My system is not decent

Chapter 1158 Burning Shrinkage Ratio

The final step of foreign color production is drawing. After finalizing the draft, wet it with two layers of photographic drawings (matt edges).

It is even easier to take pictures. If you want to copy and produce, after the photographed drawings are dry, use a kind of thick ink with less glue to retrace on them, and then soak them, you can take hundreds of pieces of porcelain.

Many modern porcelains with exquisite patterns come from this way.

Look at this kind of craftsmanship, is it familiar?In fact, this is the decal process.

It's just that the technology is a bit rough at the beginning.

In modern times, this is called Yihua.

Flower transfer is to use the pasting method to transfer the colored patterns on the flower paper to the ceramic body or glaze.

It can be divided into overglaze decals and underglaze decals. Overglaze decals include film transfer decals, clear water decals and glue decals.

For underglaze decals, only the outline of the pattern is printed on the decal paper, and then manually filled in after pad printing;

There are also one-time pasted line colors, called decals with water.

There are two types of decals: paper and plastic film. Paper decals must go through processes such as peeling and washing.

Later, the film decal paper was invented, which eliminates the need for peeling off the paper and facilitates mechanized and continuous operations.

These are all crafts that can not only make beautiful porcelain, but also allow large-scale and rapid industrial production.

Of course, there is no good or bad craftsmanship, only works are good or bad.

Even with applique technology, it is possible to produce the best porcelain.

For example, the Qing Palace Building Office, to be precise, it should be the "enamel work" established by the Qing Palace Building Office.

Their craftsmen are powerful, and they can do anything well.

However, since Chen Wenzhe does not need to mass-produce porcelain, he does not need to use decals, and he has never done it.

Now Chen Wenzhe wants to make a porcelain mother, not for showing off skills, but for learning.

After all, there are too many crafts on the porcelain mother, if he can make one, it means that all his crafts have reached the level of the court manufacturing office of the Qing Dynasty.

This is not easy, let's talk about the porcelain mother.

In the thirteenth year of Qianlong, Tang Ying, who was [-] years old, received the order of Emperor Qianlong and was responsible for firing various glazed vases of Qianlong in Qing Dynasty.

In order to achieve this goal, Tang Ying widely dispatched his right-hand assistants to Ge Kiln, Ru Kiln, Jun Kiln, Ding Kiln, Longquan Kiln, Xianghu Kiln, etc., all famous kilns in the country.

He collected recipes or porcelain specimens, or carefully studied the relevant records in ancient documents, and then repeatedly developed and tested them, and successfully fired them.

Therefore, it is necessary to learn foreign colors and get acquainted with the production techniques of the five famous kilns in the Northern Song Dynasty.

This time I made a Ge Kiln bile bottle, which is also a work imitating the Song Dynasty.

Still the same sentence, if it is the original, Chen Wenzhe has to think hard and think carefully about imitating such a gall bottle.

But now he has no difficulty in making such a bile bottle.

The bile vase made by Chen Wenzhe is not very big, and when it is finally fired, it should be 14.2 cm high, 2.2 cm in diameter and 5.4 cm in foot diameter.

The shape of this piece is an imitation of the real thing.

That is to say, what he is imitating is a famous thing, and the real thing of this work belongs to the old collection of the Qing Palace and is well known to the world.

Here I want to specifically explain that the biggest difficulty in imitating porcelain is the size of the vessel.

It turns out that Chen Wenzhe has never worried about this, because he has experience and can make the final imitation products have very little difference from the real ones.

Besides, imitation products are generally appreciated as genuine products.

However, even if a pair of authentic porcelain is fired together, the size cannot be exactly the same.

Therefore, Chen Wenzhe never cared about this before.

However, if you want to imitate some famous products, such as the Qing Yongzheng powder celadon applique Shuanglong Pankou Zun, this porcelain is the earliest high imitation made by Chen Wenzhe.

After he made it, it caused a sensation as soon as it was exhibited in Yi Nian Tang, why?
It's not that he imitated it well, it's exactly the same as the real one.

High imitation, isn't that what it is?
Not necessarily, the reason why Chen Wenzhe imitated the standard is because of his excellent technique.

When he was making it, the biggest technical difficulty for him was the glaze color, that is, pink blue glaze.

At that time, he had just started to study celadon porcelain, not to mention the powder celadon glaze of the official kiln in the Yongzheng period.

It was very rare for him to be able to do it at that time.

The biggest difficulty in imitating this kind of famous porcelain worth more than [-] million yuan is not the glaze color, but the shape of the vessel.

Some people will say, what is the difficulty of the shape?Isn't it just a Handicap Zun?
What is Handicap Zun?Isn't it just a bigger bottle with a mouth shaped like a plate?

Although this thing is more difficult to make than a Tutong bottle, but for a slightly skilled porcelain worker, can this be considered a problem?

In fact, the glaze color and the shape of the vessel are not the main problems. The biggest problem is the size.

Although all of us are in contact with porcelain every day, few people know, or few people notice, that the size of the porcelain embryo and the final fired product is completely different.

Before firing, when the embryo is made, the size is much larger.

Only after being fired in the kiln, the embryo will shrink to the state we usually see.

When it comes to bottles, our feelings won't be too deep.

If you want to talk about tea bowls, then you have feelings.

Usually, the tea bowls we use for drinking tea are only about ten centimeters high at most, but such teacups, the embryos that have just been made, are still more than ten centimeters high before they are fired in the kiln.

The height is obvious, and there is a big circle of fat. This type of tea set is too big.

Here it involves a shrinkage ratio of fired porcelain, which is called firing shrinkage in professional terms.

Why do I say this, because the shrinkage ratio is too important to make Ge kiln wares.

We all know the characteristics of Ge kiln. The most famous one is Baijun Sui.

Porcelain from Ru kiln is also divided into pieces, but it is not as distinctive as Ge kiln.

Also, it turned out that Chen Wenzhe knew what happened and didn't know why. He knew how to do many crafts, but he didn't study them thoroughly.

And as the number of fired porcelains increased, the techniques involved increased, and he became more and more aware of many details.

For example, the opening of the porcelain, in fact, is due to the difference in thermal expansion coefficient, which will cause the glaze to break.

Broken, and broken beautifully, that allows the art to thrive.

However, if we want to continue firing porcelain that allows the glaze to split, we still have to face the problem of shrinkage ratio in the process of firing porcelain.

If you want to control the firing shrinkage ratio, you must know the firing shrinkage ratio.

Firing shrinkage is a physical quantity that indicates that the volume or length of ceramics, refractory materials, bricks and tiles, etc., will decrease in volume or length during the firing process.

This is a technical index to evaluate the quality of the above materials, and it is also a main parameter for making molds.

(End of this chapter)