My system is not decent

Chapter 1226 Small means

The modern imitation of Yuan blue and white, the glaze color is mainly for the third kind of Shufu glaze, which can be seen in Jingzhen.

However, it cannot achieve the essence of the Yuan Dynasty. Its manifestations are: first, the enamel has a strong sense of flow, resulting in a too thin glaze layer.

The second is that the oily feeling is too strong, and the third is that the mesoscopic color is unnatural.

The characteristics of Yuan blue-and-white porcelain in these three aspects are all unique, which can be used as the most important feature basis for us to grasp Yuan blue-and-white porcelain, and it is also a rigid point without loopholes.

If you have mastered the above three aspects, you already have a good idea of ​​Yuan blue and white porcelain.

Especially in practice, first look at these three characteristics, and then look at other characteristics.

Such as flint red, painting style, shape, bubbles and so on.

Of course, in theory, as long as you look right, you are right.

For example, if it is indeed Su Mali Qing pigment, then this piece of porcelain must attract great attention, because ancient pigments do not exist in modern times.

Otherwise, you just don’t understand it, and when you don’t understand it, don’t jump to conclusions easily.

Technology is advancing, and the imitation craftsmanship of modern people is also advancing rapidly under the impetus of money.

Don't talk about others, let's talk about Chen Wenzhe, now without money to promote, he is also racking his brains to imitate Yuan Qinghua.

There is a point of view in the modern antique industry, as long as the defects you can think of, or as long as they are the clear characteristics of ancient famous kiln porcelain, modern people will imitate them one day, and the time will not be too long.

Even if it can't be imitated using ancient techniques, it can certainly be achieved with modern techniques to achieve the same effect.

In addition, although the uniqueness of the Yuan blue and white porcelain features cannot be imitated, it is not the case that these features can be fully expressed on every utensil.

Due to the differences in production and kiln mouths at that time, there were differences among Yuan blue and white porcelain wares.

Some of the utensils' characteristics are fully expressed.

Some utensils are weaker.

If the performance is sufficient, its enamel, pigment, clay, painting, modeling, etc. are all satisfactory.

Underperformers often lack certain characteristics that are puzzling.

However, you can't say that this kind of antique lacking some unique features is not Yuan blue and white.

For example: the coagulation spot is not obvious, the beading phenomenon is not obvious, the flint red phenomenon is not obvious, the hemp warehouse soil tire is not obvious, the handmade tire is not obvious, etc.

Of course, some Yuan blue and white flowers were misunderstood because they used domestic materials or returned green materials.

Generally, they do not know much about their characteristics, so that these porcelains with insufficient performance cannot be confirmed in time, or even received coldly.

However, a real product is a real product. As the degree of understanding of Yuan Qinghua deepens, various Yuan Qinghua slowly appear.

At this time, imitating Yuan blue and white is not as difficult as before.

However, it is still very difficult to imitate the high-quality Yuan blue and white, unless it is a master antique craftsman, it is still difficult to imitate successfully.

If modern people make antique porcelain, if the investment is relatively large, or the country takes the lead, they can always be imitated successfully, and Yuan blue and white is no exception.

But when it came to Chen Wenzhe, he only considered the essence, and he didn't consider making it old.

If you count being old, then he needs to study more.

The production of a piece of antique porcelain, such as blue and white hair color, painting, design, shape, signature, flint red, etc., is quite similar to old porcelain, which is almost the same as the real one. Less steps.

The first is wear and tear. As long as it is a surviving porcelain, there is no wear and tear. Even if it is well protected, it will be scratched and worn after a long time. This is a unique feature endowed by time.

Of course, Chen Wenzhe doesn't need to make old ones, so he doesn't need to deliberately wear down a newly imitated porcelain into old ones.

However, the old part is also a hindrance to the imitation of Yuan blue and white.

Like wear and tear, naturally not used.

Of course, if you have to do it, use a fine grinding wheel to smooth out the rough places.

It is mainly the bottom of the tire. At the same time, put the porcelain on the ground and roll it back and forth, and gently tap it with a hard tool to make a crack.

If necessary, you can also use a glass cutter to draw chicken feet on the inside and outside of the bottle.

The antique porcelain produced in this way is more like the real Yuan blue and white.

If this level is achieved, it is inevitable to make the glazed surface old.

For example, to peel off the glaze, it is best to peel off the glaze on the edge, use the tip of the assorted file to pry out a gap first, and then continue to extend.

In addition, some other features need to be done well, such as modern imitation flint red.

Although not all Yuan blue and white flowers have flint red, most of the real high-quality Yuan blue and white flowers have flint red.

Therefore, to imitate Yuan blue and white, it is necessary to fire flint red.

The second is the problem of air bubbles. Firing is just a matter of using a sharp weapon to pierce the large air bubbles on the glaze.

Generally speaking, the glaze layer on the bottom of the utensils is thicker and easier to handle.

There are abrasions, peeling, and flint red, and the air bubbles are also in line with the characteristics of Yuan blue and white.

It is relatively simple to make it old again, that is, to remove the fire and other processes.

If you are not afraid of trouble, you can mix half and half of hydrofluoric acid with water, and use a brush to evenly paint the surface of the utensils.

Brush from bottom to top, the place where the glaze layer is thick can be painted longer, and the place where the glaze layer is thinner can be relatively shorter.

Generally, after half a minute to one minute of brushing, rinse it with water immediately, so as not to take too long, and the surface of the glaze layer will be too corroded and dull.

If it feels too bright, apply some salad oil on the surface to make it as moist as jade.

The modern imitation of Yuan blue and white also needs to be colored.

Its purpose is to give people a feeling that old and dirty things have gone into the cracks of porcelain.

Use potassium permanganate solution, mixed with a little brown sugar, and apply it all over the body, focusing on the foot circle at the bottom, and wipe it with a dry cloth after about 48 hours.

Almost all the places where the tires are exposed and the openings are purple-brown to varying degrees.

If you feel that the color of the sole is too dark, you can use washing powder to scrub it and polish it with fine sandpaper to make the tire slightly white, like a glutinous rice tire, which will give people a visual error.

The last is to make the bottom old, that is, to make soil rust.

Apply a small amount of 502 glue to the place where the glaze is shrunk, where the tire is exposed, and where you want to make rust. Apply yellow mud. The yellow mud is preferably cemetery soil, with a small amount of old lime in it.

You can also put a few iron nails on a certain part of the utensil and sprinkle some salt.

After a week, the rust on the porcelain surface cannot be scraped off with a knife, nor can it be washed off with hydrochloric acid.

The last step is to get some staleness.

Throw some sweet crumbs on the bottom of the utensil to attract bugs, form cobwebs, scatter cockroach droppings, and dust.

These old methods have been useless by Chen Wenzhe for a long time.

This time reviewing the past is to learn new things, because he is really curious about Wu San and his methods.

"It's just a small way to make old things, you still can't go wrong, just imitate the craftsmanship!"

After learning how to make porcelain for so long, Chen Wenzhe already knows the imitation of Yuan blue and white.

The preliminary preparations are nothing more than using modern commercial distribution channels to obtain suitable or similar Su Ma Li Qing materials.

Chen Wenzhe doesn't need to worry about this. In fact, in modern society, there are more people than he wants to produce such high-end cobalt materials. As long as he is willing to spend money, he can sell what he wants.

(End of this chapter)