Chapter 1,616: Jun and Ru dont tell each other apart
The control of kiln changes requires superb skills, and the randomness of Jun kiln firing in the past must be abandoned.
Today you can see Jun kiln porcelain with obvious brushstrokes. The most famous plate is called "Three Pools Reflecting the Moon".
This plate clearly has three lines drawn on it, but a dot was accidentally dropped in the middle, so it is called Three Pools Reflecting the Moon.
From such Jun porcelain, we can see the controllability of Jun kiln in the later period.
In recent years, collecting has become more and more popular, and the antique market has become increasingly active.
Due to various influences such as counterfeiters' tendency to seek profits, a large number of imitations of Jun kiln porcelain appeared.
Since Jun kiln porcelain generally does not have pattern decoration, the counterfeiters mainly fake the glaze color and shape of the authentic ones.
However, these fakes always have several aspects that make them unsatisfactory.
Identifying these Jun porcelains, especially high imitations, still requires scientific methods.
Scientific and technical methods such as "thermoluminescence" and "cremation seed analysis" have relatively small errors.
The accuracy of determining the firing age of ancient porcelain is also relatively high.
However, during testing, it is necessary to drill holes in the utensils and take out a small amount of samples, which will cause damage to the utensils.
If you don't use scientific methods, you can only look at characteristics.
The most obvious feature is the glaze color.
The glaze color of Jun kiln has a milky and opaque feeling.
Blue opalescent glaze is the basic glaze color of Jun kiln, and of course it is also its important feature.
The lighter blue is called "Azure", the darker one is "Sky Blue", and the one lighter than "Azure" is called "Yuebai".
The basic style of hook kiln glaze color is equal emphasis on blue and purple, with green inside and purple outside.
Blue and blue glazes are applied to the inside of the vessel, while red and purple glazes are applied to the outside of the vessel.
This kind of glaze color has purple in the red, blue in the purple, bluish in the blue, red in the blue, mixed blue and blue, and red and purple.
This kind of glaze color is like mountain clouds, canyons and waterfalls, green bamboos and smoke, which is fascinating;
Another example is when the sun sets in the west, and the sunset glow in the blue sky is beautiful and moving.
The poet used the beautiful line "The purple green at sunset suddenly turns into mist" to praise the flexible and wonderful changes in the glaze color of Jun porcelain.
In addition to the glaze color, the most obvious feature is the bubbles.
The flaw in the Panlong plate mentioned before was bubbles.
If the bubbles are not just right, the bottle is really useless.
The size and density of bubbles in the Jun porcelain glaze layer are closely related to the glaze formula of the kiln series.
The thicker the glaze layer, the larger the bubbles will be, and vice versa;
Depending on the quality of the glaze, the density of bubbles must be different.
Moreover, the width of the orbital development of the bubble is also not the same.
In some species, the orbits are still incomplete.
Mercury-type bubbles are sparsely distributed.
Therefore, there is no possibility of multi-level expression.
From ancient times to the present, most of the red glazes have sparse and tiny "mercury beads" in their shaft layers.
However, the protective products are slightly larger and larger. This is something that everyone needs to pay more attention to when doing Jun porcelain appraisal.
If there are no problems with the glaze color and bubbles, then it depends on the production process.
Jun kiln porcelain, from the "Tang Jun" at the beginning, through the Song, Jin, Yuan, to the imitation Jun in the Republic of China, all used the hand-drawn blank process.
The characteristic of this craft is that the bottom of the utensil is thicker, and then gradually becomes thinner upwards, with the carcass being the thinnest at the mouth edge of the utensil.
Fine spiral patterns can also be seen where the glaze is exposed on the edge of the vessel, and there are finger marks on the thin glaze on the wall of the vessel.
Some modern imitation Jun porcelain is mass-produced. A mold is first made of a certain material and then poured into shape.
The porcelain made by this method has uniform wall thickness, lighter weight and less fine trimming.
