The meaning of this poem is not difficult to understand, but through this poem, Qianlong successfully transferred and elevated the cat food bowl incident to the issue of gratitude.
Later, in order to further expand its influence, Qianlong not only announced this poem to the world.
Emperor Qianlong also specially made a base out of red sandalwood for this former cat food bowl and placed it in a conspicuous position in the palace.
From then on, every courtier who passed by and saw this azure and patternless narcissus basin had to think about whether he was loyal to the emperor and whether he was grateful to the emperor.
Failure is due to the lack of opening of the film, and success is due to the lack of opening of the film.
As time goes by, people's measurement of value will change wonderfully.
Perhaps it is in line with the poem by the great poet Li Bai - I am born with talents that will be useful.
The hundreds of years of waiting for the Azure Grainless Narcissus Basin are definitely justified.
That truth may be inconspicuous, otherwise, it may have disappeared in the long river of history because of the competition between you and me.
Of course, it is just an exception. Among the Ru kiln porcelains of the Song Dynasty, cracked porcelain was still the main type.
The reasons for the cracking of these porcelains are very complex, related to the carcass, enamel, glaze layer and firing process, and also change due to the accumulation of time.
The naming of split pieces is usually based on different standards in terms of appearance.
They are named according to their texture, shape, depth, thickness, density and other characteristics.
According to the direction of the openings in the glaze layer, the openings of Ru porcelain include straight openings and oblique openings.
Ice cracks and grid patterns are straight slices, while fish scale patterns are diagonal slices.
When forming straight slices, the thermal expansion coefficient of the glaze is greater than that of the tire.
During the cooling process, the glaze shrinks faster than the tire, and the glaze layer is subject to tensile stress.
When the porcelain glaze layer cools to completely harden, it loses its elasticity. If the tensile stress intensity it receives exceeds its tensile strength, the glaze layer will produce long and thick straight slices.
The generation of large openings weakens the tensile stress on the glaze layer.
However, there are still residual tensile stresses between local tire glazes.
This stress is not enough to produce large openings, but will gradually release over a long period of time after leaving the kiln, resulting in short, thin and small straight openings.
The main feature of the oblique opening film is that its shape and appearance will change with the change of the direction of the incident light. Its formation mechanism is more complicated than that of the straight opening film.
According to the cross-sectional observation, the oblique opening piece separates the glaze layer, and the angle between the opening piece and the carcass is quite different.
When light shines on the open film at a certain angle, the border on one side of the open film is almost transparent, showing an initial three-dimensional effect.
The polygonal flakes that resemble fish scales formed by superimposing multiple diagonal flakes are called "fish scale patterns".
The slanted flakes are related to the thickness of the glaze layer. If the thickness of the glaze layer of Ruguan porcelain is in between, skewed flakes will occasionally appear.
Within the scope of porcelain formation, the probability of oblique slices appearing is directly proportional to the thickness of the glaze layer.
From the perspective of the production mechanism, the glaze that produces inclined slices has a higher degree of vitrification, and the firing temperature may be slightly higher. During the cooling and cooling process,
Between the tire glazes, stress is generated due to different coefficients of thermal expansion. Unlike the straight-opening pieces, the stress generated by the oblique openings is not only the dominant tensile stress, but also compressive stress.
That is, at a certain stage during the cooling process, the shrinkage speed of the tire is slightly greater than the shrinkage speed of the glaze layer, causing stress in the glaze layer.
As a result, smaller oblique openings are produced in the gap between straight openings caused by tensile stress.
By observing the slanted slices on the surface of the porcelain tiles unearthed from the Ru Kiln site, we can see that the gaps between most of the slanted slices are extremely clean and no stains have penetrated into them.
The adjacent straight piece contains stains.
It can be inferred from this that the oblique slices were most likely produced during the burial process over a long period of time.
Unfortunately, there is currently no relevant mechanical quantitative analysis.
Uncovering the conditions for the formation of oblique openings requires more relevant research in the future.
In fact, if you are not specializing in making Ru kiln or other Song Dynasty kiln mouth porcelain, you generally don't need to pay special attention to opening pieces.
Because modern porcelain rarely has split patterns specially made.
This is actually a kind of progress. In fact, since the invention of low-temperature glaze for firing porcelain, both porcelain production and firing technology have been constantly developing.
In the beginning, it was just glazed and then fired in the kiln. If other glaze colors were accidentally fired, one would think it was kiln change.
With the improvement of porcelain making and kiln firing technology, the process has become more and more complex.
After that, various types of porcelain appeared. This series of porcelain continued to improve, and modern porcelain was born.
For example, starting with low-temperature glazes, and then discovering changes in glaze color, porcelain has entered the era of colored glazes.
At this time, low-temperature colored glaze is applied to the fired white glaze objects, and then fired in the kiln at low temperature.
The wares fired by this method are mainly green single-color glaze wares, with a small amount of yellow glaze wares and very few colorful ones.
Because it is a colored glaze on white glazed porcelain, it can be clearly called low-temperature glazed porcelain.
This type of porcelain was generally produced in the late Northern Song Dynasty. It was first created in Cizhou Kiln, and later also produced in Ding Kiln and other kilns. It was more popular in the Jin Dynasty.
This type of low-temperature glazed porcelain has two characteristics.
First, since the white-glazed porcelain was fired for the first time, it may have been decorated in various ways.
Such as scratching, engraving, ticking, printing and black color painting, etc.
Therefore, the fired colored glaze vessels also have corresponding decorations.
Such as green glaze with scratched flowers, green glaze with scratched flowers, green glaze with black flowers, green glaze with black flowers, and so on.
All decorations on white-glazed vessels can be used as decorations on green-glazed or yellow-glazed vessels.
Since the white-glazed porcelain fired for the first time has a smooth glaze surface and a pure white glaze color, after firing low-temperature green-glazed wares, the colored glaze is often thinner.
And because of the pure white background, the green glaze is light, bright, often emerald green, and very beautiful.
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Of course, when excavating the Cizhou kilns, we found that many white-glazed porcelains that were to be glazed with green glaze were deliberately lowered when they were fired for the first time.
This makes the white-glazed porcelain fired raw for the first time in order to make the colored glaze adhere easily.
Otherwise, glaze rolling, glaze peeling, etc. will easily occur during color firing.
The temperature at which white glaze wares are fired determines the depth of color of green glaze wares.
This type of colored glazed porcelain is most produced in Cizhou kiln and is also the most distinctive.
For example, a green-glazed black vase with peony pattern collected by the Neon Osaka Municipal Museum of Oriental Ceramics is a good example.
The kilns in the Nanhe area also produce it, but there are not many examples seen.
The Ding kiln was probably under the influence of the Cizhou kiln and has been producing since the late Northern Song Dynasty. The best example is a green glaze scratched Ruyi head-shaped porcelain pillow unearthed from an early Jin Dynasty tomb in Nanxinzhuang, Shendu District.
A batch of Ding kiln white porcelain was unearthed from this tomb. This pillow also belongs to Ding kiln in terms of its texture, but its shape and decoration are very similar to Cizhou kiln.