If you want to imitate the ancient beauty pillow, you must at least know what the beauty on the beauty pillow should look like, right?
Should you lie on your side or on your back? What kind of posture is suitable for an adult beauty?
No matter what, it is definitely not lying on your back like a child.
If I am lying on my side, why? How should I place my hands and feet?
These are all questions, even knowledge.
Furthermore, the face opening when carving should not be opened like a Buddha statue.
Buddha statues focus on divinity, such as being rich, kind, and compassionate.
However, if you want to treat a worldly beauty like this, what will it look like?
Do you want to sleep with a beautiful woman with a face of great kindness and compassion every day?
Without saying anything blasphemous, do you think you can sleep with such a beauty pillow?
There is one final question, and that is a scientific question.
Don't think that the knowledge done by the ancients is untrustworthy, just like the making of porcelain pillows.
The size of the porcelain pillow must conform to the characteristics of the era. The most important thing is that it must conform to human living habits and cannot be uncomfortable.
All of this is the key to imitating a beauty pillow.
Chen Wenzhe didn't want to make some stupid mistakes to avoid making people who know the industry laugh.
In fact, these things are difficult for those who don’t know how to do them, and they are not difficult for those who know how to do them.
As long as you understand it, it's really not difficult to do.
As expected, I learned so much ancient Ding kiln knowledge in the early stage, which must be useful.
For Chen Wenzhe, every time he studies, he will have more or less breakthroughs.
This will make his memory more refined, so his skills in making Ding Kiln porcelain will become more and more powerful.
Just like the current Ding Kiln Factory, he also practiced making baby pillows and beauty pillows at Ding Kiln.
At his current level, it is no longer a problem to make other types of porcelain from Ding kiln!
Feeling that the craftsmanship in making Ding kiln is already very good, Chen Wenzhe is about to start the next challenge.
You know, Ding Kiln has more than just baby pillows.
Therefore, after making a batch of Ding kiln beauty pillows, Chen Wenzhe began to copy other unique porcelains from Jingzhi Temple step by step.
For example, among the treasures hidden in the underground palace of Jingzhi Temple, there are many special porcelains, such as the Ding kiln white-glazed five-footed incense burner.
This piece of porcelain is very peculiar. It is imitated in the shape of gold and silverware.
It's not that big, with a diameter of 10.6 cm, a bottom diameter of 11.2 cm, and a height of 17.9 cm.
It’s just that the smaller this type of vessel is, the more difficult the craftsmanship is.
Just think about it and you will know that it is naturally more difficult to build craftsmanship on very small utensils.
Therefore, the craftsmanship of this smoker is even more rare.
It adopts the techniques of stacking and scratching. It has a general helmet-like cover with a flower-receiving orb on the top. There are six staggered peach-shaped smoke holes on the cover, and the cover rim is extravagant and flat and wide.
The furnace body has a plate mouth, a straight belly, and is folded into a flat bottom. The belly has a two-week string pattern and the inside of the bottom is concave.
There are five animal-like faces with hoofs and hoofs attached to the bottom of the furnace. The head is attached to the belly of the furnace, and the feet are placed on ring-shaped flat supports.
Its white body is fine and firm, its glaze is bright and transparent, slightly yellowish and has hanging glaze marks. There is no glaze on the inside of the lid, on the edge of the mouth, and on the bottom.
There probably weren't many porcelain incense burners like this even in the Song Dynasty when incense was a popular thing.
The reason why this batch of cultural relics unearthed from the Jingzhi Temple Underground Palace caused a sensation is because there are really many important items in them, such as this white-glazed five-footed incense burner.
There are many Ding kiln porcelains discovered, and the majority of them are fine ones. Such a batch of ancient porcelain naturally attracts much attention.
Among them is a piece of mimetic porcelain that looks like a conch, which is a white-glazed porcelain turtle.
This white glazed porcelain turtle is 3.8 cm high and 8.8 cm long.
