The production process of any kind of porcelain is not simple.

Especially some official kiln porcelains, they are always striving for excellence.

Therefore, modern people have only summarized eight processes, but in ancient times, when we kept striving for excellence, no matter how much it costs, it required seventy-two processes.

This is the difference, and this is also an important reason why modern crafts are always a little worse than ancient crafts.

It’s not that they can’t do it, but that they don’t want to do it in order to get the most cost.

However, often good porcelain needs to be perfect.

For example, in addition to molds, withering, withering, hand-cranking, etc., all of which require increased costs.

This is not the case during the firing process of modern Jun porcelain.

On the basis of inheriting tradition, modern Jun porcelain has undergone bold reforms and added modern popular elements, and the most important thing is to save costs.

Whether it is processing or shaping, it becomes simple.

In today's rapid development of society, the progress of the times marks the improvement of technology, and also means that more and better Jun porcelain art works will be born, adding new colors to Jun porcelain!

After studying it, Chen Wenzhe still found that according to the technological progress in recent decades, the re-burning Jun kiln is the easiest thing to do after step by step.

There is no way, this is the experience of our predecessors.

It is naturally the most smooth thing to follow the experience of our predecessors.

In the 1950s, it was made of a small bellows-style kiln, called Lujun.

The raw material used is blue charcoal. Because this is a relatively traditional firing process, the yield rate of this firing process is relatively low.

Although the yield rate is extremely low, the effect of the firing is relatively simple, and its color patterns are relatively unique.

The coal firing process from the 1970s to 1980s was fired by Junmei Factory 1, Factory 2, State-owned porcelain factory and Shenwu Dongfeng Porcelain Factory.

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The kiln shape is very rich, and there is no sign at the bottom.

The firing process of the air kiln of Jun porcelain was born in the 1990s, and various Jun porcelain kilns began to fire gas kiln works.

Because of the special firing environment of the gas kiln, Jun porcelain has also broken through the bottleneck and produced a lot of fine products.

The Jun porcelain body materials of this era were divided into incense ash body and gray white body.

Most of the base models are kiln styles, or the base models are based on the author's own name, with seal styles and hand-signed styles.

I believe that what everyone likes most is the works of masters, but master works with collection value also require the collector to have a unique vision. Works with truly collection value are difficult to encounter.

The styles, firing techniques and academic creation of different masters will have a direct impact on the collection value of the works.

In addition to the good things produced by masters, Jun porcelain is actually the most important thing.

The kiln change depends on the face.

For example, now, there is a story related to Jun porcelain.

The prototype of this story is about the treasure of the "Panlong Bottle" in the museum at a certain Jun porcelain kiln.

After it was burned, it was going to smash it, but later it didn't sell it for a lot of money, and it was also visited by multiple CCTV programs.

In fact, this treasure in the museum was almost smashed out of the kiln because of flaws.

Because this treasure of the exhibition hall is strictly a defective product.

When the kiln in Jun kiln is opened, it will be smashed directly when the defective products are broken to prevent the defective products from leaking to the market.

A perfect Jun porcelain work must first be dignified and elegant, and the glaze surface is smooth and there must be no residual problems.

However, we must distinguish between the residual, the defect and the minor flaws, because the focus of Jun porcelain is on the changes in kilns.

It is difficult to find exactly the same works, so many collectors are more inclusive about the firing of Jun porcelain.

This Panlong bottle is very beautiful, it is elegant and red, with red rabbits surround it, spreading all over the body of Panlong bottle.

However, it has a fatal disadvantage, which is the residual problem mentioned at the beginning.

There are a few bulging bubbles on the body of the Panlong bottle.

In fact, if this bubble does not protrude under the glaze, and the glaze bubbles do not break, this is no normal phenomenon.

But this glaze bubble is a coincidence and happens to appear on the surface of the glaze, which has a clear abrupt feeling.

According to the inspection standards of Jun porcelain, such quality must be smashed and thrown directly into the Kiln Soul Pool.

Several kiln workers were very sorry to see it. When they were about to throw it aside, a customer from Shendu came next to them and fell in love with this Panlong bottle.

He said that a few bubbles were very unique, and happened to be on Pan Long, and they looked like a newborn dragon.

A few kiln workers came to the front and saw that they looked a bit like it.

In addition, the location of the bubbles is just a few kiln changes with a few coriander red, which makes it look even more vivid.

In this way, this dragon bottle was preserved.

Because of its residual problem, it greatly increases the artistic value of this work.

It is because of its residual problem that it has become a unique orphan.

This is the real kiln transformation. No one can guarantee the final product after entering the kiln.

Often, this kind of thing that is accidentally burned is not copied and becomes even more precious.

However, in the final analysis, these are the use of copper-red glaze.

The reason why Jun kiln is famous is largely due to accidents.

Unexpectedly, that is, kiln transformations, such situations are common in Jun porcelain.

We all know that the main contribution of Jun porcelain is to fire into gorgeous red-glazed Jun porcelain.

It is also because of copper-red glaze that the copper-red glaze was pioneered.

Because it changed the situation where high-temperature color glaze in my country was only black glaze and green glaze, opening up a new artistic realm.

When it comes to the characteristics of Jun kiln, the biggest feature is actually glaze.

There is a little different from other famous kilns in the process of Jun kilns. It is a milky glaze, an opaque glaze.

Official kiln, Ge kiln, and Ru kiln all belong to transparent glass glaze, and the glaze is transparent;

Jun kiln is not glass glaze, but emulsion glaze.

The advantage of emulsion glaze is that it has strong hiding power and can completely cover the body soil.

This is an advantage, but at the same time it leads to a disadvantage, that is, the Jun kiln has low requirements for the tire, and loose or rough tires can be covered by glaze.

This phenomenon can be clearly seen from the Jun kiln of the folk kiln.

These shortcomings have now become the characteristics of identifying Jun kilns.

If Chen Wenzhe wants a good kiln change, he naturally needs to control the kiln change, which requires extremely high technology and the most important thing is experience.

Jun kiln belongs to the kiln-changing porcelain. Theoretically, its color cannot be controlled before entering the kiln.

The ancients praised Jun kiln for this kind of praise, "The purple and green sunset suddenly turned into mist", which means that the color suddenly changed.

The so-called "kiln transformation" refers to the changes that occur during firing after entering the kiln, and human resources are uncontrollable.

The jargon says, "The color of entering the kiln is the color of the kiln, and the color of the kiln is produced." This is the essence of Jun kiln.

It is absolutely impossible to control the Jun kiln in the early stages of its firing.

However, after craftsmen have been exploring for a long time, they can gradually control it within a certain limit.

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