my system is not serious Chapter 1947: There are three tools for the transformation of the kiln, the second is the craftsmanship of heaven, and the other is the ingenuity of man
Chapter 1947: There are three tools for the transformation of the kiln, the second is the craftsmanship of heaven, and the other is the ingenuity of man
Jun kiln is also very famous for its size.
"(Orchids) should be found in Longquan in Junzhou or Neifu if the pots are large. For those with large spring flowers, avoid using flower pots, corbels and other customary arrangements."
"The ancient bronze Chinese vases, Longquan and Junzhou vases are two to three feet tall and are most suitable for ancient plum blossoms."
Jun porcelain wares are huge, which is also a feature that is difficult to replace.
The historian Tan Qian once recorded an interesting story: One spring, a man from Jiangyin brought a Jun porcelain vase several feet high for sale. He asked for ten gold (one gold is one tael of silver), but was laughed at.
Unexpectedly, the peonies were in full bloom in Da Nei. Emperor Jiajing was eager to find a suitable vase, so the eunuch found this vase. Emperor Jiajing was very satisfied.
The people of Jiangyin seized the opportunity and raised the price to two hundred gold.
The emperor instructed the eunuch to counteroffer one hundred gold first, and if the other party refused, add another fifty. The deal was done.
The expansion of Jun porcelain's influence is closely related to the prosperous porcelain manufacturing industry in Junzhou during the Ming Dynasty.
As early as the 20th year of Hongwu (AD 1387), Cheng Ben wrote a poem: "The spring breeze blows the willows across the bridge, and the wine brews in the Junzhou urn."
"Ming Huidian" records that in the 11th year of Hongzhi (AD 1498), "it was also reported to the officials of Jun and Ci Prefectures in Henan Province that they burned 5,000 magnetic cannons."
Junzhou, Cizhou, and Quyang, as important places in the porcelain industry, were responsible for the production of daily porcelain for the imperial court and military porcelain.
During the Kangxi period of the Qing Dynasty, Gao Shiqi designated a Jun porcelain vase found in a monk's temple as an imperial collection of the Song Dynasty in his "Song of Song Jun Kiln Vase in Huocanglin".
There are only eight tools for kiln transformation, seven are the work of heaven, and one is the ingenuity of man.
Even the name "Jun Kiln" obviously may have originated during the Northern Song Dynasty.
Those concepts of Jun kiln history are entangled with historical facts, which shows the common challenges of Jun kiln historical research.
However, the statement of "Song Guanjun" has always faced doubts.
In the vast literature of the Song Dynasty, only a few words about Jun porcelain can be found;
Is the Jun porcelain mentioned in the previous life the "Beiqing Kiln Change"?
"The height of the basin is about seven inches, the narrowness is more than eight inches, and the length is seven inches. The lip of the horse's feet is convenient for carrying the box. It is also very valuable to enjoy the silence and secrets."
Collector Chen Liu said: "The ancient kilns that exist today were called Jun, Ru, Ding, Guan, Ge, and Longquan in the Song Dynasty..."
The term "Seven Famous Kilns" in the Song Dynasty has also gone through a long process.
"It's strange that Junzhou was built in the old days, and it has been completely destroyed after several wars. Cang Gong left the inner palace for his words, and was abandoned and left behind."
The industry even launched a slogan like this: "Jun porcelain is a royal treasure and is called the 'Shen Jun Bao Porcelain'. Eighty-eight pieces are produced every year, and the rest are smashed and buried. Private collection is prohibited."
In the eighth year of Xuande's reign in the Ming Dynasty (AD 1428), the emperor said that the ritual vessels displayed in the Imperial Ancestral Temple in the suburbs and in the inner court were "vulgar in style and extremely old-fashioned".
In the Qing Dynasty, Tang Ying supervised the affairs of the JDZ kiln, imitating the past and adopting the present, and integrating small things from heaven.
It is made naturally by the heavenly craftsman, transformed by the nature of fire.
That kind of new porcelain inherits the pinnacle of Song Dynasty ceramic skills, is kneaded in mud and water, and is nirvana in wind and fire, showing a new, weakened vitality.
Is the Juntai kiln or the Siguadong kiln, which produces various flower pots and produces Jun wares handed down from generation to generation, such as halberds and halberds, a private kiln or an official kiln, a tribute kiln or even an imperial kiln?
The strange kiln changes in porcelain production have never been seen in the past dynasties.
As the Ming Dynasty scholar Fang Yizhi said: "There are no seven colors in Junzhou, which is the same type of Ru kiln. If the kiln changes, it will disappear."
At this time, Junzhou had not yet appeared, and Yangzhai was nicknamed "Hancheng". It was not until the Jin Dynasty poetry that Junzhou was referred to as Juntai.
