My system is not decent

Chapter 1594

Such as beam-lifting cups and fuel-saving lamps, Mr. Dai Kailin mentioned it in "Appreciation of Ancient Ceramic Beam Lifting Wares in Sichuan and Shu".

"Among the vast and colorful ancient Sichuan and Shu ceramics, there are many peculiar shapes, ingenious ideas, and unique ingenuity. Beam pots, girder pots and girder cups."

The origin of the Tiliang Cup is the same as that of the Zhuzi, which should be related to the prevalence of tea fighting at that time.

As for the oil-saving lamps, there are records in Lu You's "Laoxue'an Notes" and "Zhaiju Jishi".

"Song Wen'an has a collection of poems about oil-saving lamps... One end is made of a small hole, and cold water is poured into it, and it is changed every night. Ordinary lamps are burned by fire and dry, so they dry quickly. This is not the case, and it saves fuel by half."

"Jingzhen Ceramic Dictionary" also said: "Oil-saving lamps, a kind of energy-saving oil lamps, were created and fired in Qionglai kilns in Sichuan and Shu in the Tang Dynasty."

It can be seen that the fuel-saving lamp is the earliest example of "energy saving and emission reduction".

Porcelain in the Tang Dynasty was monochromatic, mainly celadon and white porcelain, and there were also Yue kiln "secret color porcelain" with more varied decoration techniques.

However, bright colors such as white, yellow, green, blue, brown, and ocher are used interlacedly on low-temperature pottery, which is mottled and varied.

This method of using more than three colors on one piece of pottery was unearthed in the tombs of Fan Cui of the Northern Qi Dynasty in Anyang and the tombs of PY Li Yunji.

But the "three colors" of the Tang Dynasty were more bright and rich, smooth and shiny, and they were called "Tang Sancai".

This kind of glaze and glazing method had a great influence on the development of overseas ceramic art.

In particular, Neon and North Korea successfully created the "Nara Sancai" and "Silla Sancai" on the basis of absorbing and integrating the "Tang Sancai".

Qiong kiln is the same as other kiln mouths, its glaze color and decoration techniques also have the gorgeous and elegant aesthetic tendency and interest of Tang Dynasty.

But it has its own "rhythm" and characteristics of development.

Around 2007, the cultural relics and public security departments recovered a Tang Dynasty brown and green double-color scroll grass bowl illegally purchased from a construction site due to reports.

Its elegant shape and decoration, as well as the exquisite underglaze double color, are really classic works of Qiong Kiln.

Although the underglaze color appeared as early as the Yue kiln in the Jin Dynasty, the Qiong kiln was the first to create the underglaze double color technique in the process of absorbing everything.

This makes this kiln mouth one of the most outstanding achievements in the production of Qiong kiln wares in the Tang Dynasty.

This had a profound impact on the blue and white and fighting colors of later generations.

At that time, in addition to underglaze decoration such as dots, patchy brown color or green color, Qiong Kiln also had techniques such as inscribing and stamping patterns.

And in the communication with other kilns and gold and silverware production technology, it becomes more refined.

All kinds of popular grass leaf decorations have a realistic and flexible style.

In the random sketching and dyeing with the boneless painting method, and the change of color shades, there is an aesthetic meaning of modern "writing".

The "Linqiong" cup and the "Shu" word pot make people feel the heavy sense of history in the rich local cultural atmosphere.

During this period, the defects of Qiong kiln porcelain carcass were mostly covered with semi-yellow or off-white make-up soil.

First use it to smear the surface of the carcass, and then decorate and glaze it, so that the porcelain body and glaze are more tightly combined, and the glaze is more smooth and beautiful, with a texture of glass.

The variety of its glaze color has also been further enriched, and opacity glaze has begun to appear.

In addition, Mr. Bedford also proposed in the book "Qiongzhou Ancient Kiln Site" that Qiong Kiln "deep purple glazed pottery is like Jun Kiln";

Mr. Ge Weihan's "Qiong Kiln Pottery" also proposed that the construction of kiln "Tianmu" porcelain may start from the point of view of Qiong Kiln in Tang Dynasty.

