Works with glaze colors such as snakeskin green are extremely rare, and this jade pot and spring vase from the Qianlong official kiln is also very rare;
Its glaze color is pure and even, bright and handsome, with the inner white glaze and the outer snakeskin green glaze complementing each other brilliantly. Although there is no decoration, it is pure and handsome, simple and elegant.
During the Qianlong period, the cost of firing this kind of colored glaze was also very high, and the technology was even more difficult, so there are very few surviving works.
Finally, there is the old monk's robe. This glaze color first appeared in the Hongwu period of the Ming Dynasty. It is a variety of sauce-colored glaze.
Its color is similar to the old robes worn by Buddhist monks, so it is called the "old monk robe" color.
To be honest, this is actually a variation of the color of tea leaves.
These glaze colors have actually been summarized very specifically by the ancients.
For example, Xu Zhiheng's "Yin Liu Zhai Shuo Porcelain" said: "After Kangxi, only bland yellows are preferred, collectively called egg yolks. The darker ones are called cooked egg yolks, and the lighter ones are called raw egg yolks. If they are combined with black and green,
It is called tea powder.
The source of tea powder is the oldest. One is pure tea powder, and the other is impure tea powder. The impure tea powder may be more yellow or more green. The pure tea powder may be grinded into fine powder and mixed into the glaze.
The color is quaint and quiet, and it is worthy of worship.
It is slightly darker in color with yellow dots, and is surrounded by the soles of the feet. It is called eel skin, which is also a pictogram. "Like snuff, like vegetable tails, like old monk's clothes, they are all variations of the powdered tea leaves."
Sun Chuanting's "Four Odes of Chrysanthemums - Old Monk's Clothes" reads: "Duan Gong used to be in Yuanmingshe, and Shi Shi should pick up the hermit flowers. The heart is often lonely if it is not divided into Zen, so the autumn colors are all over the cassock."
Therefore, even a seemingly simple tea powder glaze is not simple.
If you really want to study it in depth, there is still a lot worth learning.
For example, the earliest tea powder glaze appeared in the Tang Dynasty.
During the Song Dynasty, the craftsmanship was already perfect!
By the Ming and Qing dynasties, most of them were fired in official kilns.
For example, the glaze of tea powder fired in the Ming Dynasty is yellow and moist, like eel skin, which is called "eel yellow".
In the Qing Dynasty, the tea powder glaze was the most numerous from the Yongzheng and Qianlong dynasties, and the firing techniques were excellent.
Among them, most of the works from the Yongzheng period are more yellow, while most of the works from the Qianlong period are more green, and even have bronze glazes, which are deep in color and have the ancient charm of bronzes.
If you really want to study yellow glaze systematically, you must know the development of domestic color glazes.
Ancient Chinese porcelain is mainly divided into two categories based on glaze color and decoration: color-glazed porcelain and painted porcelain.
We all know painted porcelain, including overglaze colored porcelain, underglaze colored porcelain, and doucai porcelain, where the overglaze and underglaze colors compete for beauty.
For example, underglaze blue and white porcelain, overglaze multicolored porcelain, and Ming Chenghua doucai porcelain, the representative of which is the doucai chicken jar cup.
Color glazed porcelain can be divided into two categories: single-color glazed porcelain and multi-color glazed porcelain.
Such as single-color glazed porcelain, Jihong porcelain, and multi-color glazed porcelain, etc.
Among them, flower-glazed porcelain is not very familiar even if we have come into contact with it.
Flower-glazed porcelain is an innovative variety in the ceramic firing process of the Tang Dynasty. It is called "Tang Jun" in the antique world, and is also called "Hua Jun".
On the black glaze, tea powder glaze, sauce brown glaze or gray and white glaze, blue, sky blue, tawny, gray purple or milky white color spots are embellished, giving people a sense of natural creation and unpredictable changes. This is Huajun.
There is a description of "Lushan Hua Porcelain" in "Jiegu Lu" by Nan Zhuo of the Tang Dynasty.
The cultural and museum circles refer to the flower porcelain products found in Duandian Kiln, Huangdao Kiln, Xiabaiyu Kiln, Deng Kiln, Jiaocheng Kiln, Huangbao Kiln and other places as "Lushan Flower Porcelain".
