After the Jun kiln porcelain is fired and comes out of the kiln, qualified products generally have several levels: genuine, high-quality, and treasure.
Genuine products have no defects or minimal defects, and the kiln transformation effect is average;
The high-quality products have no defects and have a certain kiln transformation effect;
Jun porcelain treasures are the best among the fine products, with rich and unique kiln transformation effects.
Kiln transformation effects include the color, spots, texture, opening, natural pictures, artistic conception, etc. of the glaze of Jun porcelain products.
The glaze color of Jun kiln porcelain is beautiful, just like the colorful peacock tail feathers, neat and beautiful.
However, these beauties are all naturally fired.
It can be said to be full-screen God's will. Although human intervention can be carried out, the final effect still depends on natural kiln changes.
This is the main reason why some top-quality Jun porcelain is of high value.
Chen Wenzhe was generally familiar with the firing techniques of these Jun porcelains.
However, there is still a lot that needs to be studied, such as the selection of porcelain clay, the formula of glaze, the process of firing the kiln, etc.
Of course, some small difficulties also need to be overcome, such as controlling the heat during bisque firing, and even the position of placing the porcelain in the kiln, the degree of fineness, etc.
Because Chen Wenzhe has master-level kiln firing skills, he is very clear about the placement of porcelain into the kiln, which corresponds to the firing temperature that the porcelain faces in the kiln.
Even the fineness of the porcelain placement affects the temperature changes inside the kiln.
These all have a significant impact on the success of porcelain firing.
In particular, some top-grade porcelain pays more attention to this little influence.
Because the influence bit by bit will eventually accumulate and explode, affecting the final firing effect.
These are all things that need to be paid attention to, and if Chen Wenzhe wants to quickly re-fire Jun kiln porcelain, he must take shortcuts.
Therefore, as long as he studies the kiln-firing techniques of ancient kilns that have been passed down to modern times, he will generally be able to master what he wants.
As far as the firing techniques of Jun porcelain are concerned, there are traces to follow.
According to these traces, the re-firing of Jun kiln can be done step by step.
Jun kiln has a long history. It was founded in the Tang Dynasty and flourished in the Song Dynasty. After the fall of the Northern Song Dynasty, Jun kiln ceased firing.
Although the real official Jun kiln has disappeared, scattered craftsmen have spread this skill to various places.
During the Jin and Yuan Dynasties, Jun porcelain was imitated in many places, but it could not be compared with the official kiln products of the Song Dynasty.
During the Ming and Qing dynasties, Jun porcelain production developed slowly.
After the founding of New China, it entered a period of comprehensive recovery.
Jun kiln originated in the Tang Dynasty. The porcelain craftsmen at that time were no longer satisfied with the single cyan color in the past, and began to innovate continuously on the basis of the original porcelain making technology.
This is the revelation of Junci and the process of its emergence.
How did the craftsmen at that time make Jun porcelain? In fact, it was not difficult.
At that time, they applied glazes of different colors on black glaze, brown glaze, and tea powder glaze, and fired them at high temperatures to create flower porcelain.
This is what the ceramic historians call Tang Jun.
In this way, would it be easier to bake Tang Jun?
If Tang Jun can be made, can Song Jun be far behind?
In the Northern Song Dynasty, craftsmen added trace elements of copper to the celadon glaze based on the flower porcelain craftsmanship of the Tang Dynasty.
In this way, by reducing the atmosphere, the high-temperature kiln successfully created the copper-red glaze.
To achieve this step, it is even simpler for Chen Wenzhe.
However, by the end of the Northern Song Dynasty, Jun porcelain firing techniques had become very sophisticated.
During the reign of Emperor Huizong of the Song Dynasty, he selected officials and gathered outstanding craftsmen from Jun porcelain private kilns to set up an "official kiln" near Juntai in Yangzhai (now Yuzhou City) to produce tribute porcelain for the palace.
During the Jin and Yuan Dynasties, folk people still insisted on firing Jun porcelain, but the quality had seriously declined, and neither the shape nor the glaze color could compare with the Jun porcelain of the Song Dynasty.
In the third year of Wanli in the Ming Dynasty, Jun porcelain was ordered to stop production due to the "sacred taboo" of Emperor Shenzong Zhu Yijun.
For the next 300 years, Jun porcelain production disappeared until the end of the Qing Dynasty.
After the founding of New China, with the strong support of the government, Jun kiln was able to resume development, rejuvenating this ancient art.
Since then, Junci's industry has entered a new period of great development.
After the reform and opening up, Junci ushered in a peak period of development.
The products at this time were highly praised by people for their noble and elegant temperament.
When re-firing Jun porcelain, you need to grasp the key points.
The key point of Jun porcelain is based on modeling.
Its modeling pays attention to momentum and charm, and pays attention to the beauty of form and curves, proper proportions, and moderate straightness.
In addition, it also pursues the harmonious unity of practicality and appreciation.
With the right shape, the most important thing left is the glaze.
Jun porcelain uses the glaze layer as the artistic carrier. Compared with the exquisite and exquisite modern porcelain, Jun porcelain's glaze is thick, dignified, and opalescent.
Its color is either sunken at the bottom of the glaze, suspended in the middle of the glaze, or floating on the surface of the glaze, with rich layers;
The kiln transformation landscape formed is natural, lifelike, ever-changing, and has strong artistic appeal and impact.
Of course, these are all external manifestations.
For a good piece of Jun porcelain, the fetal bone inside it, that is, the porcelain clay, must also be paid attention to.
Jun porcelain is fired with clay, feldspar, quartz, etc. as raw materials and various mineral components as glaze.
Traditional Jun porcelain firing requires 72 processes including ingredients, shaping, and glazing.
In modern production, Jun porcelain firing generally requires eight processes: processing, modeling, mold making, molding, biscuit firing, glazing, glaze firing, and selection.
Jun kiln needs to be fired twice. After bisque firing, it needs to be glazed and fired again.
That is, by brushing, pouring, dipping, rinsing, etc., a layer of glaze slurry made of natural ores and chemical elements is attached to the surface of the plain body and then fired in the kiln.
Under high temperature conditions, Jun glaze uses copper and iron as colorants, and the glaze color and texture overlap.
After leaving the kiln, it can show colorful and ever-changing kiln transformation effects.
Jun kiln porcelain often undergoes kiln changes. In addition to the original glaze, it will also change into other colors. This is an effect that all craftsmen strive to pursue.
The value of Jun porcelain lies in its unique kiln-changing glaze color.
However, the glaze color is formed naturally during the firing process and is not artificially painted.
Therefore, the glaze color of each piece of Jun porcelain is unique, so there is a saying that "Jun porcelain is unparalleled".
Looking at ancient my country, the prosperity and happiness of the people of the Song Dynasty are unparalleled by any other dynasty.
As early as the Song Dynasty Zhenzong period, Prime Minister Wang Dan pointed out that "there are many people with assets in the capital of one million at most, and more than one hundred thousand."
During the Song Dynasty, folk wealth made rapid progress.
In the Song Dynasty, common people were ordinary things, but in the Tang Dynasty, they were gorgeous objects that "stunned the poor eyes", mocking the people of the Tang Dynasty for not having seen the world.
People who lived in the Song Dynasty had a taste for life, whether in terms of food or utensils.
Ancient aesthetics reached its highest level in the Song Dynasty, which was the pinnacle of civilization. The Jun porcelain of the Song Dynasty represented a romance that spanned thousands of years.