My system is not decent

Chapter 1856 Light and elegant, beautiful and lustrous
In any case, until now, there has been a point of view, that is, there was no white porcelain in Ru Kiln in Song Dynasty.

The existing porcelain in Ru Kiln is all celadon. Does this mean that there is no white porcelain in Ru Kiln?

It can only be said that there seems to be none. Ru kiln is a celadon kiln. Although the blue color varies in shades, the auctions are all celadon.

Through all of the above, it can be confirmed that white porcelain was indeed fired in Ru kiln, and white porcelain in Ru official kiln is very rare, if any.

During the development of white glazed porcelain in my country, there was no milky white glaze in the Song Dynasty.

And Qingbai glaze is also called Yingqing.

It is the original creation of Jingzhen kiln in the early and middle period of Northern Song Dynasty. The enamel of bluish white glaze contains low amount of white porcelain iron, the glaze color is white and bluish, and the glaze layer is thin and crystal clear.

In addition, the firing material is extremely thin, and the hidden carving patterns on the utensil can be seen inside and outside.

On the edge of the pattern, there is a little light blue, and the rest is almost white, so it is called Qingbai glaze.

Egg White Glazed Porcelain is a general term for a kind of white glazed porcelain created and fired by Jingzhen Kiln in Yuan Dynasty.

Because the base has the inscription of the Privy Council, the egg white glaze is also called the Privy Council Porcelain.

The carcass of egg white glaze porcelain is generally thicker, the glaze is devitrified, white and slightly blue, just like the color of duck egg shell, so it is called "egg white glaze".

Sweet white is generally considered to be a kind of white glaze created and fired by Yongle Kiln.

Because many of Yongle Baibai porcelain products are so thin that they are half-embraced, they can be seen under light.

Applying a warm and jade-like white glaze on the surface of the thin-bodied vessel with dark glaze and engraved patterns will give people a "sweet" feeling, hence the name "sweet white".

Kangxi sweet white glaze has a milk powder-like color, white and shiny, without streaks, also known as milk white.

There is still a lot of controversy about the dynasty in which white glaze porcelain appeared.

However, white glazed porcelain is a type of porcelain with a relatively long history among ancient porcelains in my country.

There is no doubt about this, it germinated in the Northern and Southern Dynasties, and had matured in the Sui Dynasty.

In the Tang Dynasty, white glazed porcelain had a new development. The firing temperature of porcelain reached 1200°C, and the whiteness of porcelain reached more than 70%, which was close to the standard of modern high-grade fine porcelain.

This achievement laid a solid foundation for underglaze and overglaze porcelain.

In the Song Dynasty, porcelain craftsmen made new improvements in tire quality, glaze and production technology, and the porcelain firing technology reached a fully mature level.

The bluish-white glazed porcelain fired at this time is white but not shiny, with flashes of gray in the white, light and elegant, beautiful in shape and smooth in color.

During the Ming and Qing Dynasties, the Dehua Kiln fired "ivory white" with a smooth and bright color, and the Yongle Kiln fired "Sweet White Glaze" with a warm and jade-like glaze.

White glaze is the natural color glaze of porcelain. Generally, porcelain clay and glazes contain more or less iron oxide. After firing, the utensils will inevitably show different shades of blue.

If the iron content in the glaze is less than 0.75%, the white glaze will be fired.

The white porcelain, which is as creamy and uniform in color, has the most natural taste. It seems simple and unremarkable, but it is very attractive.

It is because of the contrast of white porcelain that there are colorful porcelains competing for beauty.

However, the emergence of white porcelain is by no means easy. It has experienced a long historical process of technological development and improvement from green to white.

In 1971 in Anyang, Nanhe, although a batch of "white porcelain" from the Northern Qi Dynasty was unearthed, including bowls, cups, jars, four-series cylinders, long-necked bottles and other utensils, the glaze of this batch of white porcelain was slightly blue Green, and in limited numbers.