Lushan Hua Porcelain created a new technique of two-liquid phase-separated glaze, opening up a new realm for the beautification and decoration of black glazed porcelain.
It also gave the black glaze porcelain a brilliant and colorful kiln transformation effect, creating a precedent for Jun kiln porcelain's kiln transformation, which is well-known at home and abroad.
Chen Wenzhe has fired Ru kiln and Ding kiln, but he has never been exposed to Jun kiln, one of the five famous kilns in the Song Dynasty.
This time, I contacted Huajun in advance and studied it, which can be regarded as laying the foundation for imitating Jun kiln in the future!
Besides, Lu Shan Huajun is really not simple.
The Lushan flower porcelain has wonderfully large colorful spots, some are dabbed randomly, some are splashed indulgently, and are unconventional and elegant, showing the heroic spirit of the prosperous Tang Dynasty.
This makes flower-glazed porcelain unique among the "green in the south and white in the north" porcelain pattern, and has become the darling of modern public and private collectors.
The firing process is really not simple to say.
Flower-glazed porcelain uses glaze containing two different metal oxide colorants, glazing the body twice and firing it at high temperature.
Its characteristic is that the black glaze, yellow glaze, sky blue glaze or tea powder glaze is decorated with sky blue or moon white patches, varying in number, regular or floating.
Either the dark glaze sets off light-colored spots, or the light-colored glaze is decorated with dark patches.
The characteristics of flower-glazed porcelain are eye-catching and strong contrast.
Among them, Lushan Kiln and Jiaxian Kiln are more famous.
Flower-glazed porcelain was the foundation of Jun kiln in the Song Dynasty. Its successful firing laid the foundation for the emergence and development of Jun kiln porcelain in the Song Dynasty.
It is named after the three-color glazed porcelain with black background, milky white and blue spots produced in Lushan in the Tang Dynasty.
Tang Nanzhuo wrote in "Jiegu Lu": "It's either Qingzhou stone powder or Lushan flower porcelain."
Since then, the central position of Tang Dynasty flower porcelain (Lushan flower porcelain) has been determined.
Jun porcelain from the Tang Dynasty, which has a history of 1,400 years, is thick, rich and full of ancient spirit. It exudes tension and excitement, pursuit, unrestrainedness and excitement, and is regarded as a treasure of Chinese ceramics.
The most famous of this type of porcelain is probably the flowered porcelain waist drum!
There are very few Lushan Hua porcelain waist drums in existence. There is now a porcelain waist drum handed down from the Qing Palace collection in the Palace Museum.
This waist drum is 59 centimeters long and 222 centimeters in diameter. It is in the shape of a long cylinder, thick at both ends and thin in the middle.
The body of the drum has seven protruding prismatic lines and mysterious patterns. The whole body is covered with black glaze, and is decorated with milky white and blue patches, which are regularly arranged and distributed throughout the drum.
The utensils are rough, dignified, and bold, and the plaques are naturally ethereal.
Because Tanghua glazed porcelain represented the highest level of porcelain art in northern my country at that time, Lushan flower porcelain has important research and development value in the history of Chinese ceramics.
However, due to historical development and current turmoil, as well as the terrain of Mount Lu being mostly mountainous, water transportation is not smooth.
In the end, during the Tang Dynasty, Lushan's unique cultural environment near the capital Luoyang no longer existed, so the famous porcelain of a generation - Lushan flower porcelain, was gradually forgotten.
Nowadays, it is extremely difficult to restore the ancient firing process of Lushan porcelain.
Because in the Tang Dynasty, the firing of flower-glazed porcelain was more complicated.
Because different glazes have different expansion coefficients at high temperatures.
During cooling, there will be different shrinkage coefficients.
Therefore, when one kind of glaze is covered with another kind of glaze, the thermal expansion and contraction coefficients between the two must be the same to achieve perfect artistic effect.
Therefore, it is relatively difficult to fire good flower-glazed porcelain. Even if Chen Wenzhe wants to imitate firing, he still needs to study it carefully.