Chapter 1948 is basically the same, almost like the real thing
If we define the word "Junhun", then we can learn from Long Yongtu's words.
"Its rich historical and cultural heritage and rich charm of kiln transformation, in a sense, convey the spirit of simplicity and advancement with the times that ancient China insisted on."
To sum up, Jun Kiln did exist, but it was not called this name in the Song Dynasty, and this famous brand effect had not yet appeared in a systematic way.
During the Song, Jin, and Yuan dynasties, Jun kiln porcelain has been developing rapidly, and the Jun kiln porcelain in these three dynasties all had outstanding artistic expressions.
The development of Jun kiln artifacts in these three dynasties can be analyzed through four aspects to gain an in-depth understanding of the differences between Song Jun and Yuan Jun.
Only by clearly knowing their differences can we truly understand the Jun kiln porcelain of the Song Dynasty.
The early Northern Song Dynasty was the historical period when Jun kiln porcelain was founded, and its firing origin can even be traced back to the distant flower-glazed porcelain of the Tang Dynasty.
Early Jun kiln porcelain sites are generally concentrated in the Bagua Cave area of Yuzhou today.
Most of the characteristics of the antique porcelain fired at this time are very similar to those of the Ru kiln, Guan kiln and Ding kiln porcelain in the Northern Song Dynasty.
Moreover, the characteristics of Jun kiln glaze color had also been initially formed at this time.
The late Northern Song Dynasty was the mature period of Jun kiln porcelain.
At this time, the glazing situation of Jun kiln porcelain had obvious progress and improvement compared with the earlier period. Generally, the whole body was glazed and the pins were used for firing.
In addition, due to the thick glaze layer, the so-called "earthworms lead away mud lines" phenomenon is formed after firing.
Full glaze branch firing and earthworm-induced mud lines are important glaze firing features of this historical period.
In the late Northern Song Dynasty, the firing volume of Jun kiln porcelain increased.
Therefore, it is particularly important to classify the size of Jun kiln artifacts.
That is, on the bottom of Jun kiln objects, the numerical symbols "one" to "ten" are marked.
For example, in the same type of Jun kiln porcelain shapes, the number "one" represents the largest diameter, while the number "ten" represents the smallest diameter.
In addition to the diameter number on the bottom of the flowerpot and pot holder, there is also another matching number engraved on the inside of the foot.
In addition, it is also very common to use the storage place as the inscription on the bottom of Jun kiln objects, such as "Fenghua", "Provincial Government" and other inscriptions.
Although the Jun kiln porcelain of the Jin Dynasty continued to be fired under the influence of the Song Dynasty, due to the war, the quality of the Jun kiln porcelain was poor, and most of the shapes were not regular.
In 1184 AD, the Jin Dynasty officially changed Yuzhou to Junzhou. Although more than 100 years later, the Ming Dynasty renamed it Yuzhou, Jun Kiln got its name from this, and the name never changed again.
The development of Jun kiln porcelain in the Yuan Dynasty showed a flourishing and prosperous situation.
Not only did Yuzhou prosper and develop, but its production even spread throughout North China. Yuanjun became a veritable flagship product of northern porcelain.
Due to the large number of copper-red kiln variations of Jun kiln porcelain in the Yuan Dynasty, this also promoted the further development of Jingzhen underglaze red porcelain.
The Jun kiln porcelain of the Yuan Dynasty and the Jun kiln porcelain of the Song Dynasty are in different historical eras, so they are different in many aspects.
For example, in terms of shapes, the shapes of Jun kiln porcelain in the Song Dynasty were mostly based on various antique utensils.
The focus of Jun kiln porcelain in the Yuan Dynasty was mainly on daily utensils.
In addition, Yuan Jun advocated larger utensils, while Song Jun was different from the Yuan Dynasty.
Utensils with special shapes, such as plum vases, goblets, three-legged stoves, etc., are more common in Yuanjun, but less common in Songjun.
In terms of tire glaze, Song Jun's tire is darker in color and denser in quality;
In the areas where the glaze is thin on the mouth rim and feet, the fetal bones show a "tahini color", while the Yuanjun fetal bones are lighter in color and have a loose texture.
