My system is not decent

Chapter 1190: One of the Few Ding Kiln Black Glazes

When we talked about Ding Kiln in the past, we all knew how good the white porcelain of Ding Kiln was. The ivory white of white porcelain represented the standard of identification of Ding Kiln, and was even regarded as the only standard.

However, that was all in the past, and our understanding of Ding Kiln is limited to some records in the Ming and Qing Dynasties, as well as the knowledge of antique shops in the Republic of China.

After the recent [-] years of reform and opening up, our infrastructure construction, high-speed rail, urban reconstruction, and large-scale projects such as the South-to-North Water Diversion Project are like turning over the existing land in China.

This is more than N times the total number of land excavations over the past few thousand years, and countless historical artifacts of past dynasties have been unearthed.

Because we are still stuck in the understanding of the [-]s, many things that have never been unearthed, that are not in museums, and that are inconsistent with previous books have all been denied.

Under such circumstances, due to domestic policies and the special circumstances of functional agencies, a large number of high-end artworks have flowed overseas, enriching the collections of major museums around the world.

It has to be said that it is still relatively difficult for art and culture to develop before eating well.

Not much to say, the history of Ding Kiln from the current point of view, at least began in the Sui Dynasty, of course, it should be earlier.

In the past, we believed that the Ding kiln began in the late Tang Dynasty and was proficient in the Northern Song Dynasty, which is a very superficial understanding.

The Ding kiln of the Sui Dynasty actually produced very fine "porcelain" and also had a very mature sauce glaze.

For this point, we can refer to "Exploration and Appreciation of Ding Kiln Porcelain".

In fact, there are at least twenty types of Ding kilns, and their richness has never been imagined before.

Take the black-glazed Ding kiln mentioned in more than one history book as an example, the proportion of this kind of black-glazed Ding kiln in the total products of Ding kiln is very small.

The previous Ding Kiln white porcelain tripod is a treasure, but not all Ding Kiln white porcelain is a treasure.

It's just because the porcelain tripod is a tripod and a heavy vessel, so it is a treasure among the white porcelain of Ding Kiln.

However, if it is Ding kiln black glaze, almost every piece should be a treasure among Ding kiln porcelain.

This is the status of Ding kiln black glaze in Ding kiln.

The black glaze of the Ding kiln probably appeared in the early tenth century, but the output was very small. It was not until the twelfth century that more black glaze appeared.

Even so, the output of Heiding accounts for less than one-thousandth of the total output, and there are only a handful of them handed down today.

It is now known that the number of Heiding collected by major museums in the world is very small, and it can also be seen in which years the number was produced in large quantities.

For example, the Ding Kiln series black-glazed bucket hat in the Metropolitan Museum of the Beautiful Country was produced in the 11th and 12th centuries.

The Heiding bamboo hat in the British Museum also appeared in the 11th and 12th centuries.

The black fixed gold colored bamboo hat of Neon Shizuoka Prefectural Art Museum was also produced at this point in time.

Others include a black-glazed gold-colored (shedding) cup from the Northern Song Dynasty in the Neon Collection, and two Song and gold partridge-spotted bamboo hat cups in the Wanwan Palace Museum, both of which are from a similar period.

There are a lot of Ding kiln wares on the Neon side, like an old Neon collection, which was once auctioned at Christie's.

That is an authentic piece of the so-called "Tianwaifeitian" bowl. In addition to this piece, there are two [-]th-century kiln-shaped bamboo hat bowls and a brown-glazed bowl from the Northern Song Dynasty in private collections in Europe, as well as one in the private hands of Shendu.

There may still be a few among the folks. From these porcelains, it can be seen that the number of Ding kiln black glazed cups in the world is only that.

Ding kiln black glaze cut ware is even rarer.

Cutters refer to utensils that cannot be formed by one-shot drawing on a wheeled cart.

This is more difficult to make, so it should be less.

The five dynasties Ding kiln black-glazed plum vases in European private collections, the Northern Song Ding kiln black-glazed figure statues, and the Jin Dynasty black-glazed gold color (color falling off) auctioned by Jiangsu Fubi in Hong Kong are all extremely limited Ding kiln black glaze.

The reason why these Ding kiln black glazes are precious must be because of their better craftsmanship.

Compared with plain white porcelain works, Ding kiln black glaze has different characteristics such as kiln transformation, gold painting, dot color and sprinkling of dots.

These crafts may not seem too difficult now, but if they were placed more than a thousand years ago, these crafts would be extraordinary, and it is not an exaggeration to say that they are unique skills.

It is because it is not easy to make, so the quantity is very small.

If you have few things, you will naturally cherish them. Of course, you may not cherish all the few things.

If there is one, it is a rare and cherished work, it must be because of its higher level of craftsmanship.

Heiding's gold tracing, stippling, kiln transformation, and stippling are all techniques that Chen Wenzhe needs to learn.

It can be said that Heiding is a better type of porcelain than Baiding.

Such a technique, encountered and still able to learn, must be lucky for Sansheng.

Through a Ding Kiln white porcelain tripod, Chen Wenzhi learned the production technology of Ding Kiln white porcelain.

In this way, he has the basic skills of firing Dingyao porcelain, and then he can build on these foundations and make persistent efforts.

"The hidden treasure in the Qiantang River? Back in China, you must go and see it!"

Chen Wenzhe doesn't care about the firing technique of Ding Kiln white porcelain, because he has already studied it thoroughly, as long as he tries firing a few more times and succeeds, he will fully master this part of the skill.

Next, the focus of his study must be on Ding kiln black glaze or Ding kiln sauce glaze porcelain, because these two kinds of porcelain have the most kiln changes.

It has to be said that as long as there is a kiln change, it is enough to make some black and beautiful.

It turns out that Chen Wenzhe definitely won't be able to see it, at least the genuine ones, especially some of them, even if they go to a museum, they won't be able to see them.

Most of the daily exhibits that are generally seen in museums are fakes imitated by later generations.

Like some genuine porcelain, they are all precious and kept in the warehouse with care.

Let’s first take a look at the famous Heidingzhan that was collected by the Bernard couple in the beautiful country before the 80s, and was published many times in 59, 60, and 70.

This Heiding cup is the most easily seen Heiding porcelain for ordinary people.

It's famous because it's really beautiful.

This black glazed cup shines like a meteor shower in the night sky!

In the 80s, it was auctioned at Christie's in Xiangjiang, and the Houshang was transferred to the hands of people from Linyu Mountain.

It was published by the Tokyo National Museum in 94 and changed hands again a few years ago.

Although it is disabled, it is still a rare art treasure.

Let's take a look at a black fixed iron lamp that has never been seen before. This one has many unique and unknown features.

First of all, this bowl has two different glazes inside and outside, which is the first case in Ding kiln black glaze works.

The black glaze on the front of the lamp is not only black and shiny, but also a few iron-red spots on it, like meteorites falling through the air.

In this picture, the fire-like falling rock cuts through the quiet night sky, giving people impact and infinite reverie.

In addition, it also wears a distinctive coat.

The crimson coat formed a stark contrast with the speckled dark interior that bloomed from the inside, showing its unique and strange light.

(End of this chapter)