Any process technology cannot appear out of thin air, and it is certainly unlikely to disappear.
What you think has disappeared is sometimes transformed.
Just like Jun Kiln, has it really disappeared?
If it really disappeared, what happened to the kiln behind the Miao family?
In fact, if you study it, you will find that many of Jun kiln's technologies can be found in other kiln mouths.
This mainly depends on the characteristics. To sum up, if you want to fire a qualified Song Jun, you must pay attention to the "kiln transformation" characteristics.
There is a reason for the appearance of this kiln change characteristic.
The first is the active formula in the glaze, and the second is the close relationship with the kiln structure.
In addition, another factor that affects the yield of Jun porcelain is the fuel used.
There are also some imaging factors, which is that when the kiln was installed, the porcelain inside was densely placed.
Finally, there are external factors, such as cold and heat, sunshine and rain, wind direction, etc.
These require the experience of kiln workers to adapt to changes.
Only when everything is in place and combined with the abilities of the kiln workers and craftsmen can we finally produce a kiln of qualified Jun porcelain.
Otherwise, there will be what the ancients said is the outcome of failure in nine cases out of ten.
Jun porcelain is a high-temperature kiln-transformed porcelain, and its distinctive feature and essence is natural kiln transformation.
The firing of Jun porcelain generally adopts two main processes: plain firing and re-firing.
When refired to 850 degrees Celsius, the glaze begins to melt.
As a result, the various oxides in the glaze penetrate and fuse with each other, forming a wonderful spectacle of colorful and dazzling colors.
This is unmatched by any other kiln mouth and ceramic variety in the history of my country's ceramic development.
It is also unique in the history of world ceramics, so people often use "one color when entering the kiln, and many colors when coming out of the kiln" to describe the art of Jun porcelain's kiln transformation.
The production of Jun porcelain generally requires seven major processes. The first is the only way for all porcelain production, that is, the processing and selection of porcelain raw materials.
In the mining area, we look for raw materials with reliable performance, stable quality, and suitable for kiln transformation of Jun porcelain, and carefully select them.
After choosing the right one, the natural next step is to carry out the necessary processing of the raw materials.
The next step is the most troublesome step, which is the aging of the china clay.
Junci is no exception. After selecting the appropriate porcelain clay, after processing, the porcelain clay is piled in an open-air material yard and subjected to long-term, continuous cycles of wind, sun, rain, and freezing to weather it, moisten it, and improve its performance.
The ore material needs to be rolled into a wheel for coarse crushing into sandy or powdery form.
Some require shade, rain protection, dust protection, etc.
Only in this way can fine grinding be carried out.
In ancient times, this process was very important because there were no machines to help.
Therefore, grinding has become a very difficult process.
Only by loading various raw materials into the tool and turning them according to the proportion can the mud or glaze meet the quality requirements.
These are the processing of raw materials. Only after they are processed can we start to make a qualified piece of porcelain.
Once the raw materials are obtained, the styling design will be carried out first.
The traditional shapes of Jun porcelain are mainly plates, bowls, bowls, stoves, flower pots and other utensils, pursuing a dignified, simple and natural artistic style.
On the basis of inheriting the tradition, modern Jun porcelain has carried out bold reforms, added modern aesthetic elements, and created a new expression field of Jun porcelain art.
Jun porcelain shapes can be divided into several categories: traditional utensils, figures, animals, and special shapes.
It has formed hundreds of modeling series and thousands of varieties, including utensil series, animal series, character series, stationery series, tea set series, bird series, and practical product series.
There are many types. If you want to produce them in large quantities, the easiest way is to make models.
Of course, manual drawing does not require a mold.
But modern mass production is absolutely inseparable from molds.
It is still a bit technically difficult to turn the shaped mold into a model.
The model material in ancient times was clay, which was turned into a mold and then fired into a mold, which can be used for stripping and forming.
In modern times, gypsum powder is commonly used, mixed with water to make a slurry, and solidified to form a mold.
Gypsum molds can be used for both grouting and stripping molding.
The same thing between plain-fired clay molds and plaster molds is that they both have a certain degree of strength and water absorption, and can be used repeatedly.
The model is generally an internal hollow type, and the shape of its inner wall is the shape of the blank.
The forming of Jun porcelain clay tires must be done by manual drawing. In modern times, according to the types of products and different needs, there are generally several methods of forming, such as grouting forming, drawing forming, and stripping forming.
Grout injection molding is to inject mud into a plaster model. After it reaches a certain thickness, the excess mud is poured out. After a while, the mold is opened and the formed body can be taken out.
Stretch forming is simpler, that is, placing a ball of mud on a rotating wheel and pulling it into various round shapes by hand.
This is also one of the most important traditional molding methods for top-grade porcelain.
As for blank forming, it is also called printing blank forming.
This method is to beat the mud into pieces, compact them tightly against the inner wall of the model, and then join them to form.
When removing the large bottle, the mud must be rolled into mud strips, placed in the mold, and beaten into a body of appropriate thickness.
This process is repeated continuously, gradually expanding the green body, until finally the entire large bottle is removed.
Of course, the most difficult part is definitely the freehand shaping.
This refers to the method of shaping by hand kneading, sculpture and other techniques, and is generally used for the production of small pieces or special-shaped vessels.
After shaping, it is dried, stripped, and finally bisque-fired and glazed.
Special Jun porcelain glaze will be made here, because different kilns have their own secret glaze formulas.
Only with the right glaze is the foundation for firing all top-quality porcelain.
Once you have the basic glaze, you can start biscuit firing.
In bisque firing, the shaped blank is fired once without glaze.
The temperature is between 900℃ and 950℃. This is the first time to burn.
This is mainly done to increase the strength and water absorption of the green body and facilitate the glazing operation.
After biscuit firing, take it out of the kiln and choose the appropriate one for glazing.
After bisque firing, the plain body is glazed using methods such as glaze rinsing, glaze dipping, glaze pouring, and glaze brushing.
Apply a layer of glaze slurry of appropriate thickness to the surface of the plain tire.
The only way to complete this step is to fire the porcelain at high temperature.
The glazed glaze blank is put into the kiln for firing, which is called glaze firing.
The temperature is generally between 1280℃ and 1300℃.
In ancient Song Dynasty, Jun official kilns were fired with wood. After the founding of New China, coal was fired when the production of Jun porcelain was resumed.
After 1994, gas burning is generally used.
It was not until the wood-burning process was restored that the secrets of Jun-making and burning in the Song Dynasty were revealed.
Due to the influence of temperature, atmosphere and climate during the firing of Jun porcelain, the fired products have colorful and ever-changing kiln transformation effects.
Jun porcelain is currently fired by several techniques: gas firing, coal firing, wood firing, and charcoal firing.
Of course, the porcelain fired in this way has a unique style.
After all, gas burning, coal burning, and wood burning have different styles and characteristics.
Finally, the finished Jun porcelain comes out of the kiln. The fired Jun kiln porcelain is inspected and graded according to Jun porcelain standards.
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