My system is not decent

Chapter 1607 The five-color glaze is gorgeous

From the green glaze of the Han Dynasty, through the multi-color glaze of the Southern and Northern Dynasties, the green glaze of the Sui Dynasty, and the yellow glaze of the Tang Dynasty.

Then to the green glaze, yellow glaze and Song Sancai of Ding Kiln and Cizhou Kiln in Song Dynasty.

These are not only an evolution of glazing techniques and formulas, but also a return of culture and art.

The Han Dynasty advocated simplicity, the Tang Dynasty advocated luxury, and the Song Dynasty advocated beauty.

Therefore, when appreciating Han green glaze, we can always find the shadow of Shang and Zhou bronzes.

Tang Sancai porcelain, on the other hand, shows us the majesty of Tang Dynasty.

Song Dynasty porcelain, however, tells us the beauty, elegance and beauty of a literati era.

Glaze color, like vessel shape, also has a process of inheritance and evolution.

It was only in the Song Dynasty that the fetal quality of green glaze wares differentiated.

Because in the official kiln at that time, the glaze color was even.

After that, it was easy. The appearance of Yuan blue and white, underglaze red, etc., quickly became the various glazed porcelains of Ming and Qing Dynasties. It can be said that by this time, a hundred flowers have blossomed.

Originality runs through all the time, and originality is the soul of porcelain art life.

One "hidden" and one "explicit" reveal the inner essence of Chinese culture for thousands of years.

In this way, it became more convenient for Chen Wenzhe to study Jun kiln porcelain.

So groups from all over the country followed suit, and there were many kilns, but they still didn't get the point.

However, due to the influence of factors such as the kiln temperature, the ratio of glaze color raw materials, and the firing environment during firing of a small number of utensils, the changes and restorations of the glaze surface during the temperature change are different, and the slime pattern is formed.

The so-called "Hua Yi light and dark nourishment" is implicit and introverted, which reveals the essential characteristics of Song porcelain.

The Ding Kiln has been researched just now, and Chen Wenzhe even has a fine Ding Kiln white porcelain in his hand.

They not only fired rose purple, begonia red, sky blue, moon white and other traditional color glazes, but also developed more than ten kinds of flower glazes.

Observing with a magnifying glass, earthworms walk in mud lines, and are connected in series with air bubbles to form a three-dimensional crawling shape. Frog egg lines wrap egg nuclei in stacks and are about to hatch.

Especially in the Northern Song Dynasty, the Jun porcelain made by officials strictly abided by this principle, regardless of the study utensils or large sacrificial vessels.

If you have time to make a bottle with various colored glazes piled up, it is really better to study the five famous kilns in the Northern Song Dynasty.

Influenced by Neo-Confucianism in the Song Dynasty, porcelain was reflected in its regularity and symmetry.

Today's research articles are overwhelming, and there are countless archaeological kilns. Since none of them have seen Jun porcelain made by officials in the Northern Song Dynasty, they can only get a glimpse of it.

Jian Kiln, Yaozhou Kiln, and Jun Kiln, as the authentic Chinese traditional porcelain culture, have a long history of style inheritance.

The hair color, grain size and distribution of Jun porcelain in the official kiln of the Northern Song Dynasty are difficult to be controlled by human beings, which is the embodiment of the highest level of craftsmanship in the Northern Song Dynasty porcelain art.

Under the brilliance of chai kiln porcelain, Song and Yuan porcelain art developed on the road of different styles but profound and extraordinary skills, which opened the most brilliant chapter in the history of Chinese porcelain art.

It is a pity that the craftsmanship of Jun porcelain has long been lost, and the kiln site has also sunk with frozen water.

"Even if you have a lot of wealth, it is not as good as a piece of Jun porcelain", which is a true portrayal of Jun kiln porcelain.

It can only be said that the Jun kiln in the Northern Song Dynasty achieved controllable kiln changes, and one of its characteristics is the earthworm slime pattern.

Five famous kilns in the Northern Song Dynasty, Ru, Jun, Guan, Ge, Ding, not to mention Ru kiln, Chen Wenzhe has already conquered the technology of this kiln mouth.

