My system is not decent

Chapter 1105 Masterpiece
Since Tang Sancai is a low-temperature lead-glazed pottery created and fired in the Tang Dynasty, a large amount of flux lead was added to the glaze, which lowered the melting point of the glaze.

Generally, under the condition of about 700 degrees, the glaze can reach the molten state.

At this time, the glaze on the surface of the carcass gradually flows and spreads around, making various colors infiltrate and blend with each other, forming a natural and mottled color effect, thus becoming a special ceramic work with unique style and charm.

Therefore, firing the kiln here is very important.

In this process, it is not only a simple firing process, but also has the function of blending the glaze color, so the most important thing in firing Tang Sancai is to grasp the temperature of the fire.

If it is the original, Chen Wenzhe, who has never seen the authentic Tang Sancai, is really unable to grasp the firing temperature of this low-temperature painted pottery.

But it's different now. He doesn't need to see it with his own eyes, let alone touch it with his own hands. Now, as long as he wants to, he can learn the complete Tang Sancai production process inside the Suihou Pearl, and even the kiln firing technique.

With master Chen Wenzhe's kiln firing technology, even if he has not reached the master level, he only needs to read it once to grasp the key technical procedures, allowing him to fire the most wonderful Tang Sancai kiln.

In fact, if you think about it, you will know that the firing of Tang Sancai is more difficult than Ru kiln, carmine copper red glaze, enamel color and other porcelains?
After all, it is just the position of placement and the control of the temperature inside the kiln.

Just looking at the internal inheritance of Sui Hou's Pearl, Chen Wenzhe knew what to do to achieve the best results.

Therefore, when firing Tang Sancai, especially when firing the first furnace, Chen Wenzhe also needs to constantly check the color of the fire in the kiln.

The fire has been drilled out of the air holes, which is the best state for firing Tang Sancai.

Although you can't see it, at this moment, the change and flow of the glaze color under the burning fire are taking shape in Chen Wenzhe's heart simultaneously.

Add firewood from time to time to keep the kiln warm.

Everything that should be done has been done, and done to the best, Chen Wenzhe's attention was once again focused on the firing of the Ru Kiln.

In the process of firing Tang Sancai, the firing of Ru kiln porcelain has also reached the final stage.

A large number of fine porcelain from Ru kiln is fired again and again, and it is the last time to enter the kiln.

Up to now, the most precious Ru kiln three-color porcelain can already be seen to be beautiful, and Chen Wenzhe has successfully fired it.

The three most expensive colors of Ru kiln: sky blue is the most expensive, pink green is the most precious, and sky blue is very precious.

And the last kiln is full of three-color Ru kiln porcelain of various types.

There are all kinds of flower pouches, flower vases, flower cups, brushes, and so on.

It can be said that the last kiln of Ru kiln porcelain is the culmination of Chen Wenzhe's craftsmanship.

This time, as long as it is a classic Ru kiln, he will make it.

For example, plates, bowls, bottles, washers, statues, lamp holders, narcissus basins, etc. handed down from generation to generation will definitely be imitated.

There are at least three pieces, among which there are many kinds of bottles, such as paper mallet bottles, jade pot spring bottles, gallbladder bottles and so on.

Some of them have obvious external features, such as piled flowers, printing and other decorations, and there are blue and white year numbers at the bottom, which are mostly carved with a knife and pen, as well as high-quality products such as printing and mold printing. Chen Wenzhe also imitated them.

This batch of Ru kiln porcelain must be imitated for display, not for the market, because they are all things with names and surnames.

For example: gooseneck vase with sky blue flowers and grass pattern, pink green lotus cup holder, sky blue lotus petal deep belly bowl, sky blue peony flower dragon pattern bowl, lotus pattern bowl, radiation pattern lotus leaf vessel seat, radiation pattern mouth-closed flower bowl (genuine product Tibetan Nanhe), dark flower double fish dish (genuine product Tibetan British Lun).

In addition, on some high imitation individual objects handed down from generation to generation, because there are characters, the number of pieces made is relatively small, and often only one piece is made.

For example: the word "Fenghua" is mostly seen in statues, bottles, and plates, and it is enough to make one of these.

"Cai Bing" and "Ning" can be seen in small dishes and washers, because the shape is simple, it doesn't matter if you make two more.

Although the text is not a decoration, it still improves the appreciation of utensils.

Such artifacts handed down from generation to generation must be unique, and there is no point in imitating too many.

However, because these utensils are small in size and simple in shape, they are not difficult to make, so some are particularly easy to make, so Chen Wenzhe made two more pieces.

Can't sell it to pay back the money, can't it be used as a gift?
Not to mention anything else, just some museums need this kind of thing to display.

Here I want to emphasize that many of the heavy objects displayed in museums are actually fakes, not genuine ones at all.

Therefore, among the major museums, among the internal professionals, there are professional repairs and professional maintenance. Another important department is professional imitation.

Some of the top museums professionally imitate the classics in their collections and sell them directly in the museum as souvenirs, and they are sold at high prices.

Really good things, as long as they are high imitations, can be sold at high prices.

Now, any one of these things that Chen Wenzhe imitates can be sold for two to three hundred thousand.

If it is a fine imitation made by him, it must be commonplace to sell it for [-] million.

If he deliberately made it old again, as long as there are five or six pieces of such antique porcelain, he can exchange for the three-legged brush washer sent by Wu San.

It is because of this value that Chen Wenzhe made unremitting efforts to imitate a large number of classic porcelain this time.

Let’s talk about Ru kiln porcelain. This time, according to the characteristics of Ru official kilns in the Northern Song Dynasty, Chen Wenzhe has made all the types of utensils he can think of.

For example, some Ru kiln porcelain, because of the shape of the vessel, can be divided into bound feet, flat bottom, three feet, concave feet, sunflower mouth, narrow edge and wide edge.

There are several types of discs, including bound feet, concave feet, flat bottom, straight mouth and lotus mouth.

There are also three-legged washes, string-patterned statues (奁), sets of boxes, statues, square pots, round pots, etc.

There are also a small number of porcelain and plastic crafts such as lotus flower bases, lotus leaf bases, hole-piercing devices, birds, and dragons.

In ancient times, flowers, birds, insects, and fish were also used to decorate porcelain to satisfy the leisure and interest of the royal family and nobles. Chen Wenzhe made some of these.

And these are relatively common types of utensils, after all, they are handed down utensils.

Among the Ru porcelain fired this time, there are some special ones.

Especially some of the large devices, although they are monochromatic glazes, they look really beautiful.

Ru official kiln porcelain at this time must not be simple brush washers, plates, and wine bottles, but large plum vases and bile vases.

In fact, Chen Wenzhe's favorite is the plum vase, and he has discovered that as long as it is a high-quality plum vase, it seems that it is not easy to imitate.

Yuan blue-and-white plum vases are not easy to imitate, and Ru kiln blue-glazed plum vases in the Northern Song Dynasty are not easy to make either.

It's not that Chen Wenzhe can't do well, but that the production of these famous plum vases does not depend entirely on the craftsmanship, but also on the materials.

For example, blue and white plum vases in Yuan Dynasty, no matter how good your craftsmanship is, if there is no Macang soil, everything will be flowers in the mirror and moon in the water.

(End of this chapter)