Song Jun's glaze colors are very rich, especially crabapple red, lilac purple, etc. are very vivid.
Yuanjun, on the other hand, is more likely to see moon white, sky blue, or a blend of the two, but the color is a bit dull.
In addition, there are almost no glaze colors such as crabapple red and lilac purple.
In terms of glazing, Song Jun mostly glazed the whole body and fired with pins, while Yuan Jun generally did not apply glaze to the bottom, and there was basically no glaze inside and outside the ring foot.
In terms of decoration, Song Jun's decorative techniques are not as rich as Yuan Jun's.
For example, in the Yuan Dynasty, pile appliqué decoration was more popular, but in the Song Dynasty, it was relatively rare.
For Chen Wenzhe, his favorite thing is actually porcelain.
The reason why I make jade carvings, stone carvings, wood carvings, brick carvings and other works is just because I am bored.
However, recently he discovered several glaze colors in porcelain that he had never come across before.
Those are the rose purple, begonia red, eggplant purple, plum green, mule liver, horse lung and other glaze colors that only appeared in the Qing Dynasty.
In fact, these are all glaze colors developed from imitation Jun kiln porcelain, so the unique glaze colors of Jun porcelain have a profound impact on later generations.
From the Ming and Qing Dynasties to the present, many porcelain kilns regard it as a model and imitate it.
The Imperial Kiln Factory was an organization responsible for the production of imperial porcelain during the Ming and Qing dynasties. The kiln was located in Jinjing Town.
The imperial kiln factory has been imitating Jun-glazed porcelain since the Xuande period of the Ming Dynasty, and the imitations from the Yongzheng period of the Qing Dynasty are the most exciting.
Yongzheng's imperial kiln factory imitated Jun kiln, and its typical characteristic is that the texture of the kiln is relatively thick.
During the reign of Yongzheng, Yongzheng's official kiln in Jingzhen used kaolin clay. He could not make such thick things, so he began to try some methods.
So I thought of using a sandwich type, that is, a two-layer tire. It looks thicker from the outside, but it is actually a hollow tire.
We have not seen this method in practice in the Forbidden City today, but we can see some trial products from the kiln site at that time.
However, during this period, imitation Song Jun kiln products were finally successfully produced.
In the 13th year of the Yongzheng reign, Tang Ying, the pottery supervisor, recorded a total of 57 types of antique and innovative porcelain produced in the imperial kiln at that time in the "Record of Ceramic Ceramics".
Among them, the "Jun glaze" imitates the old wares with internal hair. In addition to the five kinds of rose purple, begonia red, eggplant purple, plum green, donkey liver and horse lung, there are four new ones, namely new purple, beige, sky blue and kiln color.
"Imitation of old wares" are imitations of the actual "old wares" of Jun porcelain sent to Jingzhen for furnishings from the palace.
Therefore, in terms of shape, glaze color, firing method, etc., it is basically the same as the official jun collected by the palace, and it is almost identical to the real one.
Some of them deliberately do not have the year mark on them, which can almost look authentic, and the outer bottom of some objects is engraved with the six-character and three-line seal script inscription "Yongzheng Year System of the Qing Dynasty".
In addition to imitating antiques, the Qing palace also applied newly invented imitation Jun glaze on newly created and fired wares, forming the unique "Jun porcelain" of the Qing Dynasty.
The imitation Jun new purple glaze is one of the varieties of imitation Jun glaze created during the Yongzheng period of the Qing Dynasty.
This glaze color is mainly copper red glaze, combined with the oxidation and reduction of other metal elements.
It shows moon white, blue, purple, green, sauce, cyan, brown and other colors.
Combined with red, it forms ever-changing and colorful color blocks and stripes.
In the early Qianlong period, the kilns changed glazes, maintaining the "flame blue" characteristics of the Yongzheng period.
Then it gradually changes to red, blue, and moon white colors intertwined into block-shaped patches and stripes.
In the late Qianlong period, there are less moon white and blue glazes, and most of them are red. a>vas>div>Scan the code to download Red Sleeves and join Xiaoxiang to receive benefits. Newbies can read for free for a limited time div>div>div>