Chapter 1593: Dingzhou gives way to Qiao Bo, Qiong Yi fights against Qing Jian
For example, Mr. Dai Kailin mentioned beam-handling cups and fuel-saving lamps in "Appreciation of Ancient Sichuan and Sichuan Ceramic Liang-handling Wares".
"Among the vast and colorful ancient ceramics of Sichuan and Sichuan, there are many unique and peculiar shapes, ingenious conceptions, and ingenuity, such as various beam-raising utensils produced at the kiln mouths represented by Qiong Kiln in the Tang and Song Dynasties, including
Lift jars, lift pots and lift cups.”
The emergence of the Liang Cup, like the Zhuzi, should be related to the popularity of tea fighting at that time.
As for oil-saving lamps, there are records in Lu You's "Notes of Laoxue'an" and "Notes of Zhaiju".
"Song Wen'an collected poems about oil-saving lamps... Make a small hole at one end, pour cold water into it, and turn it on every night. Ordinary lamps are burned by fire and dry, so they dry quickly. This is not the case, and it saves half of the oil."
"Jingzhen Ceramic Dictionary" also says: "Oil-saving lamp, an energy-saving oil lamp, was created and burned in the Qionglai kiln of Sichuan and Sichuan in the Tang Dynasty."
It can be seen that fuel-saving lamps are the earliest examples of "energy saving and emission reduction".
The porcelain of the Tang Dynasty was mainly single-color, mainly celadon and white porcelain. There were also Yue kiln "secret color porcelain" with more varied decorative techniques.
However, in low-temperature pottery, bright colors such as white, yellow, green, blue, brown, and ocher are used alternately, which is mottled and varied.
This method of using more than three colors on one pottery was unearthed in the tomb of Fan Cui and Li Yunji of the Northern Qi Dynasty in Anyang.
However, the "Three Colors" of the Tang Dynasty were more bright, gorgeous, smooth and translucent, and were called "Three Colors of the Tang Dynasty".
This kind of glaze color and glazing method had a huge impact on the development of overseas ceramic art.
In particular, Neon and Korea successfully created "Nara Sancai" and "Silla Sancai" based on absorbing and integrating "Tang Sancai"
Like other kiln mouths, Qiong kiln's glaze colors and decorative techniques also have the gorgeous and elegant aesthetic tendency and taste of the Tang Dynasty.
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But it has its own "rhythm" and characteristics of development.
Around 2007, the cultural relics and public security departments recovered a Tang Dynasty brown and green double-color scrolled grass bowl that was illegally purchased from a construction site due to reports.
Its elegant shape and decoration, as well as the exquisite underglaze double color, are truly a classic of Qiong Kiln.
Although underglaze color had already appeared in the Yue Kiln during the Jin Dynasty, Qiong Kiln was the first to create the underglaze double color technology in its eclectic approach.
This made this kiln entrance one of the most outstanding achievements in the production of Qiong kiln wares in the Tang Dynasty.
This had a profound impact on the blue and white flowers and fighting colors of later generations.
At that time, in addition to underglaze decoration such as dots and patches of brown or green color, Qiong kilns also used techniques such as engraving and molding patterns.
And in the exchange with other kilns and gold and silverware production techniques, it has become more refined.
Various popular grass leaf patterns have a realistic and smart style.
In the random outlining and dyeing using the boneless painting method, and the rich changes in color, there is an aesthetic meaning of modern "writing".
The "Linqiong" cup and the "Shu" jar make people feel the richness of history in the rich local cultural atmosphere.
During this period, semi-yellow or off-white makeup clay was often used to cover defects in Qiong kiln porcelain bodies.
First, apply it to the surface of the carcass, then decorate and apply glaze, so that the porcelain body glaze is more tightly bonded, and the glaze surface is smoother and more beautiful, with the texture of glass.
The variety of glaze colors has also been further enriched, and opalescent glazes have begun to appear.
In addition, Mr. Bedford also proposed in the book "Qiongzhou Ancient Kiln Site" that Qiong kiln's "deep purple glazed pottery is like Jun kiln";
Mr. Ge Weihan's "Qiong Kiln Pottery" also puts forward the view that the construction of "Tianmu" porcelain kilns may have begun in the Qiong Kiln of the Tang Dynasty.
