Chapter 1,606: Five colors of glaze, stunningly gorgeous
From the green glaze of the Han Dynasty, through the multi-color glaze of the Northern and Southern Dynasties, the green glaze of the Sui Dynasty, and the yellow glaze of the Tang Dynasty.
Then go to the green glaze, yellow glaze and three-color glaze of Song Dynasty from Ding kiln and Cizhou kiln.
These are not only an evolution of glazing technology and formulas, but also a return of culture and art.
The Han Dynasty advocated simplicity, the Tang Dynasty advocated luxury, and the Song Dynasty advocated beauty.
Therefore, when appreciating the Han green glaze, you can always find the shadow of Shang and Zhou bronzes.
The three-color porcelain of the Tang Dynasty shows us the majestic magnanimity of the prosperous Tang Dynasty.
The porcelain of the Song Dynasty tells us the elegance, elegance and beauty of a literati era.
Glaze color, like the shape of the vessel, also has a process of inheritance and evolution.
It was only in the Song Dynasty that the green glaze ware differentiated.
Occasionally trial-fired, a type of porcelain that goes beyond the traditional rough body and is separated into white porcelain with green glaze and fixed porcelain;
The other type inherits the past tradition, is thick and rough, and uses cosmetic soil.
It is precisely because the two coexist that we can clearly see its evolution today, more than a thousand years later.
It also allows us to appreciate the good intentions of ceramic craftsmen of past generations.
After that, it became simple. The emergence of Yuan blue and white, underglaze red, etc., followed by the various glazed porcelains of the Ming and Qing Dynasties. It can be said that by this time, a hundred flowers were blooming.
Chen Wenzhe made the most of all kinds of glazed porcelain in later generations.
Representative among them are the various colored glazed porcelains of Qianlong, or porcelain mother.
Now Chen Wenzhe should be able to perfectly imitate this piece of porcelain, but he has no interest in it.
If you have time to make a bottle with various glazes piled up, why not study the five famous kilns of the Northern Song Dynasty.
Not to mention the five famous kilns of the Northern Song Dynasty, Ru, Jun, Guan, Ge, Ding and Ru kilns, Chen Wenzhe has already mastered the technology of this kiln entrance.
We have just studied Ding Kiln, Ding Kiln White Porcelain, and Chen Wenzhe even has a fine piece of Ding Kiln in his hands.
Although he has never come into contact with Ge Kiln porcelain, he has had indirect contact with it several times before and is very familiar with the technology of Ge Kiln.
Now only the porcelain from Jun kiln and Guan kiln are left, Jun kiln, that is, Juntai kiln.
This pass is a unique style synthesized based on the styles of Chai Kiln and Lushan Hua Porcelain.
It was deeply influenced by Taoist thought at that time, and reached its peak during the Huizong period of Song Dynasty, when its craftsmanship and technology were brought to the extreme.
Whether it is the expression of color or various textures, no one can imitate the expression technology that allows the kiln to be controlled and controlled at will.
The Song Dynasty was influenced by Neo-Confucianism, which was reflected in the regular and symmetrical porcelain.
Whether it is shape or texture, this principle is followed.
Especially for the Jun porcelain made by officials in the Northern Song Dynasty, this principle was strictly adhered to, regardless of whether it was studio utensils or large sacrificial vessels.
Neat and symmetrical, elegant, palace-like, and meticulous.
Its momentum is heavy and simple, bright and deep.
Jian kiln, Yaozhou kiln and Jun kiln are the authentic traditional porcelain culture of my country and have a long history of style inheritance.
Especially Jun kiln porcelain is even more unique.
Observed with a magnifying glass, the earthworms lead away the mud patterns and connect the air bubbles one by one to form a three-dimensional crawling shape. The frog egg patterns wrap the egg nuclei in piles and are about to hatch out.
There are also cow blood patterns, the blood is deep red, dark and murderous, solemn and majestic, etc. It is difficult to describe them one by one.
The color, texture size and distribution of Jun porcelain from the official kilns of the Northern Song Dynasty are difficult to control artificially and are just right. They are the embodiment of the highest level of craftsmanship of Northern Song porcelain art.
