During the late Qing Dynasty and the Republic of China, red-bodied porcelain was also valued by merchants, players and collectors.
But it cannot be sold at a high price. After all, the final consumers are collectors and scholars, and their number is very small. This is also the case today.
Since there are red tires, there must be tires of other colors, such as black tires.
All porcelain with black body is relatively old. In the late Northern Song Dynasty, there was less black soil, so it was mixed with white soil, making it appear gray in color.
In the Northern Song Dynasty and above, there were many black fetuses and they were dark.
There is a kind of black tire Song Ding kiln, which is hard, black and thin.
Longquan in the Northern Song Dynasty is considered a gray tire, not a black tire.
There is a kind of black fetus with red threads forming inside it over time, which is called "red thread black fetus". It is extremely rare and originates from Guan Jun.
Nowadays, there are imitations, so the black tire cannot be used as an isolated evidence. It can be cited independently as a basis for identification and can be used as a clue to help date it.
In addition to these two types, there are also pig liver fetuses, bronze fetuses, etc. Of course, the latter two are unique to some classic shapes.
For example, pig liver fetuses have glaze shrinkage or glaze shrinkage scars, and the color of the fetus is similar to that of pig liver, which is darker and more purple. It is the same as bronze fetuses. Pig livers are older than bronze fetuses. The iron content is higher and the fetal bones are darker.
Even if someone imitates it, it won’t be the same.
Bronze fetuses also have glaze shrinkage or glaze shrinkage scars, and the color of the fetus is like bronze, reddish and yellowish, similar to pig liver fetuses, but the color is different due to different fetus qualities.
This is a special term for Guan and Ge Kiln.
Other kiln entrances are less common.
The above two fetal colors are related to the scarred face of Ge Guanyao.
Scar face is one of the unique phenomena of Guan Ge kiln. Because the kiln temperature is too high, the makeup soil is separated from the body, leaving a large glaze shrinkage scar on the porcelain, which is mostly oval and resembles a human face, so it is called glaze shrinkage scar. Face.
Nowadays, some people imitate it, but it doesn't show the bronze color, nor does it show the color of pig liver.
This scar color is not present when it comes out of the kiln, but has been transformed over thousands of years, so no one can imitate it now.
Geguan scar face is quite different from other kiln or varieties of shrunk glaze scar face.
The scar edges on Ge Guan’s scarred face are particularly thick and easy to distinguish.
Chen Wenzhe listened very carefully. He was able to corroborate what he had learned through his own inheritance through the words of the two old men.
After all, these all belong to the category of porcelain making. Chen Wenzhe must have learned it before, but when he learned the basics of porcelain making, because the knowledge involved was too broad, he gave up on some unused knowledge and did not study it in depth.
It's different now. As his various skills improve rapidly, by analogy, as long as he has a little exposure, he will know what to do.
Since the two old men were sincere and talked about some techniques for making ancient porcelain, especially the characteristics of some ancient porcelain that are difficult to imitate, they analyzed it in a simple and in-depth way, which made Chen Wenzhe gain a lot.
Since then, he doesn't mind talking about some real skills.
Just now they mentioned red tires, which involves ruby red.
Regarding this aspect of knowledge, Chen Wenzhe's attainments are not weak. Ruby red glaze cannot be said for sure, but red glaze can.
"Then let me talk about glaze color. Have you ever seen the phenomenon of red clouds?"
The phenomenon in porcelain like red cloud is still very beautiful.
The red cloud here refers to the red spots formed due to color difference in the red glaze.
This kind of erythema is like clouds in June, colorful and more obvious under strong light sources.
This does not refer to the flying copper phenomenon, but refers specifically to the color difference characteristics of the substances in the glaze combining and repelling each other.
The colors are rich and dull, and not obvious.
Tang Hong and Lang Hong are similar phenomena.
So far, no copper-red glazed porcelain can be imitated with 10% or 20% of the flavor of ancient porcelain. From this, we can also see that copper-red glazed porcelain is not easy to imitate.
Pay special attention to the fact that red clouds have a flaky feel, while red cirrus clouds have a linear feel.
Since there are red clouds, there must be blue clouds. Just like the red clouds, they are blue patches.
In addition, silver and gold dots are often found under the blue glaze. This may be related to the material of the glaze, which also has a flaky feel.
Others include rose purple, which is a hair color of Jun kiln glaze. It is actually composed of red cirrus clouds, living ripples, colorful bubbles, purple dots, blue dots, green dots, gold dots, etc.
Overall it looks like a rose-like purple, but if you look closely at its parts, you can see different colors.
These phenomena have never been imitated so far. According to records, the above-mentioned red glazed soil disappeared in the middle of the Ming Dynasty.
The frequency of rose purple is higher than that of begonia red, and it is as difficult to burn as Jihong, Tanghong and Langhong in copper red glaze, for the same reason.
Finally, there is Begonia Red, which is the same as Rose Purple, except that the overall color is more red, with less purple, blue, and green dots, and more red cirrus clouds that make up the main color.
Again, whether it is Jun kiln, Ge kiln, Guan kiln, or copper-red glaze porcelain, it is difficult to fire.
Being able to exchange information in this area and any knowledge point is a very rare opportunity.
After all, it involves the five famous kilns of the Song Dynasty, and this knowledge should be considered the most advanced in the antique industry.
The more the two sides talked, the more in-depth they became and the more serious they became.
As long as both parties still feel that they have gained something, they will naturally not stop.
Just now Chen Wenzhe mentioned patterns and glaze colors.
The two old men could only reciprocate the favor. Chen Wenzhe mentioned various glaze colors earlier, and also highlighted some various color points.
This phenomenon is also found in ancient porcelain.
For example, blue dots, azure glaze, Tang blue Huajun, Song Jun, duck egg green ground glaze, etc., most of the blue mineral dots can be found in the glaze.
Any glaze with blue spots will change color. The color will turn dull after being protected from light for a long time, and the color will darken soon after being exposed to sunlight.
In addition, different viewing angles result in different colors, and differences in light source radiation result in different colors.
According to previous reports, it contains agate juice.
It is worth noting that the blue and white materials from the pre-Ming dynasty and some from the third and third dynasties of the Qing Dynasty will also change color, with the Suma Liqing material being the most obvious.
There are other green spots, which will appear in the support nails of Ru kiln. It is called diabase, a mineral body that is resistant to high temperatures and acid, and is bright green.
With it, the support pin can be made as small as a sesame seed.
This is the first time that Chen Wenzhe knows that he has learned Zhiding Yaki specifically, but he really didn't know that the sesame burning in Zhiding Yaki is actually related to diabase.
It can be said that paying attention to everything will lead to knowledge!
Without this exchange, where would he learn these knowledge?
Even Chen Wenzhe didn't know these things before, so can modern people imitate them?
It is always difficult to imitate Ru kiln.
As for the green dot, many of the current producers of imitation products do not know the efficacy of green dots, so the support nails of the imitation products are too thick and lose their charm.
It is speculated that the green dots did not simply rely on physical methods to refine them. The ancients also used Taoist alchemy and chemical methods.
Then there are gold and silver dots, and silver dots are silver-white objects that appear in the glaze of ancient porcelain Jun kilns.
It is not common, with a ratio of about one-tenth, and is only shown in those with higher pyrotechnics.
Gold dots are golden objects that appear in the glaze of ancient porcelain Jun kilns.
The probability of occurrence is higher than that of silver spots, accounting for about one-fifth of the time, and does not require excessive temperature.