My system is not decent

This time when he came to Nanyue, because of Wu San’s order, Chen Wenzhe made various classic porcelains through imitation of Ru Kiln porcelains.

It can be said that through making porcelain and antiques this time, the knowledge he had learned before was continuously integrated and began to reach the peak.

Therefore, he can sort out the development process of a kind of porcelain from the beginning to the end from a higher perspective.

At this time, all he learned was the production of green-glazed porcelain, so the knowledge he got from Suihou's Pearl was all about green-glazed porcelain.

So, what if he learns Ru kiln porcelain?Is it also possible to get a lot of knowledge about Ru Kiln?

With the emergence of this idea, a lot of knowledge really emerged.

However, after a short look, he found that these were all knowledge that he already knew and thoroughly understood.

With his successful firing of the three classic glazed porcelains of Ru Kiln, it can be said that the firing of Ru Kiln porcelain has been clearly studied by him, so learning about Ru Kiln now can only make him chew the wax.

His mind returned to the green-glazed porcelain. He saw it just now. In terms of firing process, green-glazed porcelain can be divided into three categories.

The first category must be low-temperature glaze, and from the materials discovered by archaeology, the firing center of this kind of utensils was mainly in Nanhe in the early stage.

From the end of the Northern Song Dynasty to the Jin Dynasty, it gradually moved to the southern part of the Beihe River and the northern part of the Nanhe River. After the Yuan Dynasty, it centered on the Xishan area.

This production method was still used until the Ming and Qing Dynasties, and it was the mainstream method for producing colored glaze porcelain in the northern region.

Several single-color low-temperature glazed porcelains have been unearthed in China, including green-glazed clean bottles, yellow-glazed jars and parrot-shaped pots.

These are the focus of Chen Wenzhe's attention, because he needs to imitate these classic shapes.

If you can't collect all these ancient relics, you can copy them all, and you won't sell them. As long as you display them in your own museum, it is also a happy thing.

And after studying the first low-temperature glazed green glazed porcelain, it is sure to be able to fire qualified Tang Sancai.

The camels, figurines, and horses in the Tang Sancai are still very classic. Chen Wenzhe is not uncommon for unearthed ghost vessels, but the ones he fired himself are not shocking.

"The characteristics of this kind of low-temperature glazed wares are still very obvious. In order to make it easier to glaze and hang the glaze firmly during the second firing, the kiln temperature in the plain firing stage is actually lower than the normal firing temperature?"

Chen Wenzhe feels that he has learned a lot of knowledge, and the low-temperature glaze is well-deserved.

It turned out that he just knew it but didn't know why, but now he knows why the plain embryo was fired at a low temperature.

Moreover, he also knew that the plain blank fired at low temperature is not hard enough and has a high water absorption rate, but the glaze juice is absorbed during the second firing, which often makes the color of the utensils uneven.

And because of the high transparency of these low-temperature colored glazes, it is difficult to cover the darker tire color.

Therefore, the color of most utensils is relatively deep and dull, often dark green or dark green.

For this reason, after the Northern Song Dynasty, many kilns began to add a layer of white make-up clay during the biscuit firing stage to improve the glaze color of the finished product, and sometimes added scratches, engraved flowers and other decorations on the tread.

Therefore, some arts are born under certain conditions, such as covering up ugliness.

Any variety of porcelain is developed step by step, and the early green glazed porcelain must not be on the table.

However, this situation has changed since the Tang Dynasty, and it is Tang Sancai that changed everything.

Among Tang Sancai porcelains, green glazes are widely used.

And here, the rough life of green-glazed ceramics is vividly expressed.

How did the life of green glazed porcelain come about?That is, from the tomb to the court, this is a struggle about "the difference between superiority and inferiority".

The development of ceramics has gone through a long period of time.

Among the many porcelains, the green glaze is not particularly conspicuous.

Although the duration is extremely long, it has never been called the top priority by people, or it has never been pushed to the top by any dynasty.

But looking carefully, in history, no matter what stage it is, green glaze has never been missing.

It can be said that green glazed porcelain has never been replaced from the moment it was born to the following thousands of years.

Of course, that kind of neglect may also have an inseparable relationship with color.

Just like in the eyes of feudal rulers, yellow represents orthodoxy.

The clothes worn by the royal family are also yellow, with patterns such as dragons and phoenixes embroidered on them.

Even the clothes worn by officials are distinguished by color, just like officials in green clothes, the official position is not particularly great.

But with the passage of time, although there is no aesthetic and other aspects to add points to green glaze, there is no ruler who is extremely optimistic about this kind of porcelain.

Therefore, in the continuous process, the journey of green glaze is also extremely bumpy.

Through the development of this porcelain and the degree of attention it receives, we can also see the development process of handicrafts from ancient times to the present.

At the same time, we can also see the promotion and corresponding restrictions of the imperial rulers on the porcelain industry.

Green is like a color with two sides, a positive side and an embarrassing side.

On the positive side, it must represent the thriving vitality, which is a good direction and conducive to the development of green glazed porcelain.

This is easy to understand. The most common color in everything that nature bred is green.

The trees, flowers and plants we see all have the background color of green as a foil.

At the same time, green also symbolizes hope, life, and peace.

Just like many people look at green plants when their eyes are tired.

From this perspective, green also represents thriving vitality.

However, when green matches people's aesthetic concepts, it is not liked and seen by people, and it even becomes more and more embarrassing.

"Shuowen" mentioned green: "Green, silk green and yellow".

Just from this sentence, it can be seen that green is not a popular color in people's aesthetic concept, and it is even called a variegated color.

Evaluations like this do not only appear in this book.

Just like Confucius, in order to be able to maintain the ritual system at that time, he also regarded green as other colors, that is, variegated colors.

Red, yellow and cyan, white and black are called positive colors.

Quietly, green is not valued by people.

Just like in thousands of years of civilization, even colors have been graded.

It is precisely because green does not represent a positive color, so the status of porcelain related to green has always been relatively low.

Because five kinds of glazed ceramics are needed during the sacrifice, so the emperors are more concerned about it.

But whether green can appear in the sacrificial scene is still a huge question mark.

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