My system is not decent

Chapter 1612
In the World Horticultural Expo Park in Kunming City, China, the hall of the Huaxia Pavilion has set up a large bottle of the extremely precious Jun porcelain product "Jade Dragon Soaring".

This was produced by the Jun Kiln of Miaojia, the queen of the gods. The inscription in the museum said: "The treasures of the world will last forever in the World Expo."

This aroused the attention and appreciation of people at home and abroad. Of course, this news also aroused the attention of Chen Wenzhe.

It can be seen from this that to imitate the Jun kiln, you have to look at the Jun kiln of Miaojia, the queen of the gods.

Things are prospered by people, and things survive by people.

Shenhou, the descendant of the Jun Kiln of the Miao family, has devoted himself to promoting the Jun porcelain culture and has many ingenious ideas.

In order to protect the spread of Jun porcelain treasures, a collection certificate of Jun porcelain is specially set up.

It shows the rarity of the treasure, so that it can be handed down to the world, and it also shows that the collector can appreciate the truth, and it is elegant.

The saying goes: "Heaven and earth creatures are endowed with essence, and the earth receives them with form. All things are magical inside and outwardly manifested in shape and quality. Those who can understand the magic and show the changes of heaven and earth outside are the treasures of the world. Jun porcelain, Really precious porcelain."

In 1955, Yuxian (now Yuzhou) Ceramics Factory began to develop and explore the basic formula and firing technology of the long-lost Jun porcelain body glaze.

The larger the utensil, the smaller the number, and "one" represents the largest utensil.

The bottoms of bowls and plates are beveled, and the center of the bottom is raised. In addition to the glaze color, they are often decorated with decals.

There is no difference between this tahini glaze and the opaque sky blue glaze on the body.

The glaze on the bottom of the imitation products of later generations is dry and astringent, with a mottled and uneven feeling.

But the real purpose of the numbers on the bottom of the utensils is to indicate the size and specifications of the utensils.

More than ten kinds of flower glazes have also been developed, and new varieties such as modern daily utensils and art display porcelain have been added.

Unlike the Northern Song Dynasty, the red glaze is not the rose red or eggplant skin purple that blends into one color, but red spots are added to the sky blue or moon white glaze.

The plaque boundary line of the blue glaze erythema is clear, which is obviously different from the halo and diffuse plaque in the Jin Dynasty, and large scales are prevalent.

The firing process uses a cake pad that is larger than the ring foot, and three nails are used to support the firing on the edge of the plate.

The inscriptions of Jun kiln are generally written on the moment when the utensils are formed into biscuits, and then sesame paste glaze is applied on the inscriptions.

The former (gray tire) is fine and dense, and it makes a metallic sound when tapped. This is an early product.

The inscriptions are mainly engraved with numbers from one to ten, that is, Shi Jun red glaze on the bottom of the vessel with singular numbers of one, three, five, seven and nine;
Two, four, six, eight, and ten pairs of Shi Tianlan and moon white glaze.

In Yuzhou City, Nanhe, more than 100 Jun kiln sites from the Song and Jin dynasties have been discovered.

Of course, there are two types of gray, light and dark.

In the Yuan Dynasty, the output of Jun kiln continued to increase, but the quality declined.

In addition to the first time, the kiln is densely packed, and external factors such as cold and heat, sunshine and rain, and wind direction all require the kiln workers to be able to adapt to the situation.

Since the nails were stuck together with the utensils, most of them were knocked off after firing, so the nail marks were large and uneven.

The former is an early product and the latter is a late product.

One is bright glaze, called glass glaze.

The soil of the Jun kiln in the Northern Song Dynasty was finely washed, the color of the body was light gray, the glaze was thick, crystal clear and even, and sky blue glaze was the most common.

Later imitations are often engraved on the glazed tires, which reveals the flaws.

On the surface of the Junhong glaze, there are often fine granular black spots.

Most of the fetuses are obviously rough and loose, the tire wall is thick, the outer wall is often glazed to the bottom, the border of the glaze is not neat, the glaze surface has cong eye bubbles, and the colors such as sky blue and moon white are common.

Most people think that the bright-glazed Jun ware is a later imitation, which is a misjudgment.

The glaze surface is more moist, and the glass light is stronger than that of the Northern Song Dynasty.

