Here are some photos of the process of making the ancient clay musical instrument called Xun.
Rolling coils
Adding coils to the base
Personally, I prefer to let the surface show the slow work of my hands and fingers
Firing is an exciting process
Firing the Xun is done by simply setting up a bank of coals, then adding the pots after heating them on the perimeter to be sure they are completely dry. the next stage is to keep the heat very even and slowly raise the temperature so steam is formed very slowly. 212 degrees is the boiling point of water (212 degrees F) and at about 284 degrees F (140C) the chemically combined water begins to break free from the clay crystals. Beyond this point (at about 500 degrees F (260C) the H2O is driven completely out and the fire can progress quickly from that point. The essence of what I consider ‘Raku’ is a rapid firing that allows the potter to interact intuitively with the process. A long, slow firing is less likely to bring this level of focused attention.
The management of an open fire is a tricky thing and requires deep attention. This is where the element of air plays a role. An open fire is a very live thing. Kiln firing is simpler, of course, but a little more removed from the action, and controlled, so the results are much more predictable. Since I identify my work as ‘Raku’ the element of chance is encouraged.
After the Xun is fired, the clay is still soft enough that I can further shape the opening and refine the way it sounds. I can open the finger holes and tune it to preferred range of notes. I use lot of small files and can drill some new holes when necessary. Mostly 8 holes are quite enough; six on the front and two for your thumbs that I hardly use, myself.
