The kiln transformation, from the unknown at the beginning to the auspiciousness later, is actually a process in which the ancients gradually understood the principle of kiln transformation.
During this process, technology continued to improve and kiln changes began to become controllable.
In other words, later generations were able to artificially control kiln changes and obtain the effects they wanted.
The ancient book "Nanyao Notes" records: The kiln-change glazed porcelain fired in the Qing Dynasty, although the glaze flowed when put into the fire, the color change was allowed to develop naturally, and it was not artificially predetermined to a certain color.
However, based on the firing technology at that time, it is speculated that glazes can be artificially configured and the heat can be freely controlled. It can be said that the general laws of kiln transformation have been basically mastered.
For example, Langyao red, Langyao green, cowpea red, apple green, etc. during the Kangxi period are the best representatives.
The apple green glaze and Langyao green that Chen Wenzhe wanted to imitate were transformed into Langyao red and cowpea red kilns.
During the Yongzheng period of the Qing Dynasty, famous porcelains from famous kilns in the past were copied in large numbers, and kiln-varnished porcelain was also vigorously developed and improved during this period.
Tang Ying, the pottery superintendent at that time, discovered the method of preparing glazes for Jun kiln porcelain in the Song Dynasty, and resumed the production of imitation Jun porcelain with the support of the royal family.
Jun red glazed porcelain from the Song Dynasty was also called "rose purple".
The imitation Jun red glazed porcelain of the Yongzheng period of the Qing Dynasty mainly includes bowls, plates, bottles, jars, washbasins, basins, statues, etc.
The imitation effect is also very realistic and very similar to the real thing.
Among them, the most famous first type of kiln-changing glaze is the kiln-changing flower glaze.
Kiln-turned flower glaze is a type of imitation Jun glaze, also known as "Jun red flower glaze".
During the firing process, many beautiful interlaced colors of blue and white are formed, and the picture content is very rich and encompasses everything.
Kiln glaze change, in the final analysis, means that some artifacts have unexpected glaze color effects during the production process, resulting in different colors.
In fact, the main reason is that the kiln contains a variety of color elements. Under the action of oxidation and reduction, the porcelain may have unexpected glaze color effects after it comes out of the kiln.
Among the green glaze porcelain, apple green glaze is a kind of kiln-made porcelain, and it is the porcelain made by cowpea red kiln.
From red glaze to green glaze, such a kiln transformation is even more rare, not to mention that the final result of the kiln transformation is very beautiful, which makes it even more precious.
There are actually two types of this apple green glaze, one is cowpea red, or a kiln variation of Jihong.
During firing, most of the copper in the glaze is oxidized to form varying shades of green.
Generally, the light green background is mixed with dark green spots, and a few places are slightly reddish, resembling fresh apples, hence the name.
There is also a kind of green overglaze product that is added to the sliced white porcelain, also called "apple green".
The two are essentially different, easy to distinguish, and easier to bake separately.
These two kinds of apple green are easy to distinguish because one uses copper as a coloring agent.
Another kind of ordinary celadon glaze is my country's traditional colored glaze, which uses a trace amount of iron oxide as a coloring agent.
In other words, during production, a glaze containing iron elements is used, and after firing, it becomes an ordinary apple celadon glaze.
The other method is to use copper elements. This is actually a method of firing copper red glaze, but it contains more copper elements and the firing temperature is higher, making it possible to produce copper red glaze.
Porcelain, turned into apple green glaze.
Such kiln changes may not be grasped by others, but for modern people, or for Chen Wenzhe who has mastered modern and ancient firing techniques, it is not difficult at all.
The glaze formula and kiln temperature control were not difficult for Chen Wenzhe, so when he wanted to make apple celadon glaze porcelain in the kiln, there was no difficulty.
Although we know the principle and why kiln-transformed porcelain can be produced, if we really want to make qualified kiln-transformed glazed porcelain, we still need to fire it before we know whether it will be successful.
At this point, Chen Wenzhe was extremely cautious, because he knew very well that he could control the complete change of the single-color glaze.
But he couldn't grasp some changes in details.
For example, in ancient times, people still couldn't know the cause of kiln changes and regarded kiln changes as "freaks." Why are they freaks?
Because some porcelain is partially kiln damaged, and the kiln changed is very beautiful.
It is this kind of kiln transformation that gives each utensil its own characteristics, and even has nicknames such as "Baby Face" and "Beauty Record".
No one can completely control this kind of random kiln change, it can only depend on God's will.
The most important thing is that these kiln changes occur during the last step of firing.
Therefore, firing is the most critical process in the kiln glaze production process.
Subtle changes in every detail in this process directly affect the effect of kiln transformation.
For example, there is a difference in the placement of the products when installing the kiln, the density or scarcity of the products installed in the kiln, the quality of the fuel when firing the kiln, etc.
Of course, there are other reasons.
For example, when firing a kiln, the weight of the reducing atmosphere inside the kiln, whether the temperature is appropriate, the length of burning time, the speed of cooling after flameout, the climate and the level of craftsmanship all directly affect the kiln transformation effect.
Chen Wenzhe can now be said to have integrated five thousand years of porcelain-making craftsmanship, coupled with the blessing of modern technology, giving him a clear understanding of kiln changes.
However, if you want the beautiful kiln transformation effect that appeared randomly in ancient times, you still need luck.
Kiln-turned glaze has always had collection value in history and culture. The reason is that it is difficult to make kiln-turned glaze.
The formation of high-temperature kiln glaze is said to be "a rare treasure in a thousand kilns" and is very difficult.
People in ancient times also said that "the kiln glaze is unparalleled", which means that the kiln glaze is unpredictable and the finished product is unique.
Especially at high temperatures, the fluidity of kiln glaze is extremely high, making it difficult to effectively control the formation of concrete patterns.
For example, in the kiln glaze, "the waves are rolling" and "the glaze is all five colors".
These two effects are actually that the glaze has strong fluidity, rich changes, and clear layers, just like the water flowing in the divine flow, which is energetic and flexible.
During the Tang Dynasty, the glaze lines on the kiln were undulating and changeable, and the various colors in the glaze were blended and intertwined, creating a sense of movement and beauty.
Some of the kiln changes at that time were as bright as peacock feathers, which was really mysterious.
In addition to these effects, the kiln changes like brilliant clouds, spring flowers and autumn clouds, and thousands of horses galloping.
People regard this kind of porcelain as something grand and often placed in important places in their homes. This is the practical value of kiln-glazed porcelain.
However, if you want to obtain something atmospheric, you need a high level of luck.
Because even if you master the mixing of various color glazes, drawing techniques and firing temperatures, there are still many uncontrollable factors in the production process.
Therefore, engaging in high-temperature color glaze painting is more like an artistic adventure.
Before painting, you can only imagine the general shape, but you cannot estimate the specific color and specific picture.