Mr. Geng Baochang also believes that Qiong Kiln has "Tianmu Glaze";
Mr. He Pingyang, a master of arts and crafts in Sichuan and Sichuan, and the inheritor of the "intangible cultural heritage" of Qiong Kiln, has also fired Tianmu glaze works after long-term research.

Although the academic circles have different opinions, they also fully explain the richness and variety of Qiong kiln glaze colors.

"Qiong Sancai" appeared in the late Tang and Five Dynasties, with yellow glaze as the main color.

Underglaze decoration with brown and green double colors, bright colors and bright glaze color, has become another outstanding achievement in the development history of Qiong Kiln.

Mr. Geng Baochang said in the preface of "Research on Ancient Ceramics of Qiong Kiln": "The high and low temperature underglaze color and three-color are the representative works of 'Qiong Kiln'.

And the "Tongguan Kiln" in Husha City was most affected by it, because the products of the two kilns are quite similar, and they have become sister arts, comparable to the famous kilns around them. "

Qiong Sancai is later than Tang Sancai in the north, but it is mainly made of high-temperature Sancai, and most of them are used in daily life.

This is different from the low-temperature tri-colored tri-colored pottery of the Tang Dynasty and multi-made bright wares, so it is more popular in dissemination.

During the Five Dynasties period, it also entered the official field of vision as a folk kiln, and accepted the official fixed firing.

Unearthed in the archaeological excavation of Qiong Kiln, the impression "used by Yang Quanji for making official samples in early February of the sixth year of Qiande" has regular and elegant shapes and decorations, and is the earliest actual porcelain "official sample" in China.

This shows that at least during the period of King Yan of the former Shu Dynasty, Qiong Kiln had official porcelain production, and there should be a government or court to manage it.

Judging from the scale and shape of the Tang Dynasty architectural site found in No. 5 kiln bag of Shifangtang Qiong Kiln, it may be a building and institution managed by the government at that time for porcelain production.

Celadon is the representative porcelain of Tang and Song Dynasties. Its beauty and quality are superior to white porcelain. Later, it was gradually replaced by blue and white, famille rose, and enamel, which is no longer common today.

However, celadon was inherited and developed in the Southern Dynasties and became a "national treasure".

At that time, celadon products were also the largest porcelain variety produced by Qiong Kiln, and at the same time, white porcelain was also produced.

In particular, the white porcelain produced in Wayao Mountain is the most exquisite in quality among the surrounding kilns.

Du Fu wrote in "Begging for Dayi Porcelain Bowls at Wei Chu": "Dayi porcelain is light and strong, and it is like mourning jade. The white bowl of Jun's house is better than frost and snow. It is pitiful to send it to Maozhai urgently."

Qiong Kiln white porcelain has a thin body, firm texture, crisp sound, and snow-like appearance, which is similar to Xing Kiln white porcelain.

Until the Yuan Dynasty poet Wu Lai praised: "Dingzhou is delicate and thin, while Qiongyi is light and firm."

A millennium kiln mouth contains too much technology, how many technical difficulties are described in just these few lines of poetry?
Not to mention the lightness and firmness of the bucket, but to talk about the glaze color, white glaze and green glaze are not mentioned, because this is the foundation.

The most difficult thing is the copper red glaze, which Chen Wenzhe has mastered perfectly.

However, there are many variants of copper red glaze.

A red glaze fired with a reducing flame using copper-containing substances as the colorant.

This is very simple to say, but since ancient times, this kind of bright red firing has been very rare, and it is often formed by kiln transformation.

Then there is the steamed bun kiln, which is composed of a fire chamber and a kiln chamber into a steamed bun-shaped kiln.

The flame sprays from the fire chamber to the top of the kiln, then pours to the bottom of the kiln, and flows through the green body. The smoke enters the chimney in the back wall from the fire suction hole at the bottom of the back wall and is discharged.

There is also "secret color porcelain", which is a distinctive feature of Yue kiln. One refers to the glaze color, that is, "feng emerald" or emerald color.

Its fetus is mostly off-white, the enamel is as fat as jade, clear and green;
(End of this chapter)