For example, since 1955, Yuxian (now Yuzhou) Ceramics Factory has begun to develop and explore the basic formula and firing technology of the long-lost Jun porcelain body glaze.

After all, he can stand on the shoulders of his predecessors. If he finds more information, he may be able to stand on the heads of his predecessors.

Later, new varieties such as modern daily utensils and artistic display porcelain were added.

The glazed surface of many Jun kilns in the collection does not have muddy patterns.

Unfortunately, it is still very difficult to make a real fine imitation of Jun kiln.

Some people think that the essential feature of Jun kiln is that the glaze has "earthworm mud pattern".

Of course, as long as modern people want to study any technology and are willing to invest in it, they will definitely gain something.

Regular and symmetrical, elegant and magnificent, court momentum, meticulous.

Since the Stone Age, the Orientals have been deeply attracted by the infinite charm contained in jade, which has expanded the breadth and thickness of the Orientals' comprehension of the mysteries of nature.

This pass is a unique style based on the styles of Chai Kiln and Lushan Flower Porcelain.

Now there are only Jun kiln and official kiln porcelain left, Jun kiln, that is, Juntai kiln.

Occasionally, a type of rough-bodied porcelain that surpasses the traditional one is tried and fired, and it is separated into white porcelain-bodied green-glazed porcelain;

Its potential is heavy and simple, bright and deep.

At that time, it was deeply influenced by Taoism, and reached its peak in the Song Huizong period, and its craftsmanship was brought to the extreme.

Jun, that is, weight, Jun porcelain in the early Northern Song Dynasty official kiln was heavy.

The traditional style of Chinese porcelain culture is simple on the outside and beautiful on the inside.

In particular, Jun Kiln porcelain is unique.

Three-dimensional earthworms are strung together with air bubbles, frog egg pattern, fish egg pattern wrapping fish roe that is about to hatch, and so on.

It can be seen that the sensational effect of Jun porcelain at that time.

But until now, Westerners still think that only shiny things have value.

Subtle observation of the natural environment and expressing them on porcelain is the core technology of Jun porcelain.

The most important value of Jun porcelain in the Northern Song Dynasty lies in its ability to express freely on the glazed surface.

Whether it is the expression of color and various textures, no one can imitate the expression technology that can control the kiln change and do whatever you want.

It also allows us to experience the hard work of ceramic craftsmen in the past dynasties.

Now this piece of porcelain, Chen Wenzhe should have been able to make a perfect imitation, but he has no interest.

There are also ox blood patterns, dark red and dark blood, murderous, solemn and majestic, etc., which are difficult to describe one by one.

After all, some features of Jun kiln porcelain are too famous.

The delicious hair color and the magical change of tone of the Chai kiln porcelain of the Five Dynasties are a milestone in the history of my country's porcelain art development.

Whether it is shape or texture, follow this principle.

It is precisely because of the coexistence of the two that we can clearly see its evolution today, more than 1000 years later.

The other type inherits the past tradition, thick and thick, and uses makeup soil.

Although he has never been in contact with Ge Kiln porcelain, he has had indirect contact with it several times before, and he understands Ge Kiln's technology very well.

The representatives are the various colored glazed porcelains of Qianlong, or porcelain mothers.

Chen Wenzhe made the most of all kinds of glazed porcelain in later generations.

Of course, this is not entirely true, it can only be said to be one of the characteristics.

The height of this expressive art is astounding, and it has been the mainstream technique of court porcelain making throughout the Northern and Southern Song Dynasties.

The texture of porcelain from "hidden" in the Northern Song Dynasty to "shown" in the Southern Song Dynasty, and even the official kiln, the surface form of the texture of the Ge kiln had a direct impact on the porcelain art of the Yuan Dynasty.

Jun kiln porcelain has always been called "the treasure of the country" by people. Among the five famous kilns in the Song Dynasty, it is unique for its "glaze with five colors and extremely gorgeous".

Therefore, the ancients used poems such as "sunset purple green suddenly turns into haze" to describe the beauty of Jun porcelain's flexible glaze color and subtle changes.

(End of this chapter)