From the Han green glaze, through the multi-color glaze of the Southern and Northern Dynasties, the Sui green glaze, and the Tang yellow glaze.

Then to the Ding Kiln of the Song Dynasty, the green glaze, yellow glaze and the Song Dynasty three-color.

These are both an evolution of glazing technology and formulas, and a return to culture and art.

The Han Dynasty advocated simplicity, the Tang Dynasty advocated luxury, and the Song Dynasty advocated beauty.

Therefore, when you appreciate Han green glaze, you can always find the shadow of Shang and Zhou bronze ware.

The Tang Sancai porcelain shows us the majestic temperament of the prosperous Tang Dynasty.

Song Dynasty porcelain tells us the beauty, elegance and beauty of a literary era.

The glaze color is the same as the shape of the vessel, and it also has an inheritance and evolution process.

However, by the Song Dynasty, the body substances of green glaze ware differentiated.

The type of rough-body porcelain that occasionally tests fire transcend traditional rough-body porcelain and is separated into white porcelain, green glaze, fixed-body porcelain;

The other type follows the past tradition, heavy, thick and thick, and uses cosmetic soil.

It is precisely because of the coexistence of the two that we can clearly see its evolution process today, more than a thousand years later.

It also allows us to experience the good intentions of ceramic craftsmen of all dynasties.

After that, it became simple. The emergence of Yuan blue and white, underglaze red, etc. was in a hurry to see the various glaze-colored porcelains from the Ming and Qing dynasties. It can be said that by this time, all flowers were blooming.

Chen Wenzhe made the most of various glaze-colored porcelains in later generations.

The representatives are various colored glaze porcelains of Qianlong, or porcelain mothers.

Chen Wenzhe should be able to perfectly imitate this porcelain piece now, but he has no interest.

If you have time to make a bottle piled up with various colors of glazes, it is better to study the five famous kilns in the Northern Song Dynasty.

The five famous kilns in the Northern Song Dynasty, Ru, Jun, Guan, Ge, Ding, Ru kiln, Chen Wenzhe has conquered the technology of this kiln.

Ding Kiln has just been studied, and Chen Wenzhe even has a fine Ding Kiln product in his hands.

Although he had never been in contact with Ge Kiln porcelain, he had had several indirect contacts before and understood Ge Kiln's technology very well.

Now only the porcelain of Jun kiln and Guan kiln are left, namely Juntai kiln.

This pass is a unique style based on the styles of Chai Kiln and Lushan flower porcelain.

At that time, it was deeply influenced by Taoist thought and reached its peak during the reign of Emperor Huizong of Song Dynasty, and its craftsmanship and technology were exerted to its extreme.

No matter how color or various textures are expressed, no one can imitate the kiln change with controllable performance techniques.

The influence of acceptance theory in the Song Dynasty was reflected in the regular and symmetry of porcelain.

Whether it is shape or texture, this principle is followed.

Especially when officials of the Northern Song Dynasty made Jun porcelain, this principle was strictly followed regardless of the escorts or large sacrificial utensils.

Regular and symmetrical, elegant and grand, courtly momentum, meticulous.

Its momentum is heavy and simple, bright and deep.

Jian Kiln, Yaozhou Kiln and Jun Kiln are authentic as traditional Chinese porcelain culture and have a long-standing style inheritance.

Especially Jun kiln porcelain, it is unique.

Observing with a magnifying glass, the earthworms were drawn away from the mud patterns, and bubbles were connected one by one, which was three-dimensionally crawling. The egg patterns wrapped around the egg cores in piles and were about to hatch.

There are also cow blood patterns, blood-colored, dark and murderous aura, solemn and majestic, etc., which are difficult to describe one by one.

The color, texture size and distribution of the official kilns of Northern Song Dynasty porcelain are difficult to be artificially controlled and just right, and are the embodiment of the highest craftsmanship level of Northern Song Dynasty porcelain art.

Unfortunately, the Jun porcelain process has long been lost, and the kiln site has also sunk with the frozen water accumulation.

