This time when he came to South Vietnam, because of Wu San’s order, Chen Wenzhe continued to make various classic porcelains by imitating Ru kiln porcelain.
It can be said that through this time of making porcelain and imitating antiques, he continuously integrated the knowledge he had learned and began to reach the top.
Therefore, he can sort out the development process of a type of porcelain from beginning to end from a higher perspective.
At this time, all he had learned was the production of green-glazed porcelain, so the knowledge he gained from the Sui Marquis Pearl was all about green-glazed porcelain.
So, what if he learns about Ru kiln porcelain? Can he also get a lot of knowledge about Ru kiln?
As this idea emerged, a lot of knowledge emerged.
However, after a quick look, he discovered that these were all knowledge that he already knew and understood thoroughly.
With his success in firing the three classic glazed porcelains of Ru Kiln, it can be said that the firing of Ru Guan Kiln porcelain has been thoroughly studied by him, so if he continues to learn the relevant knowledge of Ru Kiln, it will only make him taste nothing.
His mind returned to green glazed porcelain. He had just seen that in terms of firing technology, green glazed porcelain can be divided into three categories.
The first type is definitely low-temperature glaze, and judging from the archaeologically discovered materials, the firing center area of this kind of artifacts was mainly in Nanhe in the early days.
From the end of the Northern Song Dynasty to the Jin Dynasty, it gradually moved to the southern part of Beihe and the northern part of Nanhe. After the Yuan Dynasty, it was centered on the Xishan area.
This production method was still used until the Ming and Qing Dynasties, and was the mainstream method for producing colored glazed porcelain in the north.
Several pieces of monochromatic low-temperature glazed porcelain have been unearthed in China, including green-glazed pure bottles, yellow-glazed lidded jars, and parrot-shaped pots.
These are the key points that Chen Wenzhe pays attention to, because he needs to imitate these classic types.
If you can't collect all these ancient objects, then you can imitate them all. They won't be sold. As long as they are displayed in your own museum, it will be a joy to see.
After thoroughly researching the first low-temperature glazed green glazed porcelain, we can definitely produce qualified Tang Sancai.
The camels, human figurines, and horses among the three-color paintings of the Tang Dynasty are still very classic. Chen Wenzhe is not interested in the unearthed artifacts, but the ones he fired are not unfamiliar.
"The characteristics of this kind of low-temperature glazed wares are very obvious. In order to make the glaze easy to apply and the glaze to be firm during the second firing, the kiln temperature is actually lower than the normal porcelain firing temperature during the biscuit firing stage?"
Chen Wenzhe felt that he had learned a lot of knowledge, and the low-temperature glaze was well-deserved.
It turns out that he just knew what happened but didn't know why. Now he knows why the embryo is fired at low temperature.
Moreover, he also knew that the biscuit blanks fired at low temperatures were not hard enough and had a high water absorption rate. However, glaze juice was absorbed during the second firing, making the color of the utensils often uneven.
And because these low-temperature glazes have high transparency, it is difficult to cover darker body colors.
Therefore, the colors of most utensils appear relatively deep and dark, often dark green or dark green.
For this reason, many kilns after the Northern Song Dynasty began to add a layer of white cosmetic clay during the bisque firing stage to improve the glaze color of the finished product. Sometimes they also added scratches, carvings and other decorations on the tread.
Therefore, some arts are born under specific conditions, such as covering up ugliness.
Any variety of porcelain is developed step by step, and the early green glazed porcelain was definitely not available on the table.
However, this situation changed starting from the Tang Dynasty, and it was Tang Sancai that changed everything.
Among the three-color porcelain of the Tang Dynasty, green glaze was widely used.
And here, the rough life of green glazed ceramics is vividly expressed.
How did green glazed porcelain go through this life? From the tomb to the palace, this was a struggle about "the difference between superiority and inferiority".
The development of ceramics has gone through a long period of time.
Among the many porcelains, green glaze is not particularly conspicuous.
Although it lasted for a very long time, it has never been called the top priority, or it has never been pushed to the top by any dynasty.
But upon closer inspection, green glaze has never been missing, no matter which stage it is in history.
It can be said that from the moment of its birth to the following thousands of years, green glazed porcelain has never been replaced.
Of course, the lack of attention may also be inseparable from the color.
Just like in the eyes of feudal rulers, yellow represents orthodoxy.
The clothes worn by the royal family are also yellow, with patterns such as dragons and phoenixes embroidered on them.
Even the clothes worn by officials are distinguished by color. For example, officials wearing green clothes do not have particularly high official positions.
However, with the passage of time, although there was no aesthetic and other aspects to add points to green glaze, no ruler was extremely optimistic about this kind of porcelain.
Therefore, in the endless process, the journey traveled by green glaze has also been extremely bumpy.
Through the development of this porcelain and the degree of attention it receives, we can also see the development process of the handicraft industry from ancient times to the present.
At the same time, we can also see the promotion and corresponding restrictions imposed by the imperial rulers on the porcelain industry.
Green is like a color with two sides, a positive side and an embarrassing side.
The positive side definitely represents the thriving vitality, which is a good direction and is conducive to the development of green glazed porcelain.
This is easy to understand. The most common color among all things created by nature is green.
The trees, flowers and plants we see all have green as a background color.
At the same time, green also symbolizes hope, life, and peace.
Just like many people, when their eyes are tired, they will take a look at green plants.
From this perspective, green also represents thriving vitality.
However, when green matches people's aesthetic concepts, it is not liked and treated by people, and even becomes more and more embarrassing.
"Shuowen" mentioned about green: "Green, silk is blue and yellow."
Just from this sentence, we can see that green is not a popular color in people's aesthetic concepts, and is even called a variegated color.
Assessments like this don't just appear in this book.
Just like Confucius, in order to maintain the etiquette system at that time, he also regarded green as other colors, that is, variegated colors.
Red, yellow, cyan, white and black are called the correct colors.
Quietly, green is not taken seriously.
Just like in thousands of years of civilization, even colors have been classified into grades.
Precisely because green does not represent a positive color, the status of green-related porcelain has always been relatively low.
Because during sacrifices, ceramics with five glaze colors were needed, so the emperors were more concerned about them.
But whether green can appear at the sacrifice site is still a huge question mark.