My system is not decent

Chapter 1104 Infinitely Changing Glaze Colors

Originally, Chen Wenzhe was able to express the momentum and spirit of his works through porcelain sculptures, but now he must be able to go a step further, and can express a group of spirited and defiant horses flawlessly.

Of course, it is not a big deal to simply shape the shape of the device, the main thing is to apply glaze.

The most amazing thing about Tang Sancai is its gorgeous and changeable glaze color.

From the single-color glaze of the Han Dynasty, to the double-color glaze of the Sui Dynasty, to the three-color glaze of the Tang Dynasty, the wisdom of the predecessors is condensed.

The thickness of the glaze color determines whether the blending of the two colors is harmonious and whether the flow is natural.

The infinite change of glaze color has made countless three-color artists obsessed with it.

The most successful part of Tang Sancai is its changeable glaze color and exquisite shape.

Usually, the Tang Sancai we see are mostly green, yellow, white and brown glaze colors, and blue and black glaze colors are less.

The color of the glaze comes from the color response of different metal oxides in the glaze in different firing atmospheres of the kiln.

After testing the composition of the unearthed three-color glaze, it was found that the main components of the three-color glaze are lead silicate and metal coloring agent.

The craftsmen of the Tang Dynasty successfully mastered the coloration of different metal oxides and formulated glazes of different colors through thousands of experiments.

Add quartz and lead powder to the glaze, use lead oxide as a flux, and add copper, iron, cobalt, manganese, antimony, chromium and other ingredients in an appropriate amount.

For example, copper oxides are green, iron oxides are yellow or tan, cobalt oxides are blue, and manganese oxides are purple or black.

To be precise, green glaze is the addition of copper oxide to the glaze, and the copper makes the glaze green in the oxidizing atmosphere of the kiln;

Yellow glaze: iron oxide is added to the glaze, and the iron makes the glaze appear yellow, brown or brownish red in the oxidizing atmosphere of the kiln;

White glaze: Because the glaze is made of porcelain clay and other raw materials, the porcelain clay contains more or less iron oxide components, and iron oxide can make the glaze appear blue in a reducing atmosphere.

Therefore, through the processing and refining of the glaze, the iron oxide content in the glaze is reduced to an extremely low level, and the fired glaze is white.

Black glaze: increase the content of iron oxide in the glaze, the higher the iron content (up to 8%) in the oxidizing atmosphere of the kiln, the darker the color after firing.

By adjusting the iron content, purple and black glazes can be obtained.

Blue glaze: The glaze uses cobalt as the colorant, and the cobalt makes the glaze blue in the reducing atmosphere of the kiln.

In order to achieve a certain special effect and produce a special color, the craftsmen have successfully fired brown red, orange yellow, light green, emerald green, Colors such as dark green, sky blue, hesse, eggplant purple, etc.

And these glaze colors flow and blend with each other, creating the brilliant and gorgeous style of Tang Sancai art.

Of course, these are easy to say, but how to adjust the glaze color and what kind of kiln temperature to fire it still requires experience.

For example, what kind of glaze colors blend with each other to get the best effect?

We all know that when two colors merge, a new color is formed.

This changeable and complex color will also form this color-changing effect during the process of blending and flowing the glaze.

Here, experience is very important, and it can best reflect the staggered and interlaced glaze colors, and what kind of unique painted pottery will be formed in the end.

Finally, the finished product is fired, with primary color, secondary color and mixed color.

And at this moment, you can really know what kind of double color will be formed in the staggered and interlaced glazes, and what kind of colors will be combined in the end.

This is the most wonderful aspect of tri-color pottery, because before it comes out of the kiln, no one can tell what a piece of work will be fired in the end.

This is the final effect of more glaze colors, and because of more glaze colors, it is not easy to apply glaze.

There are two commonly used glazing methods for Tang Sancai, namely the divisional glazing method and the stippling glazing method.

The divisional glazing method is to apply different glaze colors on different parts. Several glaze colors are applied to one utensil at the same time. The combination and blending of glaze colors will produce a new effect.

The stippling glaze method is to use a brush to mark some parts of the utensils with uniform or inconsistent sizes, or point-shaped, or block-shaped points, or strip-shaped lines.

Some are neatly arranged, and some are naturally random.

After high-temperature melting, the flow and fusion of glaze colors form a fantastic picture.

This kind of picture is full of virtual reality, mottled and mottled, like a sunset, like a dream, forming a natural art style.

But after achieving this state, the production of each piece of Tang Sancai is only about [-]% complete, and the final key step is firing in a kiln.

Of course, because the firing conditions are different from those of porcelain, there can only be Tang Sancai in one kiln. After all, the firing temperature is too low.

Therefore, when the first batch entered the kiln, Chen Wenzhe produced a large number of Tang Sancai.

It’s just that there are not many classic types in it. Among them, the horses are mainly divided into glaze colors, including black glazed horses, yellow glazed horses, and red glazed horses. Of course, there are also red, green and white three-color ones.

As for more glaze colors, more colorful pottery horses can be produced by blending and firing.

Of course, the same is true for other camel figurines, which are always glazed instead of shaped.

This kind of Tang Sancai is troublesome to make, but with the mold, the mold making is still very fast, but the shape of the made can only be exactly the same.

Chen Wenzhe adjusted some glazes of various colors and used them all.

Hesitating to make human figurines, camel figurines, horses and other types of utensils is more troublesome, so Chen Wenzhe finally used pottery carts to fill the kiln, and pulled out a large number of ordinary utensil embryos.

This is actually the wheel system in Tang Sancai, which is suitable for making round vessels.

Such as cups, plates, bowls, dishes, beans, bottles, stoves, pots, cans, etc. in daily utensils.

However, there are also some oblate, ellipsoid, irregular objects and other utensils that use the molding method.

After all these are finished, it is not possible to enter the kiln immediately, because each piece of shaped utensil needs to be completely dried in the shade before it can be bisque-fired, so as to avoid deformation and cracking of the carcass during high-temperature firing.

Tang Sancai is produced in this way. It is not fired at one time, and its firing is divided into two steps.

The first is biscuit firing, first making plain tires and firing them in kilns.

In this first firing, the carcass is fired at a temperature of about 1000°C to 1100°C, taken out, glazed, and then put into the kiln for the second firing.

After entering the kiln and firing at a temperature of 800°C to 900°C, the glaze on the carcass begins to melt, and the glaze juice melts and flows to infiltrate each other, forming colorful colors.

The colorful colors at this time are definitely not fancy, beardless, and chaotic glaze colors, but the glazes that have been specially prepared through experience and form an effect that the author wants.

This is the most exciting and crucial step in the firing of Tang Sancai.

It is also in this step that the quality of a Tang Sancai work is determined, and to do this step well requires technology and experience.

(End of this chapter)