Unfortunately, Jun porcelain craftsmanship has long been lost, and the kiln site has sunk due to frozen water.
"Even if you have a huge fortune, it is not as good as a piece of Jun porcelain." This is a true portrayal of Jun kiln porcelain.
This shows the sensational effect produced by Jun Porcelain at that time.
So people all over the country followed suit, and there were many kiln entrances, but they still couldn't get the point.
Today, there are a lot of research articles and countless archaeological kiln entrances. Since we have never seen Jun porcelain made by the officials of the Northern Song Dynasty, we can only get a glimpse of it.
Of course, any technology, as long as modern people want to study it
And if you are willing to invest, you will definitely gain something.
For example, since 1955, Yuxian (now Yuzhou) Ceramics Factory has begun to develop and explore the long-lost basic formula and firing technology of Jun porcelain body glaze.
They not only fired traditional color glazes such as rose purple, begonia red, azure, and moon white, but also developed more than ten kinds of floral glazes.
Later, new varieties such as modern daily utensils and artistic display porcelain were added.
In this way, it became more convenient for Chen Wenzhe to study Jun kiln porcelain.
After all, he can stand on the shoulders of his predecessors. If he finds more information, he might be able to stand on their heads.
Unfortunately, it is still very difficult to make a true fine imitation of Jun kiln.
After all, some characteristics of Jun kiln porcelain are really famous.
Some people think that the essential feature of Jun kiln is that the glaze has "earth-induced mud patterns".
Of course, this is not entirely correct, it can only be said to be one of its characteristics.
The glazes of many Jun kilns in the museum do not have mud patterns.
Because in the official kilns at that time, the glaze color was evenly distributed.
However, due to the influence of factors such as the kiln temperature, glaze raw material ratio, and firing environment during the firing of a small number of vessels, the glaze surface changes and restores unevenly in temperature, resulting in the formation of mud lines.
It can only be said that the Jun kiln of the Northern Song Dynasty achieved controllable kiln changes, and one of its characteristics was that earthworms led away mud patterns.
Use bubbles to string together three-dimensional earthworms crawling around, frog egg patterns, fish egg patterns wrapping fish eggs that are about to hatch, etc.
The most important value of Jun porcelain in the Northern Song Dynasty lies in its ability to express the glaze as desired.
Jun means weight. Jun porcelain from official kilns in the early Northern Song Dynasty was heavy.
The traditional style of Chinese porcelain culture is simple on the outside but showy on the inside.
The so-called "Hua Yi light and dark color" is implicit and restrained, which reveals the essential characteristics of Song porcelain.
The delicious color of Chai kiln porcelain of the Five Dynasties and the magical changes in tone are a milestone in the development history of my country's porcelain art.
Under the brilliance of Chai kiln porcelain, the porcelain art of the Song and Yuan Dynasties developed on a path of different styles but profound and extraordinary skills, opening the most glorious chapter in the history of my country's porcelain art.
Originality runs throughout, and originality is the soul of porcelain art life.
One "hidden" and the other "explicit" reveal the inner essence of Chinese culture for thousands of years.
Since the Stone Age, Orientals have been deeply attracted by the infinite charm inherent in jade, which has expanded the breadth and depth of Orientals' understanding of the mysteries of nature.
But until now, Westerners still believe that only shiny things have value.
Subtle observation of the natural environment and expressing them on porcelain is the core technology of Jun Porcelain.
The height of this expressive art is astonishing, and it has been the mainstream technique for palace porcelain production throughout the Northern and Southern Song Dynasties.
The texture of porcelain changed from "hidden" in the Northern Song Dynasty to "explicit" in the Southern Song Dynasty, and the surface form of texture in Guan kilns and Ge kilns had a direct impact on the porcelain art of the Yuan Dynasty.
Jun kiln porcelain has always been called the "treasure of the country". Among the five famous kilns in the Song Dynasty, it is unique for its "five-color glaze, extremely gorgeous".
Therefore, the ancients once used poems such as "The purple green at sunset suddenly turns into mist" to describe the flexible and subtle beauty of Jun porcelain glaze color.
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