Whether Ru kiln should be made of celadon or white porcelain is now a hotly debated issue.
What are the representative porcelains of blue and white porcelain? Is the blue and white porcelain that appears after the rain in the sky belongs to blue and white porcelain?
In terms of kiln series, Ru kiln belongs to the celadon series.
From the entrance of the kiln, they can be distinguished as green in the south and white in the north. Although Nanhe Province belongs to the Central Plains region, the firing process draws on the technology of the Yue kiln system in Jiangsu and Zhejiang regions.
Therefore, it is now determined that the top four famous kilns of the Song Dynasty, namely Ru, Guan, Ge, Jun, belong to celadon, and Ding kiln belongs to white porcelain.
Many collectors who do not understand the history of Ru porcelain mistakenly believe that Ru porcelain only talks about glaze color, and that as long as it is cyan, it is Ru porcelain. This is the biggest misunderstanding in collecting Ru porcelain.
Because it does not mean that there is celadon from the Northern Song Dynasty, but it can also be said that it is celadon from Ru Kiln.
The azure glaze of Ru porcelain in the Northern Song Dynasty was made of pure natural ores local to Ruzhou.
A reasonable formula requires thousands of continuous experiments and preparations.
There is no chemical elements such as chromium oxide or vanadium zirconium blue in its glaze.
Some modern azure glazes are made of chromium oxide or vanadium zirconium blue.
Since the color is developed by colorants, the color is single, so it can only be called azure glaze.
This kind of glaze is not as thick as the azure glaze of Ru porcelain. Naturally, when compared together, there is an obvious essential difference between the two.
Cyan glaze is the same as other porcelain. When fired, the glaze color is azure and will not change with light.
There is a misunderstanding in identifying glaze color, that is, the enamel of Ru porcelain is matte?
The glaze color of a brand of Ru porcelain from Wanwan is similar to the glaze color of Ru porcelain collected by the National Palace Museum in Wantai, which is matte celadon.
But it is worth noting that the Ru porcelain collected by the Palace Museum was used as a utensil in the Song Dynasty, and was later regarded as a collection by Emperor Qianlong.
Some are even buried deep in the soil. After nearly a thousand years of oxidation, some businessmen regard it as a gimmick and mistakenly think that Ru porcelain is matte.
In fact, the beauty of Ru porcelain is not due to the glaze color of Ru porcelain, but to the jade-like glaze.
And we all know that in the Song Dynasty, firewood kilns were used, and firewood was added manually. Each piece of Ru porcelain was placed in a different position when it was fired.
If you know the common sense of porcelain firing, you will understand that the glaze color of each piece is more or less different.
Judging the glaze color of Ru porcelain based on a single photo of Song Ru under a certain light is really an IQ tax imposed by merchants.
Then there is the chemical glaze, which will not have the above typical characteristics of Ru porcelain?
Because the color glaze used in modern imitations is modern artificially configured color glaze, it is actually no different from the ten-dollar colored porcelain bowls on the street.
If it needs to be deeper, add more; if it needs to be shallower, add less.
This is completely divorced from the relationship between ceramic glaze color and fire, and the firing rate can basically reach 99%.
Therefore, the color of the same batch of porcelain is stable and there is no flaw at all.
In the bubbles of Ru porcelain in the Northern Song Dynasty, the bubble characteristics of Liao Ruochenxing can be faintly seen by shining light on the edge of the wall. Bubbles of different sizes can be seen with a 30x microscope.
The opening is very hard, and once it is formed, it has very hard lines. The one-time opening is more like the opening of Guan kiln or Ge kiln.
Times are different, the firing process and the composition of the raw materials used are also different, so the glaze layer of porcelain fired at each kiln must have different characteristics.
Therefore, in addition to identifying the porcelain based on its shape, weight and color, the identification of porcelain requires the use of scientific instruments for composition analysis.
Microscopic observation of the surface of objects is a convenient and direct method.
