My system is not decent

Chapter 1091 The most critical process

The kiln change, from the unknown at the beginning to the auspiciousness later, is actually a process in which the ancients gradually understood the principle of the kiln change.

In this process, technology has been continuously improved, and kiln changes have begun to be controllable.

In other words, people who came later can already artificially control kiln changes to get the effect they want.

It is recorded in the ancient book "Notes of Nanyao" that the kiln-changed glazed porcelain fired in the Qing Dynasty, although it was fired into the fire to make the glaze flow, the color change was allowed to develop naturally, and it was not artificially predetermined to a certain color.

However, according to the firing technology at that time, it is speculated that the glaze can be artificially configured and the fire can be freely controlled. It can be said that the general law of kiln transformation has been basically mastered.

For example, Langyao red, Langyao green, cowpea red, and apple green in the Kangxi period are the best representatives.

The apple celadon glaze and Langyao green that Chen Wenzhe wants to imitate are transformed from Langyaohong and cowpea red kilns.

During the Yongzheng period of the Qing Dynasty, a large number of famous kilns and famous porcelains of the past dynasties were imitated, and the glazed porcelain of the kiln was also vigorously developed and improved during this period.

Tang Ying, the pottery supervisor at that time, found out the preparation method of the glaze of Jun kiln porcelain in Song Dynasty, and resumed the production of imitation Jun porcelain with the support of the royal family.

Junhong glazed porcelain in Song Dynasty, also known as "rose purple".

In the Yongzheng period of the Qing Dynasty, imitation Junhong glazed porcelain mainly included bowls, plates, bottles, jars, washers, basins, and statues.

The imitation effect is also very realistic, very similar to the real thing.

Among them, the first kiln-change glaze is the most famous, which is the kiln-change glaze.

Kiln variable glaze is a kind of imitation Jun glaze, also known as "Jun red glaze".

During the firing process, many beautiful blue and white colors are formed, and the content of the picture is very rich and omnipresent.

Kiln-changing glaze, in the final analysis, is that some utensils have unexpected glaze color effects during the production process, resulting in different colors.

In fact, the main reason is that the kiln contains a variety of coloring elements. Under the action of oxidation and reduction, the porcelain may have an unexpected glaze color effect after it comes out of the kiln.

Among the green glazed porcelain, the apple green glaze is a kind of kiln-made porcelain, and it is the porcelain made from the cowpea red kiln.

From red glaze to green glaze, this kind of kiln transformation is even more rare, not to mention the final result of kiln transformation is still very beautiful, which is even more precious.

And this kind of apple green glaze, there are actually two kinds, one is cowpea red, or a kind of kiln transformation of sacrificial red.

During firing, most of the copper in the glaze is oxidized to form different shades of green.

Generally, there are dark green spots on the light green ground, and a few places are slightly reddish, resembling fresh apples, hence the name.

There is another kind of overglaze color product with green on the open white porcelain, also called "apple green".

The two are essentially different, easy to distinguish, and easier to fire separately.

These two apple greens are easily distinguished because one uses copper as the coloring agent.

The other common blue glaze is a traditional colored glaze in my country, which uses a small amount of iron oxide as a coloring agent.

That is to say, at the time of production, a practical glaze containing iron elements, after firing, it is an ordinary apple green glaze.

The other is to use copper elements, which is actually a firing method of copper red glaze, but it contains more copper elements and the firing temperature is higher, so that the copper red glaze that could have been fired Porcelain, turned into apple green glaze.

This kind of kiln transformation may be difficult for others, but for modern people, or for Chen Wenzhe who has mastered modern and ancient firing techniques, it is not difficult at all.

The glaze formula and kiln temperature control are not difficult for Chen Wenzhe, so he wants kiln-changed glazed porcelain apple green glazed porcelain, so there is no difficulty.

Although I know the principle and why it can be kiln-changed, but if I really want to fire a qualified kiln-changed glazed porcelain, I need to burn it before I can know whether it will be successful.

On this point, Chen Wenzhe is extremely cautious, because he knows very well that he can grasp the complete change of monochrome glaze.

But he couldn't grasp the changes in some details.

For example, in ancient times, people still couldn't know the reason for the kiln change, and regarded the kiln change as a "freak". Why is it a freak?

Because some porcelains are partially kiln transformed, and the kiln transformed is very beautiful.

It is this kind of kiln transformation that makes each utensil have its own characteristics, and even has good names such as "baby noodles" and "beauties".

No one can fully control this kind of random kiln change, it can only depend on God's will.

The most important thing is that these kiln changes all appeared during the last step of firing.

Therefore, firing is the most critical process in the production process of kiln glaze.

The subtle changes in every detail in this process directly affect the effect of the kiln.

For example, when the kiln is installed, the position of the product is poor, the product is dense or scarce, and the quality of the fuel when the kiln is fired is good or bad, etc.

Of course, there are other reasons.

For example, when firing a kiln, the weight of the reducing atmosphere inside the kiln, whether the temperature is appropriate, the length of the firing time, the cooling speed after the flame is turned off, the climate and the level of craftsmanship all directly affect the transformation effect of the kiln.

Chen Wenzhe can now be regarded as a fusion of five thousand years of porcelain-making craftsmanship, coupled with the blessing of modern technology, so that he has a clear understanding of kiln transformation.

However, if you want the beautiful kiln transformation effect that appeared randomly in ancient times, you still need luck.

Kiln-transformed glazes have always had collection value in history and culture, the reason being the difficulty of making kiln-transformed glazes.

The formation of high-temperature kiln glaze is very difficult, as it is said that "one treasure is rare in a thousand kilns".

People in ancient times also said, "The kiln is unparalleled", which means that the kiln's glaze is unpredictable and the finished product is unique.

Especially at high temperature, the fluidity of the kiln-transformed glaze is extremely high, and it is difficult to effectively control the formation of concrete patterns.

For example, in the glaze of the kiln, such as "waves rolling", "glaze with five colors".

These two effects are actually the strong fluidity of the glaze, rich changes and distinct layers, just like the vitality and flexibility of flowing water.

In the Tang Dynasty, the lines of the kiln glaze were undulating and changeable, and the various colors in the glaze were blended and interlaced, blurred, dynamic, and full of beauty.

Some of the kiln transformations at that time were as dazzling as peacock feathers, which was really mysterious.

In addition to these effects, the kiln changes like brilliant clouds, spring flowers and autumn clouds, and galloping horses.

People regard this kind of porcelain as a magnificent thing, and it is often placed in an important position in the home, and this is the practical value of kiln-changed glazed porcelain.

It's just that if you want to get something atmospheric, you need too much luck.

Because even if you have mastered the rules of blending glazes of various colors, drawing techniques and firing temperatures, there are still many uncontrollable factors in the production process.

So engaging in high-temperature color glaze painting is more like an artistic adventure.

Before painting, you can only imagine the general shape, but you can't estimate the specific color and specific picture.

(End of this chapter)