"Even if you have a wealthy family, you are not as good as a piece of Jun porcelain" is a true portrayal of Jun kiln porcelain.

From this we can see the sensational effect of Jun porcelain at that time.

So the groups of people from all over the country followed suit, with kilns standing in a row, but they still couldn't get the point.

There are so many research articles today, and countless archaeological kilns are available. Because I have never seen the official making Jun porcelain in the Northern Song Dynasty, I can only see it through my own eyes.

Of course, any technology, as long as modern people want to study it

And if you are willing to invest, you will definitely gain something.

For example, since 1955, the Yuxian (now Yuzhou) Ceramic Factory has begun to develop and explore the basic formula and firing technology of the long-lost Jun porcelain body glaze.

They not only fired traditional glazes such as rose purple, crabapple red, sky blue, and moon white, but also developed more than a dozen flower glazes.

Later, new varieties such as modern daily necessities, artistic furnishings and porcelain were added.

In this way, it has become more convenient for Chen Wenzhe to study Jun kiln porcelain.

After all, he can stand on the shoulders of his predecessors. If he finds more information, he might still stand on the heads of his predecessors.

Unfortunately, it is still very difficult to make a real imitation of Jun kiln.

After all, some of the characteristics of Jun kiln porcelain are too famous.

Some people believe that the essential feature of Jun kiln is that the glaze surface has "earth-induced mud patterns".

Of course, this is not completely correct, it can only be said to be one of the characteristics.

Many of the collections of Jun kilns do not have mud patterns.

Because in the official kilns at that time, the glaze color was evenly desired.

However, due to the influence of factors such as the kiln temperature, glaze color raw material ratio, and firing environment during firing, the glaze surface changes in temperature are reduced, which leads to mud patterns.

It can only be said that the Northern Song Dynasty Jun kiln was able to control the kiln change, and the earthworms were leading away mud patterns.

Use bubbles to string together three-dimensional earthworms, frog egg patterns, and fish egg patterns to wrap fish roe that is about to hatch, etc.

The most important value of Northern Song Jun porcelain lies in its expressiveness on the glaze surface as it wishes.

Jun means weight, and the official kiln Jun porcelain in the early Northern Song Dynasty was heavy.

The traditional style of Chinese porcelain culture is to be simple on the outside but elegant on the inside.

The so-called implicit and restrained "the light of the Chinese and foreigners" reveals the essential characteristics of Song porcelain.

The delicious color of the Wu Dynasty Chai Kiln porcelain and the magical changes in color are a mileage brand in the history of my country's porcelain art development.

Under the glory of Chai Kiln porcelain, Song and Yuan porcelain art developed on the road of different styles but profound and extraordinary skills, opening the most glorious chapter in the history of Chinese porcelain art.

Originality runs through the whole process, and originality is the soul of porcelain art life.

One "hidden" and the other "exposure" reveal the inner essence of Chinese culture for thousands of years.

From the Stone Age Orientals were deeply attracted by the infinite charm contained in jade, which expanded the orientals to understand the width and thickness of the mysteries of nature.

But until now, Westerners still believe that only shining things are valuable.

A subtle observation of the natural environment and the expression of them on porcelain is the core technology of Jun porcelain.

This expression art is amazing and has always been the mainstream technology of making porcelain in the palace of the Northern Song Dynasty and Southern Song Dynasty.

The porcelain textures ranged from the "hidden" of the Northern Song Dynasty to the "exposure" of the Southern Song Dynasty, and even the surface form of the official kiln and Ge kiln texture had a direct impact on the porcelain art of the Yuan Dynasty.

Jun kiln porcelain has always been called "the treasure of the country". It is unique among the five famous kilns of the Song Dynasty because of its "glaze with five colors and its beauty".

Therefore, the ancients used poems such as "The purple and green suddenly turned into mist in the sunset" to describe the flexible and subtle beauty of the glaze of Jun porcelain.

[The problem of slow update of new chapters has finally been solved on the source-changing app. Download the xbyuan source-changing app here and view the latest chapters of this book on multiple sites at the same time.]
Chapter completed!