Mr. Geng Baochang also believes that Qiong kiln has "Tianmu glaze";
Mr. He Pingyang, a master of Sichuan and Sichuan arts and crafts and the inheritor of the "intangible cultural heritage" of Qiong Kiln, has also fired Tianmu glaze works after long-term research.
Although academic circles have different views, they fully illustrate the richness and variety of Qiong kiln glaze colors.
"Qiong Sancai" appeared in the late Tang and Five Dynasties, with yellow glaze as the main color.
The underglaze decoration is brown and green, with bright colors and bright glaze, which has become another outstanding achievement in the development history of Qiong kiln.
Mr. Geng Baochang said in the preface of "Research on Ancient Ceramics of Qiong Kiln": "High and low-temperature underglaze colors and tricolor are the representative works of 'Qiong Kiln'. They were successfully fired earlier, and their craftsmanship spread to famous kilns in the south of the Yangtze River.
And the Tongguan Kiln in Husha City was most deeply influenced by it, so the products of the two kilns are quite similar, and they have become sister arts, comparable to the famous kilns around them."
Qiong tricolor is later than Tang tricolor in the north, but it is mainly high-temperature tricolor and is mostly used in daily life.
This is different from the low-temperature three-color glazed pottery of the Tang Dynasty and the multi-purpose Ming ware, so it is more popular in dissemination.
During the Five Dynasties period, it also entered the official view as a private kiln and accepted official firing orders.
The impression "Yang Quanji made official style in early February of the sixth year of Qiande" unearthed during the archaeological excavation of Qiong Kiln has a regular and elegant shape and decoration. It is the earliest "official style" porcelain in the country.
This shows that at least during the period of King Yan of the former Shu Dynasty, Qiong Kiln had official porcelain production, and there should be officials or palaces managing it.
Judging from the scale and shape of the architectural ruins of the Tang Dynasty discovered in No. 5 kiln package of Shifangtang Qiong Kiln, it may have been a building and institution used by the government to manage porcelain production at that time.
Celadon is the representative porcelain in the Tang and Song Dynasties. Its beauty and quality are superior to white porcelain. Later, it was gradually replaced by blue and white porcelain, pastel, and enamel, and is no longer common today.
However, celadon was inherited and developed in the Southern Dynasties and became a "national treasure".
At that time, celadon products were also the largest porcelain variety produced by Qiong Kiln, and white porcelain was also produced.
In particular, the white porcelain produced in Wayaoshan is the most exquisite in quality among the surrounding kilns.
Du Fu wrote in "Begging Dayi Porcelain Bowls from Wei Chu Again": "The porcelain fired in Dayi is light and strong, and the buckle is like the jade of Jincheng. The white bowl of the Jun family is better than the frost and snow, so it is pitiful to send it to the Maozhai in a hurry."
Qiong kiln white porcelain has a thin body, is hard, brittle, and snow-like, similar to Xing kiln white porcelain.
Until the Yuan Dynasty poet Wu Lai still praised: "Dingzhou gives way to clever people, but Qiong Yi fights against light and strong people."
A thousand-year-old kiln contains too much technology. How many technical difficulties can be described in just these few lines of poetry?
Don't talk about the lightness and strength of the bucket, let's talk about the glaze color, white glaze, and celadon glaze, because these are the basis.
The difficult part is the copper red glaze. Chen Wenzhe has mastered this glaze color perfectly.
However, there are many variations of copper red glaze.
A red glaze that uses copper-containing substances as colorants and is fired with a reducing flame.
This is very simple to say, but since ancient times, this kind of bright red firing has been very rare and is often formed in kilns.
Then there is the steamed bun kiln, which combines the fire chamber and the kiln chamber into a steamed bun-shaped kiln.
The flame first sprays from the top of the kiln from the fire chamber, and then flows to the bottom of the kiln, flowing through the body. The smoke enters the chimney in the back wall from the fire suction hole at the bottom of the back wall and is discharged.
There is also "secret color porcelain", which is a prominent feature of Yue kiln. First, it refers to the glaze color, which is the "peak green" color or green color.
Its body is mostly gray-white, and its enamel is as clear and green as fat or jade;