Riding the wind of rebirth

Chapter 1590: You can’t miss something every time

The thing Zhou Zhi has now fills this gap perfectly.

The technique of covering the bottom of the pottery base with makeup soil began in the Northern Qi Dynasty. Later, the technique of making colors on the makeup soil began to appear. It was green color at first, and then other colors were added. It developed into three colors in the Tang Dynasty.

However, since glass glaze appeared relatively late, these colored porcelains have always been overglaze colored.

If you want underglaze color to appear, there must be a prerequisite, that is, the transparency of the glass glaze on the surface must be enough to reveal the color of the underglaze color.

According to the law of development of things, this glass glaze must go through a transition process from opaque to emulsified, and then from emulsified to transparent.

But it's strange. Whether it's the earliest celadon underglaze pot with colorful feathers and human patterns, or the later Changsha kiln, it seems that the development of the top glaze has reached a level of transparency, even if the bottom tire has no makeup. Earth, that kind of sauce-colored or greenish-yellow base color, can be presented relatively completely under the glaze.

Without the small jar in Zhou Zhi's hand for comparison, everyone would not have thought about it. But with this small jar, everyone would realize that whether it was the celadon underglaze color during the Three Kingdoms period or the Changsha kiln in the late Tang Dynasty. There seems to be a problem with underglaze colors, that is, the level of carcass and coloring is somewhat out of sync with the development level of the surface glass glaze.

The small jar in Zhou Zhi's hand was just the opposite, filling all the vacancies left before.

The base of this melon-edge jar was originally made of relatively rough porcelain clay, and its original color is light brown-red, which can be seen from the unmodified base and the rim with a thin glaze layer.

In order to make up for this defect, the kiln workers mixed the paste with finely washed kaolin and painted the carcass several layers, so that the original light brown-red porcelain body was wrapped with a layer of white decorative soil, making the utensils white and translucent. Run.

On this basis, the craftsmen used iron-containing glaze and copper-containing glaze on the porcelain body, and painted two colored spots respectively, which were staggered on the white space between the melon edges and the melon edges to achieve the desired effect. To enhance the aesthetics.

Finally, people pour a layer of glass glaze on the painted porcelain body to protect the background color of the porcelain.

The benefits of underglaze color are of course self-evident. The first is to protect the color block and prevent the color from falling off due to washing and contact.

Secondly, the glass glaze is non-toxic and tasteless. It is not rich in mineral ions like the base paint. Many of those ions are even toxic. This creates an "isolation layer", which is not a problem even if it is used as a daily container.

Finally, it is easy to clean. Some liquids themselves are corrosive and will replace the metal ions in the color materials. During use, they will leave color traces of corrosion on the porcelain, making the porcelain ugly. With a layer of glass glaze protection that is extremely hard and does not react well with acids and alkalis, this problem naturally disappears.

This is a good idea, but the glass glaze formula in the early years has not yet reached the level of sophistication as in later generations, so it should have been like the one shown on the melon-edge jar in Zhou Zhi's hand. It was not completely transparent like crystal, but as clear as crystal. Like evaporated milk, it shows a translucent light milky white color.

This is what a transition period should be like.

There is another reason why Zhou Zhi fell in love with this melon-edge jar. It is just like the purple iron feet and golden iron wires of the Ge kiln porcelain in the Song Dynasty. This is originally a defect of poor craftsmanship and the glaze is not tightly bonded. A "glaze shrinkage" phenomenon caused by internal stress in porcelain.

However, the consequences of this flaw have given rise to a peculiar aesthetic appeal, which has been highly sought after by collectors for thousands of years.

The same is true for the emulsified glaze on this small pot now. Because it is not completely transparent, a kind of freehand picture of "clouds emerging unintentionally" is formed on the colored spots, which makes the colored spots move from the edge to the center, strengthening the transition between shades. , which brought rich changes to the originally slightly monotonous red and green colors.

This emphasis on such changes was more concretely reflected in a later famous porcelain type, that is, Jun kiln. The performance of this small jar is almost similar to that of the Jun kiln with a white background. There is even a possibility that the Jun kiln itself inherited the aesthetic style of this type of underglaze colored porcelain, and then embarked on the kiln discoloration using copper glaze. Carry out the expression path of "transformation into nature".

Don’t forget that the purple-red color on this small jar is also a very typical copper-red glaze. If the final scientific identification result is consistent with the shape of the vessel, this will be the first attempt at copper-red glaze in the history of human porcelain manufacturing, and it will be successful. It is natural for it to be inherited and carried forward by other kilns later.

Although Zhang Cheng is only an expert in appraising porcelain from the Ming and Qing dynasties, he is quite clear about the development of Chinese porcelain. Now he also understands the importance of this gadget in Zhou Zhi’s hand: “If it really comes from the Qiong Kiln of the Five Dynasties, I can publish many more papers.”

"Hahahaha..." Zhou Zhi felt very happy, and turned to look at Lu Qiao, who was already asleep in the back seat, and sighed: "I really want to go to the history department and use scientific methods to identify it. In fact, even if it is not the fifth generation It doesn’t matter if it’s a Qiong kiln, this gadget is completely in line with my aesthetics, and it’s comfortable to play with on my desk.”

"It seems that you are better at this one?" Zhang Cheng thought about it for a moment: "This thing, Jun kiln, later imitation Jun kiln glaze, and even Zhang Daqian's large splash color and small splash color, seem to have something in common."

"Eh? It seems that this is really the case." Zhou Zhi reminded Zhang Cheng, and then he reacted belatedly: "It seems that I have no resistance at all to this kind of thing."

"Have the pictures of "Spring Clouds at Dawn" and "Deer Apes Playing with Cranes" arrived?" Zhang Cheng asked: "There are also three silk volumes in the six-hand scroll."

"Here we go, "Spring Clouds and Dawn" are in the exhibition room of Suihuaxuan underground library. Mr. Zhang Shanzi's "Deeer Ape Playing with Cranes" and Mr. Daqian's small splash color "Tall Tree Listening to the Stream", two paintings of roe apes. , just one on the left and one on the right.”

"Zhao Lingran's "Picture of Geese", Zhao Mengfu's "Picture of Washing Horses", and Han Qian's "Picture of Horse Nature" have also been repaired, but they are too precious, and they are placed in the Suihuaxuan safe with the other three scrolls. In the capital The two old men urged me several times to send it over."

"Why don't you leave this job to me?" Zhang Cheng asked: "Go to Sui Huaxuan and read "Spring Clouds and Dawn", and I can give you a delivery by the way?"

Everyone knows Sima Zhao's intention, but Zhou Zhi also feels that Zhang Cheng is the one who can make him feel at ease. He smiled and said, "I wouldn't be so sure if it were someone else. If it's Brother Cheng, then you'll be fine."

"How about we go now?"

Zhou Zhi felt that time was too late: "Qiaoqiao is still here. It's not appropriate to go now. Let's go back to school first. Anyway, it's not too late."

"Then I'll drive to Dayazhai in a while, and you can go back by yourself."

When it was time to break up, Zhou Zhi handed Zhang Cheng a check: "Brother Ming settled the accounts. This is the labor fee for this visit to the house, as well as the handling fee for Mr. Wei's previous painting "Hai Yun"."

Zhang Cheng looked at the check: "The handling fee for "Hai Yun" is 5,000, leaving 32,000. It turns out that you spent 320,000 on that plate!"

"There's nothing I can do about it. If you meet an expert, you can't always pick something up every time you visit the house." Zhou Zhi spread his hands.

(End of this chapter)