My system is not decent

Chapter 1225 The Means of Dealing with Macang Soil
In the Yuan Dynasty, judging from the preservation method of Ma Cang soil, we knew that this resource was very precious.

Because before it was used at that time, the hemp warehouse soil was stored in a special container, and there was no way to waste it.

The function of Macang soil is only to use a small proportion with porcelain stone, the main raw material at that time, to increase the alumina content in the fetal soil, so as to ensure that large objects will not be deformed when fired.

Therefore, the amount of Ma Cang soil used is not much, but even so, it is still very precious, which is worth studying.

If the formula is lost, that is, the processing technology of Ma Cang soil is lost, then how could Ma Cang soil be used in the Ming Dynasty?
At least for the porcelain fired in the early and mid-Ming Dynasty, the characteristics of Ma Cang soil are obvious, which is very easy to identify.

This kind of tire containing hemp warehouse soil is very special.

That is, there are many air bubbles in the middle, or they are broken on the surface to form pits during drawing, or they are sandwiched in the fetal soil to form small flat holes.

These characteristics can be clearly found on the cross-section of Yuan blue and white porcelain pieces.

The best-quality Yuan blue-and-white porcelain body soil is pure white in color, while the lower quality ones are a little gray, and the third ones are yellowish.

This may be related to the quality of the porcelain stone used, or the proportion of Macang soil, or the firing process.

It is not ruled out here that the kiln mouths were different in different places in the Yuan Dynasty, and the fetal soil used may not be exactly the same.

In any case, during the Ming Dynasty, the production technology of Yuan Qinghua must have been mastered.

Otherwise, the blue and white flowers of the Yuan Dynasty that were just discovered would not be considered to be the blue and white flowers of the Ming Dynasty.

Then in the Ming Dynasty, why was the craftsmanship of Yuan blue and white lost?

Is it really because Ma Cangtu is extinct?Can't other kaolin be substituted?

In other words, all the usable Macang soil left over from the Yuan Dynasty has been used up?
This is not possible at all, because the Ming Dynasty also mined Macang soil in Macang Mountain, and they also used the Macang soil they processed themselves to make porcelain.

It's a pity that there is no clear distinction between Macang soil and kaolin inside Suihou Zhizhu, but there are methods to deal with Macang soil.

Without this method, Chen Wenzhe really wouldn't have the confidence to imitate the real Yuan Qinghua.

Now Chen Wenzhe can only hope that the characteristics of macang soil are really realized after postnatal processing.

In ancient times, especially in the Yuan, Ming and Qing dynasties, they did not have scientific means to test macang soil, and their understanding of kaolin was insufficient.

Therefore, they only deal with macang clay, because there are still some slight differences between macang clay and kaolin clay.

The problem lies in this tiny difference, which is the difference. After their special treatment, high-quality hemp warehouse soil appears, and Yuan blue and white flowers can be fired.

If you follow this idea to remake qualified macang clay, you need to purify and add some elements on top of the existing kaolin.

Only in this way can the hemp warehouse soil be obtained, and then it will be processed by the ancient Yuandai method, and finally the usable hemp warehouse soil will be obtained, and finally the qualified yuan blue and white flowers will be fired.

This is Chen Wenzhe's plan. First, he has to process kaolin to obtain macang soil, and then process the macang soil to successfully fire Yuan blue and white flowers.

If Chen Wenzhe's idea is correct, then he can really burn the ancient French Yuan blue and white.

Of course, there are still many problems in the middle.

If there is no problem with the green and tire materials, then there are still crafts and enamel.

Technology, in addition to ornamentation, is embryo making.

In terms of billet making technology, methods such as billet drawing, printing billet and sharp billet in Yuan Dynasty were adopted.

Most of the Yuan blue-and-white fine objects we see are drawn blanks, which has become the most important feature in the identification of Yuan blue-and-white carcass forming.

Using the drawing method, several sections are made in advance.

Lower, upper, mouth, etc.

After drying, stick it with mud strips and glue the bottom.

In the large tank, the mud strips are smoothed as mud to protect the joints to prevent displacement.

For small utensils, generally only mud streaks are extruded.

The hand-drawing method is an extremely superb skill, even in ancient times, it was not something that ordinary people could do well.

In addition to the drawing method, the printing method is also commonly used, which is to use molds to make four-, six-, and eight-square utensils.

For example, square pots, hexagonal, octagonal plum vases or round plum vases with large belly and so on.

This billet making method is relatively neat, and it is different from the manual signs caused by billet drawing.

The billet method is to fine-tune the green tires that have not yet dried.

However, in modern times, the casting method is not dared to be used lightly, and the blank printing method is mainly used to make large cans and large plum bottles.

It's just that the utensils produced in this way are thin and dead, that is, they are much heavier than the real ones under the same volume.

The carcass formed by the billet drawing method in the Yuan Dynasty has a roughly flat and hand-made flat surface.

The flatness of the modern printing blank method cannot be achieved, and some surfaces are slightly edged.

And it looks thick, mainly because it is lighter than the imitation under the same volume.

The most obvious is that many wide swirl marks are formed on the inner surface of the carcass during drawing.

These wide swirl marks are about one finger wide and slightly concave in the middle.

Among these wide swirling marks, some artifacts have artist's fingerprint marks as fine as silk, and of course, some are not obvious.

Fingerprint marks are different from the circling linear marks like instant noodles in modern imitation utensils.

If these can be done well, then there is no problem with the glaze, tire quality, and craftsmanship.

At this time, the only pursuit is the enamel.

The enamel of the blue and white flowers in the Yuan Dynasty is also different, because the enamel of their successful firing is also unique.

The enamel of Yuan blue and white porcelain is very unique, and there are three kinds of glazes that can be seen now: blue and white glaze, blue and white glaze, and Shufu glaze.

Qingbai glaze is a continuation of the craftsmanship of Hutian kiln in Song Dynasty in Jingzhen.

This kind of glaze is the most difficult to imitate among Yuan blue and white porcelain.

Its characteristics on Yuan blue and white porcelain are obvious, one is the thick glaze layer.

There is often glaze accumulation on the edge or bottom of the mouth, and in some places, there may even be uneven thickness.

This glaze has very poor fluidity during firing, which is in contrast to the excellent fluidity of modern glazes.

The second is lake blue or lake green, both in shades.

The glaze is within two feet from a close view, and it is transparent and watery, and has a milky texture.

Where the glaze is particularly thick, the glaze layer is generally thicker on the bottom of the foot, with a semi-devitrified or devitrified feeling, blue and emerald, very pleasing to the eye.

Then there is the blue and white glaze, the characteristics of this glaze color are also obvious.

One is that the bonding degree of the fetal glaze is excellent, and it is not easy to see the thickness of the enamel, which seems to be one.

At an appropriate distance, generally about 1 meter away, you will feel that the texture of jade is very strong, even the strongest among all enamel.

Generally, it appears white with a little bit of green, and more reflects the warm feeling of white jade.

The last one is the Shufu glaze, which is characterized by a white with a slight tinge of green (slight blue and green), and has a strong covering power regardless of the shade.

The second is that both the texture of milk and jade are strong, and the third is that the thickness of the glaze layer is in the middle of the former two, that is, neither thick nor thin.

Among the three glazes, the first two are too difficult to imitate, so many people in modern times have no gaps to drill if they want to imitate.

(End of this chapter)