Because of the various phenomena that appear on the glaze, such as bubbles, cracks, scratches, etc., it can also be used as an introduction to the study of porcelain craftsmanship and identification.
The entire production process of Ru kiln is very troublesome, from soil acquisition, mud smelting, plating box, mold repair, washing materials, blank making, printing blank, lathe blank, painting blank, glaze, filling the kiln, opening the kiln, color ware, and firing.
Furnace and other fourteen steps.
The three most expensive colors of Ru kiln are azure, pink and green, and sky blue, which is extremely precious.
So the status of Ru Kiln white glaze porcelain in the world depends on what one thinks.
Because the quantity is too small, if no one speculates, the price will naturally not go up.
However, if it really appears on the market, because the quantity is too small, it will be sold at a sky-high price.
Of course, this requires an antique master with a certain status in the world to endorse this porcelain.
Otherwise, you will either be deceived or suppressed, so that you can sell it at a ridiculous price.
After all, what the world wants is the white of Yongle or the red of Xuande.
While these porcelains are dazzling, one thing that has to be admired is the green glaze of the Yongzheng Dynasty.
Among collectors around the world, several Neon people cherish Ru kiln the most.
Why? Because the Shintoism of the Neon people is similar to early Taoism in China.
The period when neon was most admired by our country in history was also the Tang and Song Dynasties.
Nowadays, the porcelain used in Neon people's tea ceremony, flower arrangement and incense ceremony are all Tang and Song style "celadon" instead of "blue and white".
Even in the turmoil since the late Qing Dynasty, Neon people have always had little interest in my country's Ming and Qing porcelain.
The bulk of their collection is mainly celadon, red porcelain, calligraphy and painting, etc.
On the contrary, since the Yuan Dynasty destroyed the Song Dynasty, we Chinese have gradually removed the taste of our ancestors from the depths of our memories and fell in love with the intricate patterns from the Middle East.
However, this time Chen Wenzhe also saw a piece of Ru kiln white porcelain, which made him feel so many emotions.
What he harvested this time was still the five colors of the Yuan Dynasty, and even the five colors of the Song Dynasty.
However, multicolored porcelain passed through the Tang and Song dynasties, and was not truly established until the Jin dynasty.
This is the result of academic research on the Jin Dynasty overglaze multicolored porcelain discovered in archaeological excavations and overseas in the past ten years.
In particular, the overglaze red color of the Ding kiln in the Jin Dynasty and the overglaze coloring of the Cizhou kiln system can be concluded to be the original stage of overglaze color, which inspired the emergence of Jingzhen multicolored porcelain in the later period.
In the Yuan Dynasty, Jingzhen gradually developed into the center of my country's porcelain production, and the porcelain from the "Shufu Kiln" laid the foundation for the production of multicolored porcelain.
Zhu Yan's "Tao Shuo" of the Qing Dynasty recorded: "The newly baked Dazusu Su is long-lasting and moist. It has cyan and five colors, and the flowers are vulgar."
This review believes that as a new variety of multicolored wares, it is not as good as the Yuan Dynasty's white porcelain, egg white porcelain and blue and white porcelain, which reflects the Yuan Dynasty's aesthetic custom of favoring white.
This is a powerful footnote for future generations to understand the fact that there were colorful porcelain in the Yuan Dynasty.
Mr. Tong Shuye once said: "From the perspective of the entire development history of porcelain, the Yuan Dynasty was a period of decline. Although the old porcelain declined, new porcelain was already brewing. We cannot underestimate the innovative factors in the porcelain of the Yuan Dynasty."
Five-color porcelain from the Yuan Dynasty with the "Bo Lingdi" designation has been discovered. The vessels are generally larger in size, the colors are brighter, and the painting work is extremely perfect. Each piece can be called a master's work.
Thinking of this, Chen Wenzhe directly picked up a large jar. Sure enough, there was a Bolingdi paragraph underneath this large jar.
This money has been confirmed to indeed exist and is an official money from the Mongolian Yuan government.