There is no shortage of beautiful porcelain in China, but it is rare to see dream-like porcelain with beautiful black glaze.
In addition to the various obsidian lamps from the Jian kiln that are more famous, the Ding kiln’s persimmon red glaze porcelain is also famous, right?
Persimmon red glaze is a typical glaze color in the Song Dynasty, also known as sauce glaze and purple gold glaze.
Of course, this glaze color is different from modern sauce glaze and purple gold glaze, and can only be said to be similar.
In terms of quality, the ancient persimmon red glaze is definitely not as good as the current sauce glaze and purple gold glaze.
However, this is already a very precious glaze effect in ancient times.
This kind of glaze color is made by firing iron-based crystals as the main molecules.
During the Song Dynasty, whether it was the Jianyang area in the south or the Cizhou kiln, Ding kiln (Ziding), and Dangyangyu kiln in the north, it was fired, and its color was like persimmon red and crystal clear.
Our countrymen love red, and everyone knows this.
Red represents auspiciousness and luck, and reminds people of prosperity and happiness.
Persimmon red, as the name suggests, is the color of persimmons when they are ripe.
Persimmon red hair color makes people feel subtle and elegant, giving it an ancient charm.
People in the Song Dynasty believed that "rhyme is the ultimate beauty", and this kind of color with historical accumulation gives us more nostalgic emotions.
In the Song Dynasty thousands of years ago, red glaze was difficult to fire.
And the black Ding kiln is transformed and the persimmon red glaze is added. What kind of miracle is this?
Ding kiln, which is called "persimmon red glaze" by Neon people, is already very rare.
As for the black Ding kiln porcelain with persimmon red glaze, it is estimated that the only one mentioned above is the only one in the world.
Kiln changes are caused by unconventional contingency, and it is this contingency that rewrites history and has unique artistry.
Art itself is unique. If it can be produced repeatedly, or even mass-produced, is there any art at all?
Looking at the several representative pieces of extant lamps and plates with different forms of black glaze from Ding kiln in the Northern Song Dynasty, they are all unique.
Of course, the modeling works of that era were all accidental and could not be controlled by humans.
Although some are artificial stippling, sprinkles, etc., they are all works of art that cannot be copied.
In that kind of natural environment, whether it is a wood kiln or a coal kiln, the fluctuation of air flow in the furnace will affect the effect of artifact creation.
The thunderous meteor shower, the fireballs of meteorites falling across the sky, the spots on partridge feathers, and the golden patterns painted on the dark shiny surface, all shine with the wisdom and rich creativity of ancient craftsmen.
Among them, the most representative Ding kiln black-glazed vessels have been discovered so far.
Especially the Ding kiln persimmon red glaze, its various circles are different.
The circle feet vary according to the type of vessel, age, and the techniques passed down from master to master in each workshop.
Why do you say that? Because this persimmon red glaze product is not put into mass production.
Therefore, there is no unified process requirement, and the master-to-teacher relationship, techniques and craftsmanship of each workshop are slightly different.
Moreover, this kind of persimmon red glaze work may be irregular and not produced on a large scale.
For Ding kiln white glaze, mass production requires a relatively unified framework to limit the success rate and uniformity of the product.
In front of him, Chen Wenzhe's special magnification effect allowed him to see the pieces of Dingyao wares inside the Sui Marquis Pearl in more detail.
Usually we seldom pay attention to the microscopic world of Ding kiln colored glaze.
By chance, we use a 100x magnifying glass to take pictures of the microscopic world of black and persimmon red glazes. We will find that it is simply incredible?
How could this be? Let’s compare it to the world of space.
What does space look like, far away and out of reach?
Are the starry sky pictures captured through the most professional space telescopes very similar to the black microscopic pictures in front of you?
Chen Wenzhe specially found several sets of space pictures and compared them carefully.
He discovered that the space world is really like a black microscopic world.
This aspect is not inferior at all compared to Jianzhan’s Universe in a Bowl!
The largest planets in the universe are far larger than our human earth.
If we notice the microscopic world of Ding kiln black glaze, we can easily think of the world of space.
The falling meteorite, the meteor shower...
Those scattered spots are exactly the same as those irregular impurities in the black microscopic world.
In ancient times when craftsmanship was backward, it was common for glaze to contain different impurities.
Those impurities may not necessarily be able to melt into the glaze at high temperatures. There are always some that can withstand high temperatures and remain. This is the technological limitation imposed by the times.
In addition to Ding kiln, the black glazes of Dangyangyu kiln, Lushan kiln, Yaozhou kiln, etc. also have different microscopic worlds.
The porcelain works at the entrance of these kilns all have their own uniqueness, and of course some also have a certain degree of universality.
If you zoom in, you can see many bubbles, impurities and surface scratches of different sizes and colors.
In fact, all ancient black glazes have this situation.
Generally, they have different colors under different lights, and the inside of their glaze is not pure black.
Rather, it is a lot of brown, brown, black, yellow, etc., intertwined and containing crystals and impurities of different substances.
These porcelains look black from a distance, but when viewed up close under the sun, they are not necessarily pitch black.
Rather, it is a mixture of variegated colors, which is the characteristic of ancient black glaze.
If we move a high-power magnifying glass to the hematite spots on the black glaze, we will find that the microscopic world before us has a texture like snake skin, which is very strange.
How can you imagine it? Snake skin can actually match this iron spot? It’s so weird!
With curiosity, let’s take a look at the scene presented to us under the persimmon red glazed microscope!
It was a completely different world from the persimmon red glaze. On the bland lotus-colored surface, there were scattered crystals, and nitrate-like fragments of varying sizes could be seen everywhere attached to the surface.
These should all be crystals. Some of the large crystals look like small butterflies, which is very strange.
This is called "creating nature", it is not something that humans can do just because they want to.
The magic in the microscopic world of Ding kiln persimmon red glaze is a miracle that people cannot imagine.
In fact, the microscopic world of all ancient sauce-glazed porcelain is also very magical.
Although they each have different crystal structure points and different distributions, they all have many things in common that we can learn from.
And this phenomenon is not only discovered by modern people, there were also many literati in ancient times who discovered this.
The best proof is a poem.
Drunk Flower Yin--Double-sided kiln-glazed bamboo hat from Yongding Kiln!
If you watch the shooting stars falling through the sky, you will make the best promise in your life.
I can't sleep for a long time, my dreams are dark and green, and a glass of wine can make me slightly tipsy.
There is something strange and charming about a camel in the dark. It is precious in the world for thousands of years.
Thousands of miles away, there is no luck, but the gods suddenly descend and the heavy snow showers me with favors.