The turtle's head is raised, its neck is constricted, its belly is hollow, its back is ridged, its short tail is curled, its limbs are flaky webbed toes, and its eyes are shaped like millet.
The mouth of the turtle has air holes required for firing. The belly is unglazed and decorated with wavy patterns. The back of the turtle has a double hooked hexagonal pattern on the turtle shell.
A turtle can turn land and water, which is a Buddhist metaphor for "birth" and "nirvana" in Buddhist philosophy.
The body of this porcelain turtle is white and fine, and the glaze is thick, translucent and slightly yellowish.
The porcelain turtle has a vivid image and is identified as a masterpiece of Ding Kiln craft porcelain in the early Northern Song Dynasty.
The most important thing is that it can float on water as a whole, which is not easy to do.
Just this point can give it the same status as the conch.
In fact, these are not the most peculiar works unearthed from the Jingzhi Temple Underground Palace.
The most special work among them should be the black and white glazed porcelain sedan unearthed from the underground palace.
This black and white glazed porcelain sedan from the Northern Song Dynasty is 15.8 cm high and the side of the square seat is 10 cm long.
The car body is square, with a square flat support underneath.
The top of the sedan chair has a hexagonal pointed shape, decorated with flower beads, and has six curved roof eaves.
The door of the sedan chair is hung with a short half-covered curtain, and a young woman is kneeling inside. There is a hollow hanging leaf pattern window on the back curtain.
Four people are carrying the sedan chair, one of whom is wearing a flower crown, the other three are wearing futou and wide belts, one hand is holding the sedan pole and the other is on the waist.
The porcelain body is fine white, and the top of the sedan chair is glazed with black glaze, which is partially yellowed.
The remaining parts are covered with white glaze. The glaze is thick and transparent, with hanging glaze marks.
The sedan body and bearers are partially painted in black.
The entire porcelain sedan has bright contrasting colors, and the character depictions are simple and vivid.
This Ding kiln white-glazed brown sedan was unearthed in 1969 from the Pagoda Base Palace of Jingzhi Temple in Dingzhou. It is a national first-class cultural relic and is now in the collection of Dingzhou Museum.
The four bearers are very vivid, they carry the pole on their shoulders, three of them wear square scarves, and the other bearer is different.
He wears a flower crown on his head (the body part below the head was incomplete when unearthed), and all four of them wear short clothes, long trousers, and sweat scarves tied around their waists.
They all hold the bar with one hand bent and the other hand on their hips, which is vivid and natural.
There is a sedan door in front, with a half-hung curtain and colorful ribbons on it.
Through the sedan door, you can see a woman kneeling inside. This is a typical Ding kiln kneaded sculpture.
The facial expressions and body postures are vividly drawn.
She shyly hides inside, so it is difficult to show it in the form of pictures on the Internet for people to view.
However, now the internal breakthrough of Chen Wenzhe's Sui Hou Pearl can be enlarged, reduced, and even adjusted in angle.
This is definitely a high-tech three-dimensional projection technology, so he can see clearly.
Through careful study, he found that the entire porcelain sedan was divided into two parts: the sedan roof and the sedan body.
In order to avoid the monotony of color and make the color more varied, brown glaze is applied on the top of the sedan, and the body of the sedan is mainly white glaze, with some brown color as decoration.
On the top of the sedan chair, black glaze is used for the eyebrows of the bearers, and white glaze is used for most other parts, which makes the porcelain sedan more three-dimensional and the expressions of the bearers more vivid.
In the Song Dynasty, when the color glaze of Ding kiln was relatively monotonous, in order to highlight the theme of the sedan chair, we tried our best to make it gorgeous, which reflected the luxury of the nobles at that time.
The craftsmen also used their brains to make the brown color play the finishing touch on the white tone.
Looking at the attire of the bearers, one of them is obviously different in color from the other three. His whole body is tawny, and his headdress is also obviously different.
Not to mention other values, this point alone is of great significance to the study of the etiquette system and clothing culture of the Song Dynasty.