Emperor Qianlong preferred Jun porcelain and considered it to be a type of Song kiln.
By the end of the Qing Dynasty, Song Jun's status was already unshakable.
Since the 1960s, archaeologists have excavated the ruins of ancient kilns in the Juntai and Siguadong areas of Yuzhou City, and determined that this area was the origin of "Guan Jun" and was fired during the reign of Emperor Huizong of the Song Dynasty.
"Junzhou makes a total of 17,283 vases, altars and jars every year."
Is the Yuzhou Shenge Jun porcelain in the Ming Dynasty discontinued or continued in the area of origin?
In other words, Xiazijun kiln had become famous as early as the Song Dynasty. Why did scholars from the Jin, Yuan and Ming dynasties turn a deaf ear to it?
To put it bluntly, what is Junci or how to define Junci?
What cannot be assumed is that before and after the fall of the Northern Song Dynasty, porcelain with the characteristics of contemporary Jun porcelain had not yet appeared in the Yuzhou area and was widely copied.
During this period, Junzhou ceramics had become a symbol of Zhongzhou’s scenery.
Jun porcelain ranks first among the famous porcelains of the Song Dynasty. Small pieces are highly prized, while large pieces are also kept secret.
The history of your country's ancient ceramics has always been shrouded in mystery, and the Jun kiln is the most mysterious kiln mouth or kiln system in the field of your country's ancient ceramics research.
Because the quantity was too large, there were arrears over the years, so the court had to take measures to avoid them.
Although Jun kiln utensils were not selected, they can be compared with other famous kilns such as Chai, Ru, Guan, Ge, and Ding.
Under the Jun porcelain kept in the imperial palace, I have often carved poems as a souvenir.
"Every kiln in Jun has a repairman, and even today, there are few dishes and bowls that are difficult to make."
During the Jiajing period, Xie Cunru, the governor of Nanhe, requested that the amount of ceramics requisitioned from Junzhou be converted into tax money. The people of Junzhou were grateful for this and erected a monument to commemorate it.
"The inkstone was made in the Jun kiln of Zhao and Song Dynasties, and the surface was flat and the glaze was removed."
It is required to select ancient books such as "Xuanhe Bogu Illustration" and the firewood, Ru, Guan, Ge, Jun (jun) stored in the inner treasury, determine the styles of each kiln utensil, and imitate them.
In the Southern Song Dynasty, Zen Master Liaohui taught: "It is advisable to recognize opportunities and avoid faults. Lead the way before you say anything, and you will get it before you give a prophet. If you step through the abbot's door early, you will see that the porcelain incense burner is similar. You will know at the first sight that it is the Beiqing kiln.
It’s worth a lot less, just say it.”
The people of Junzhou explored and mastered the laws of kiln transformation, and did so arbitrarily, creating a colorful new realm for Jun porcelain.
Therefore, the Qing palace collection is regarded as a typical example of "Northern Song Dynasty official Jun".
Of the 57 glaze colors I obtained, there are less than ten directly from Jun porcelain.
In the 70th year of Guangxu (AD 1894), in order to celebrate the 80th birthday of Empress Dowager Cixi, Cui Tinggui, the commander-in-chief of Nanyang Town in Nanhe, customized four Jun porcelain tripods at Shenhe. Huang Jing, the magistrate of Yuzhou, came to the site to supervise the work.
The excavation of Juntai kiln is not sufficient in terms of methods and logic;
Perhaps, for a long period of time, that kind of kiln-made porcelain has not yet been independently named.
"Yue vessels were once rare, but Song kilns are now inscribed on them."
When did the so-called official jun in the previous life start burning and when did it stop burning?
The current junior high school history textbook states: "There were seven famous kilns in the Song Dynasty, namely Ding kiln, Ru kiln, Ge kiln, Guan kiln and Jun kiln... Jun kiln was located in Yuzhou, Henan. Its products were green with red, while Hua kiln was
Commonly, it is called 'Jun Red'; if it is not made of sky blue or moon white and purple red, it is unique and beautiful, and is called 'Jun Purple'."
Those names that come from the secular world have become classics that can be changed.
For example, when and where was Jun Kiln created? When was Jun Kiln named?
However, we might as well jump out of those entanglements and stick to the available facts for the time being.
In Shenhe, I saw a scene like this: people were searching for Jun porcelain fragments at the ancient kiln ruins in front of the rain, and "every piece of tile was found competing to cherish it."
It has no natural affinity with Ru kiln celadon, but its magnificent glaze color has attracted the attention of the world.
Taking the late Northern Song Dynasty as the period when Jun porcelain flourished, the theory that "Jun porcelain began in the Tang Dynasty and flourished in the Song Dynasty" was derived.