Chapter 1855: Light and elegant, beautiful appearance
In any case, until now, there is a point of view, that is, there was no white porcelain in Ru kilns in the Song Dynasty.
All the existing porcelain in Ru Kiln is celadon. Does this mean that there is no white porcelain in Ru Kiln?
It can only be said that there seems to be no such thing. Ru kiln is a celadon kiln. Although the cyan color varies, the ones being auctioned are all celadon.
Through the above, it can be determined that the Ru kiln has indeed fired white porcelain, and the white porcelain in the Ruguan kiln is very rare, if any.
During the development of white glazed porcelain in my country, there was no milky white glaze in the Song Dynasty.
The green and white glaze is also called shadow green.
It is an original creation of Jingzhen kiln in the early and middle Northern Song Dynasty. The blue-white glaze contains low iron content in white porcelain, the glaze color is white with a bluish tint, and the glaze layer is thin and crystal clear.
In addition, the burnt quality is extremely thin, and the hidden carving patterns on the vessel can be seen both inside and outside.
On the edge of the pattern, a little light cyan appears, and the rest is almost white, so it is called blue and white glaze.
Egg white glazed porcelain is the general name for a kind of white glazed porcelain created and fired by Jingzhen kiln in the Yuan Dynasty.
Because the base has the inscription of Privy Council, the egg white glaze is also called Privy Council porcelain.
The carcass of egg white glaze porcelain is generally thicker, the glaze is devitrified, and the color is white and slightly bluish, just like the color of duck egg shells, so it is called "oval white glaze".
Sweet white is generally considered to be a white glaze created and fired by Yongle Kiln.
Because many Yongle white porcelain products are thin to the point of being semi-embodied, they can be seen by light.
A warm jade-like white glaze is applied to the thin surface of the vessel with dark glaze patterns, which gives people a "sweet" feeling, hence the name "Sweet White".
Kangxi sweet white glaze has a color like milk powder, white and shiny, without flakes, also called milk white.
There is still a lot of controversy over which dynasty white glazed porcelain appeared.
However, white glazed porcelain is a type of porcelain with a relatively long history among ancient Chinese porcelain.
There is no doubt about this. It originated in the Northern and Southern Dynasties and had matured by the Sui Dynasty.
In the Tang Dynasty, white glazed porcelain had new developments. The firing temperature of porcelain reached ℃, and the whiteness of porcelain reached more than 100%, which is close to the standard of modern high-end fine porcelain.
This achievement laid a solid foundation for underglaze and overglaze porcelain.
By the Song Dynasty, porcelain craftsmen had made new improvements in terms of body quality, glaze and production technology, and porcelain firing technology had reached a fully mature level.
The blue and white glaze porcelain fired at this time is white but not shiny, white with gray flashes, light and elegant, beautiful in shape and smooth in color.
During the Ming and Qing Dynasties, the Dehua kiln produced "ivory white" with a smooth and bright color, and the Yongle kiln produced "sweet white glaze" with a glaze as warm as jade. These are all exquisite white-glazed porcelains.
White glaze is the natural glaze of porcelain. Generally, porcelain clay and glaze contain more or less iron oxide. After the object is fired, it will inevitably show different shades of cyan.
If the iron content in the glaze is less than .%, the fired glaze will be white.
White porcelain, as white as gelatin, has the most natural appeal. It seems simple and unremarkable, but it is extremely attractive.
Because it is precisely with white porcelain that the colorful porcelain competes with each other.
However, the emergence of white porcelain is by no means easy. It has gone through a long historical process of development and improvement of craftsmanship and technology from green to white.
Although a batch of "white porcelain" from the Northern Qi Dynasty was unearthed in Anyang, Nanhe, including bowls, cups, jars, four-series cylinders, flasks and other utensils, the glaze of this batch of similar white porcelain was slightly greenish.
, and the number is limited.