Especially on both sides of the object, you can touch the seam marks of the mold.
This is a clumsy approach. The clever approach is to artificially stick some other substances (such as cement) inside the objects, such as the inside of bottles, in places that are not easily noticed by people, to achieve the thick feeling of ancient Jun porcelain.
Or, finger marks are deliberately made on the inner wall of an object molded by the "grouting method".
But if you look closely, you can see that it is different from the uniform finger marks of real "hand-drawn blanks".
The imitation wheel finger marks are not only rough, but also the wheel finger marks in each circle are extremely unevenly distributed.
The last step is to look at the inscriptions. There are very few Jun kiln porcelains in the Song Dynasty with inscriptions, mainly numbers.
That is, on the bottom of the utensil, numbers from one to ten are engraved.
The exact meaning of the numbers is that the smaller the number, the larger the object.
That is to say, the engraved word "一" is the tallest or the largest diameter among similar objects.
The word "11" is engraved on it, which is the lowest or smallest caliber.
The symbol is often found on the bottom of washbasins, plates, bowls, stoves and other utensils.
This kind of digital identification is unique among Song porcelain.
Among the utensils engraved with numbers is a sunflower-style three-legged washbasin from Jun kiln of Song Dynasty.
This three-legged washing sunflower has a folded mouth, a belly divided into six petals, and three wishful-shaped legs supported by the bottom.
The outer wall is decorated with rose purple glaze, which is colorful, and the bottom is sesame glaze, with the word "six" engraved on the bottom.
Jun kiln wares also have inscriptions such as "Fenghua", "For Zhilan Room in Chonghua Palace" and "For Shufangzhai in Chonghua Palace" engraved on the bottom.
For example, the museum has a Song Jun kiln azure sunflower-style basin holder, engraved with the words "For Zhilan Room in Chonghua Palace".
A sky-blue begonia-style narcissus basin from the Jun ware of the Song Dynasty, with the inscription "For Shufangzhai in Chonghua Palace" engraved on the bottom.
These porcelains were specially used by the Song Dynasty.
In terms of style, there is actually not much difference between Junci and Ruci.
After all, both of them were most prosperous in the Northern Song Dynasty, and both were official kilns in the Northern Song Dynasty.
The porcelain produced by these two famous kilns has similarities as well as differences.
Sometimes, many Tibetan friends will say, "Jun and Ru are indistinguishable." This view is wrong.
First of all, we know that Jun porcelain and Ru porcelain are both among the five famous porcelains of the Song Dynasty.
At that time, it was difficult to distinguish the difference between the two in terms of glaze color.
Yuzhou is the "Capital of Jun Porcelain" and Ruzhou is the "Hometown of Ru Porcelain".
The two places are separated by a mountain. In history, craftsmen have often communicated and learned from each other, and they also learned from each other in terms of technology.
Many people have doubts about the "sky blue, azure, moon white" single-color glaze color of Jun porcelain compared with that of Ru porcelain.
It's understandable on the surface, but in essence we need to understand it.
There are several differences between Jun porcelain and Ru porcelain. The first is the difference in glaze composition.
Jun porcelain glaze has a relatively high content of silicon oxide and alumina, is relatively hard in nature, and has a strong glassy feel after firing;
Including copper oxide and phosphorus oxide, their proportions and functions are quite special.
The raw materials of Ru porcelain are calcium oxide, iron oxide and magnesium oxide, but the proportion of silicon oxide is relatively low.
In this way, we first determine the essential difference between the two.
Secondly, the glazing is also different.
The Jun porcelain body is thicker and the glaze is thicker, which is also to meet the changes in glaze color.
This is not the case with Ru porcelain. The glaze layer is thinner, the carcass is lighter, and the glaze surface has slightly exposed natural texture.
The third is the difference in firing temperature. Since Jun porcelain is a type of hard porcelain, the firing temperature is around 1300°C.
But Ru porcelain is not. This is related to the materials and technology used in the Ru porcelain body.