It shows that the body glaze of white porcelain at this time has not yet reached the standard of mature white porcelain, and is still a product of the transitional stage from celadon to white porcelain.

Mature white porcelain appeared in the Sui Dynasty, and Xing Kiln white porcelain in the Tang Dynasty became famous all over the world because of its clean and pure glaze color.

Ding kiln white porcelain in the Song Dynasty used the techniques of printing, engraving and scratching on the white glaze to push the white porcelain from pure white decoration to a new stage of blooming flowers.

Through various methods, it is certain that the Song Dynasty could produce white-glazed porcelain, and it could do it very well, such as Dingyao white porcelain.

Then Ru kiln can definitely produce white porcelain, this should be certain.

However, Ru kiln white porcelain handed down from generation to generation, especially Ru kiln scallion root white glaze porcelain, is even rarer.

However, as long as there is one, it can definitely be identified.

There are only a few ways to identify the authenticity of porcelain. For example, shape is an important basis for identifying porcelain.

The imitation of ancient ceramics often gains its similarity in shape but loses its charm. It can imitate its beauty, but it may not be able to imitate its ancient clumsiness.

Because the creation of an object is closely related to people's living habits, aesthetic standards and technical conditions at that time.

Generally speaking, ceramics can reflect the characteristics of each era in terms of decoration and glaze, but the shape is more prominent in this aspect.

Therefore, if you can be good at identifying its shape and demeanor, you can master a more reliable method in the identification work.

Observer shape, first of all, you need to have a basic concept of past dynasties.

The shape of ceramics is generally simple in ancient times, and gradually became more complicated with the evolution of the times.

In terms of the shapes of the Yuan, Ming, and Qing dynasties, most of the shapes of the Yuan Dynasty are relatively blunt and immature, and both blue and white porcelain are more prominent than ordinary Song and Ming porcelains.

In particular, general utensils such as altars, jars, bottles, pots, plates, and bowls used in daily use often have quite large shapes.

Different periods have different decorations and colors, and the decorations on ceramics have the same distinctive characteristics of the times as their shapes.

Moreover, due to the continuous enrichment and improvement of raw materials and techniques of painted porcelain, both in terms of subject matter and expression form, it has its level and characteristics in different periods.

Therefore, it has also become a powerful clue to divide the era and identify the authenticity.

Generally speaking, the development process of porcelain decoration is nothing more than from simple to complex, from scratch printing and engraving to carving and drawing, from simple and monochrome to colorful.

In terms of the characteristics of using characters as porcelain decorations, the products of the Ming and Qing dynasties are still different.

For example, there are Sanskrit, scriptures, Baifu, and Baishou characters written on porcelain in the Ming Dynasty.

And the ones that use large poems, words, songs, Fu, Biao, Ode, etc. as decorative characters are the creations of the Kangxi period.

Grasping the laws of the inscriptions of the Ming and Qing dynasties and determining the authenticity of old and new porcelain according to the inscriptions is an important part of the identification work.

Because today's handed down products and imitations are mostly Ming and Qing dynasties.

Most of the official kilns in Ming and Qing Dynasties have annual models, and each has its own characteristics.

As far as the inscriptions of the Ming Dynasty are concerned, there are so-called "Yongle inscriptions are less, Xuande inscriptions are more, Chenghua inscriptions are fat, Hongzhi inscriptions are beautiful, Zhengde inscriptions are respectful, and Jiajing inscriptions are miscellaneous".

Therefore, to study the inscriptions of various generations, we must first pay attention to their brushwork.

The characteristics of the eight strokes such as horizontal, vertical, left, right, hook, pick, point, shoulder, etc. must be carefully understood and compared to help identify authenticity.

Since everyone's calligraphy is different, the fonts used to write official kiln inscriptions must be selected and have a certain level.

Therefore, those who write imitation models are bound to imitate carefully, lest there be any differences.

If you are too cautious, you will inevitably feel cramped, and the brushwork is not easy to be natural and vivid.

This kind of flaw can only be seen through repeated verification with real objects.

(End of this chapter)