Both inside and outside are made of red glaze, most of which are imitations of later generations.

Jun porcelain has two kinds of glaze, dark glaze and bright glaze.

There are not many inscriptions on Jun wares in the Northern Song Dynasty, and those with inscriptions are all court porcelain in the late Northern Song Dynasty.

People today value Song over Jin, which is just a matter of aesthetic perspective.

There is no longer sesame glaze on the bottom, but the same color glaze as the body, no earthworm mud pattern, and many cracks.

The site of the Jun Kiln is located in Yuzhou City, Nanhe Province.

Jun kilns in the Northern Song Dynasty generally applied full glaze, and the bottom of the ring foot was painted with a layer of sauce brown glaze, commonly known as sesame sauce glaze.

There are also many earthworm mud lines and small brown eyes, which are beige on the edge of the utensil's mouth and where the glaze is raised and thin.

The enamel of bright-glazed Jun ware is relatively rough, the glaze layer is thin, and there are large and small grains, and there are many brown eyes on the glaze, many caviar patterns on the inside, the outer glaze is less than enough, and the center of the circle is glazed or not glazed at all.

Through kiln transformation, colorful moon white, roselle skin purple, lilac purple and other hues are produced, among which red and sky blue glaze are integrated into "jun red".

Song Jun's "kiln transformation" feature is due to the active formula in the glaze and is closely related to the kiln structure.

The body and glaze of Jun kiln belong to porcelain body, mostly gray body.

The off-white and light-yellow tires are coarser and looser, and the sound is almost like a tile when knocked. These are mostly late products.

This kind of utensils have red glaze on the outer wall, and sky blue or moon white glaze on the inside.

During the Warring States period, Yuzhou was the capital of Han, named Yangzhai, and it was named Junzhou in the Northern Song and Jin Dynasties.

They not only fired rose purple, but also traditional glazes such as begonia red, sky blue, and moon white.

In addition, there are off-white and light yellow.

There are also those engraved with the names of the court buildings of the Northern Song Dynasty, such as "Fenghua Palace", "Yangxin Palace", "Chonghua Palace", "Jingyang Palace", etc. The strokes of the inscriptions are slender.

Earthworm mud patterns are a major feature of Jun glazes in the Northern Song Dynasty, but by the time of Jin and Yuan Dynasties, earthworm mud patterns had almost disappeared in Jun porcelain.

So many kilns spread over several provinces and cities, forming a huge Jun kiln system throughout North China.

Although the glaze layer is thin, it is bright in color.

Utensils are generally covered with glaze, there is no glaze at the foot and end of the ring, the junction of the body and glaze is not neat, and the vertical glaze is very thick, commonly known as nose glaze.

The washer has three legs, and the part with thick glaze is still sky blue.

Because the glaze is thin at the foot of the circle, the color of the underglaze and the thin glaze blend together to present a light sauce color.

One is cloudy glaze, called dark glaze.

Judging from the real objects of Jun kilns, both Song Jun and Jin Jun have reached the peak of Jun porcelain firing.

For imitations from the Qing Dynasty and modern times, the earthworm mud pattern is often shown by splitting.

Jun porcelain started in the Tang Dynasty, reached its peak in the Northern Song Dynasty, and the production of imitation Jun products in the Jin and Yuan Dynasties had reached the level of Song Jun.

The craftsmanship level of individual fine works is comparable to that of Song Jun, but there are only a few of them.

Jun kiln has the following characteristics: Song Jun has two kinds of unearthed artifacts handed down from generation to generation.

The tire quality of the Jun kiln in the Jin Dynasty is fine and compact, and it is mostly light gray or beige after firing.

From the Southern Song Dynasty to the Yuan Dynasty, this kind of Jun wares were more common.

The edges of the erythema are not clear, and there is a feeling of gradual fading.

What also affects the yield of Jun porcelain is the fuel used.

Otherwise, there will be the ending that the ancients said that nine times out of ten.

These are the experiences of firing Jun kilns. As long as these elements are studied and combined with the scientific achievements of modern research on Jun kilns, it should not be difficult to really imitate Jun kilns of the Northern Song Dynasty.

Chen Wenzhe already knows this famous ancient kiln very well.

He is especially experienced in restoring the techniques of famous ancient kilns.

(End of this chapter)