Shino
Flowing matte white Shino
Soft blue Shino
Clear Shino
Bizen Shino
High silica Shino

Unglazed low fire Shino
Petroleum Flex Shino

(I do make a ‘Shino’ glaze, but do not call it Shino for fear of reprisal.)

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