My system is not decent

After the firing of Jun kiln porcelain is completed, after it comes out of the kiln, the qualified products generally have several levels such as authentic, high-quality goods, and treasures.

Genuine products have no defects or very small defects, and the kiln transformation effect is average;
The high-quality goods have no defects and have a certain kiln transformation effect;

Jun porcelain treasures are the best among the fine products, with rich and unique kiln transformation effects.

The effect of kiln transformation includes the color, spot, texture, opening, natural picture and artistic conception of the glazed surface of Jun porcelain products.

The glaze color of Jun kiln porcelain is beautiful, just like the colorful peacock tail feathers, neat and beautiful.

However, these beauties are all naturally fired.

It can be said that it is full-screen providence. Although human intervention can be carried out, the final effect still depends on natural kiln changes.

This is the main reason why some top-quality fine Jun porcelain are of high value.

Chen Wenzhe is generally familiar with the firing techniques of these Jun porcelains.

However, there are many things that need to be studied, such as the selection of porcelain clay, the formula of glaze, the kiln firing process and so on.

During the Jin and Yuan Dynasties, the folks still insisted on firing Jun porcelain, but the quality had seriously declined, and it was not comparable to Song Dynasty Jun porcelain in terms of shape or glaze color.

After the founding of New China, it entered a period of full recovery.

Jun porcelain is fired from clay, feldspar, quartz, etc., and various mineral components are used as glaze.

Therefore, as long as he studies the kiln firing techniques of ancient kilns handed down from modern times, he can generally master what he wants.

Its shape pays attention to imposing manner and verve, pays attention to the beauty of shape and curve, and pays attention to proper proportion and moderate straightness.

Although the real official Jun kiln has disappeared, the scattered craftsmen have spread this skill to various places.

Jun kiln originated in the Tang Dynasty. At that time, the porcelain craftsmen were no longer satisfied with the single blue color in the past, and began to innovate continuously on the basis of the original porcelain making technology.

Because Chen Wenzhe has master-level kiln firing technology, he knows very well that the placement of porcelain in the kiln corresponds to the firing temperature faced by the porcelain in the kiln.

In modern production, the firing of Jun porcelain generally requires eight processes: processing, modeling, molding, molding, bisque firing, glazing, glaze firing, and inspection.

In this way, by reducing the atmosphere, the high-temperature kiln has successfully transformed into copper red glaze.

With the shape in place, the most important thing left is the glaze.

Jun kiln has a long history. It was created in Tang Dynasty and flourished in Song Dynasty. After the fall of Northern Song Dynasty, Jun kiln stopped firing.

Because of little by little impact, it will eventually accumulate and explode, affecting the final firing effect.

Under high temperature conditions, Jun glaze uses copper and iron as coloring agents, and the glaze color and grain overlap and overlap.

To refire Jun porcelain, it is necessary to grasp the key points.

This is the inspiration of Junci, and also the process of Junci's emergence.

Even the fineness of the porcelain placement affects the temperature change inside the kiln.

However, its glaze color is formed naturally during the firing process, not artificially drawn.

For a qualified piece of Jun porcelain, the fetal bone in it, that is, porcelain clay, must also be paid attention to.

During the Ming and Qing dynasties, the production of Jun porcelain developed slowly.

These are all things that need to be paid attention to, and if Chen Wenzhe wants to refire Jun kiln porcelain quickly, he must take shortcuts.

The products at this time are highly praised by people for their precious and elegant temperament.

It is easier for Chen Wenzhe to reach this step.

Of course, these are all external manifestations.

After the founding of New China, with the strong support of the government, Jun Kiln was able to recover and develop, making this ancient art rejuvenate.

The firing of traditional Jun porcelain requires 72 processes including ingredients, molding, and glazing.

In addition, it also pursues the harmony and unity of practicality and appreciation.

During the reign of Emperor Huizong of the Song Dynasty, he selected officials to gather outstanding craftsmen of Jun porcelain folk kilns, and set up an "official kiln" near Juntai in Yangdi (now Yuzhou City) to make tribute porcelain for the court.

Therefore, the glaze color of each piece of Jun porcelain is unique, so there is a saying that "Jun porcelain is unparalleled".

The Jun kiln needs to be fired twice, and after the biscuit firing is formed, it needs to be glazed for another glaze firing.

How did the craftsmen at that time make Jun porcelain?In fact, it is not difficult.

Its color is either sunken at the bottom of the glaze, or suspended in the glaze, or floating on the surface of the glaze, with rich layers;
The formed kiln landscape is natural and lifelike, ever-changing, with strong artistic appeal and impact.

Jun kiln porcelain often undergoes kiln changes. In addition to the original color glaze, other colors will also change. This is the effect that all craftsmen strive for.

As far as the firing skills of Jun porcelain are concerned, there are traces to follow.

The key point of Jun porcelain is to take the shape as the foundation.

After the reform and opening up, Jun porcelain ushered in the peak period of development.

Of course, some small difficulties also need to be overcome, such as the control of the heat during biscuit firing, and even the placement of porcelain in the kiln, the degree of fineness, and so on.

At that time, they applied glazes with different colors on black glaze, brown glaze and tea powder glaze, and fired at high temperature to make flower porcelain.

However, at the end of the Northern Song Dynasty, the firing skills of Jun porcelain were already very exquisite.

Since then, Jun porcelain has entered a new period of great development.

That is to say, a layer of glaze slurry made of natural ore and chemical elements is attached to the surface of the plain tire by brushing, pouring, dipping, rinsing, etc., and then it is fired in a kiln.

The value of Jun porcelain lies in its unique kiln glaze color.

In this way, is it easier to fire Tang Jun?
If Tang Jun can be fired, will Song Jun be far behind?

Looking at the ancient times of our country, the people's wealth and folk music in the Song Dynasty are not comparable to any other dynasty.

During the Jin and Yuan Dynasties, Jun porcelain was imitated in many places, but it could not be compared with the official kiln products of the Song Dynasty.

Jun porcelain takes the glaze layer as the artistic carrier. Compared with the delicate and exquisite modern porcelain, the glaze of Jun porcelain is thick and dignified, opalescent and lustrous.

After leaving the kiln, it can present colorful and ever-changing kiln effects.

This is what the circle of ceramic historians calls Tang Jun.

All of these have a major impact on the success of firing porcelain.

For the next 300 years, the production of Jun porcelain disappeared until the end of the Qing Dynasty.

In the Northern Song Dynasty, craftsmen added trace element copper to the green glaze on the basis of the flower porcelain craftsmanship of the Tang Dynasty.

Especially some top porcelains pay more attention to this little influence.

In the third year of Wanli in the Ming Dynasty, Jun porcelain was ordered to stop production because of the "sacred taboo" of Zhu Yijun, the emperor of Shenzong.

According to these traces, the refiring of the Jun kiln can be done step by step.

As early as the Song Zhenzong period, Prime Minister Wang Dan pointed out that "the capital of the capital is at most one million, and more than one hundred thousand, and it can be found everywhere."

In the Song Dynasty, folk wealth made great progress.

The common objects of the people in the Song Dynasty were gorgeous utensils that were "shocked by poor eyes" in the Tang Dynasty, mocking that the people of the Tang Dynasty had never seen the world.

People living in the Song Dynasty, whether in terms of diet or utensils, all reflect that they have a taste for life.

The ancient aesthetics reached its peak in the Song Dynasty, and it was the pinnacle of civilization. Jun porcelain in the Song Dynasty was a romance that traveled through thousands of years.