It shows that the white porcelain body glaze at this time has not yet reached the standard of mature white porcelain, and is still a product of the transitional stage from celadon to white porcelain.
Mature white porcelain appeared in the Sui Dynasty. In the Tang Dynasty, Xing kiln white porcelain became famous all over the world for its smooth and pure glaze color.
Ding kiln white porcelain in the Song Dynasty used printing, carving and scratching techniques on the white glaze, pushing the white porcelain from pure white decoration to a new stage of flourishing flowers.
Through various methods, it is certain that white glazed porcelain could be produced in the Song Dynasty, and it could also be made very well, such as Ding kiln white porcelain.
Then Ru kiln can definitely produce white porcelain, this should be confirmed.
However, the Ru kiln white porcelain handed down from generation to generation, especially the Ru kiln onion root white glaze porcelain, is even rarer.
However, as long as it exists, it can definitely be identified.
There are only a few ways to identify the authenticity of porcelain. For example, shape is an important basis for identifying porcelain.
Imitation of ancient ceramics often results in a resemblance to its shape but loses its charm, efficiency and elegance, but it may not be possible to imitate its ancient clumsiness.
Because the creation of an artifact is closely related to people's living habits, aesthetic standards and technical conditions at that time.
Generally speaking, ceramics can reflect the characteristics of each era in terms of decoration, glaze, etc., but the shape is more prominent in this aspect.
Therefore, if you can be good at identifying its shape and expression, you can master a more reliable method in identification work.
To observe the shape of a vessel, you must first have a basic concept of the shapes of past dynasties.
The shapes of ceramics were generally simple in ancient times, but gradually became more complex with the evolution of the times.
In terms of the shapes of the Yuan, Ming and Qing dynasties, the shapes of the Yuan Dynasty are mostly blunt, heavy and childish, and both green and white porcelains are more prominent than ordinary Song and Ming porcelains.
In particular, common utensils such as jars, jars, bottles, pots, plates, and bowls used in daily life often have quite large shapes.
Different periods have different patterns and colors. The patterns on ceramics have distinct characteristics of the times, as do their shapes.
And due to the continuous enrichment and improvement of the raw materials and techniques of painting porcelain, both the subject matter content and the form of expression have their own levels and characteristics in different periods.
Therefore, it has become a powerful clue to distinguish eras and identify authenticity.
Generally speaking, the development process of porcelain decoration is nothing more than simple to complex, from stamping and engraving to carved depiction, and from simple and single color to gorgeous and colorful.
There are still differences between the Ming and Qing dynasties in the use of characters as decoration on porcelain.
For example, the porcelain of the Ming Dynasty has Sanskrit, Buddhist scriptures, Baifu and Baishou characters written on it.
The use of large poems, lyrics, songs, fus, tables, odes, etc. as decorative text was created during the Kangxi period.
Grasping the rules of mark recognition in the Ming and Qing dynasties, and determining the authenticity of porcelain as new or old based on the mark recognition, is an important step in the identification work.
Because most of the handed-down products and imitations today are porcelains from the Ming and Qing dynasties.
Most of the Ming and Qing official kilns have year stamps and each has its own characteristics.
Just talking about the Ming Dynasty's style, there are so-called "Yongle style is less, Xuande style is more, Chenghua style is fat, Hongzhi style is showy, Zhengde style is respectful, Jiajing style is miscellaneous".
Therefore, when studying the characters of each generation, we must first pay attention to their writing methods.
The characteristics of the eight strokes, such as horizontal, vertical, left, back, hook, pick, point, and shoulder, must be carefully understood and compared to help identify authenticity.
Since everyone's calligraphy is different, the font used to write the official kiln inscription must be selected and have a certain level.
Therefore, people who write imitations must be careful to imitate, lest there be any dissimilarity.
If you are too cautious, you will inevitably end up being cramped, and your brushwork will not be natural and vivid.
This kind of flaw can only be seen through repeated verification with real objects.