My system is not decent

Up to now, many old-fashioned firewood kilns have fire photos.

To judge the firing degree of the porcelain in the kiln by looking at the temperature change inside the firewood kiln through fire photos, this is very dependent on experience, and ordinary people cannot do it.

But it has to be said that this has greatly improved the control of the temperature in the kiln.

Being able to control the temperature is really important for the firing of a kiln porcelain.

As for the utilization of coal, this advantage will be further expanded.

Therefore, the utilization of coal is also a major technological improvement.

In the Five Dynasties and the early Northern Song Dynasty, the white glaze of Ding kiln was often white with a flash of blue, and later became white with a slight yellowish color, showing a soft texture like ivory.

This is due to the use of coal instead of firewood as the fuel for firing kilns.

Using coal as fuel, the atmosphere of the kiln changes from reduction to oxidation, which is why the ivory-like texture is fired.

The use of coal improves the combustion efficiency, changes the firing atmosphere, enhances the thermal insulation of the kiln, and plays an important role in increasing the firing rate and ensuring the firing rate.

This is an important technological innovation in the porcelain industry in the northern region, all because of the coal production in the north.

It is with various technological innovations that the Ding kiln porcelain began to flourish.

Generally speaking, the tire quality of Ding kiln is thin and light, the tire color is white and yellowish, relatively firm, not too transparent, the glaze is beige, the glaze is very thin, and the tire can be seen.

The feature is also obvious, its glaze color is white and crystal clear, and many glazes are shaped like tear stains, known as "wax tear stains", with a faint yellow-green color.

In the place where the outer wall of the utensil is thinly glazed, you can see the swirl marks on the tire, commonly known as "bamboo silk brush pattern".

In the early Northern Song Dynasty, the rims of Ding kiln products were glazed, but in the late period, most of the rims were not glazed, which was called "mangkou".

The mans mouth is often inlaid with gold, silver and copper borders to cover up the defects of the mans mouth, which is another major feature of Ding kiln.

In addition to these well-known characteristics, Ding Kiln, as one of the five famous kilns, still has a lot of cold knowledge.

For example, the white porcelain of Ding Kiln, which is as white as muscle, is the blank space in the landscape paintings of the Song Dynasty, and the pure white color is used as the most simple decoration.

This kind of blank space has appeared in the porcelain of the Wei and Jin Dynasties.

On a piece of celadon, you seem to be able to see figurative figures, animals, and other scenes, which are almost absent on Ding kiln white porcelain.

This is the white art of Ding Kiln, and it is also a unique art.

Using white or blank to express is the ink interest of traditional Chinese painting, and it is a cultural expression of Taoism that the virtual and the real coexist.

In this way, the beauty of Ding Kiln is displayed, giving people unlimited imagination.

It is precisely because virtual and real coexist, and existence and non-existence exist, so this "white" and "blank" represent "existence" and contain infinite meanings, rather than a single expression like painting some concrete objects.

Just like the artistic conception expressed by "the frost flowing in the air, you don't feel it flying, but the white sand on the Tingshang can't be seen."

If someone thinks that the white color of Ding kiln porcelain, or the simple decoration, is the result of less sophisticated craftsmanship at that time, then it is a big mistake.

This form of expression was actually very common in the Northern Song Dynasty.

For example, a painting "Autumn Colors of Streams and Mountains" collected by Emperor Huizong of Song Dynasty, in which there are streams and mountains, the fisherman expresses his love with a pen, and the right half is almost blank.

There is also Wang Jian's imitation of Ni Yunlin's brook pavilion and mountain color scroll, all of which are his unique use of blank space.

And this kind of use was very common in the Northern Song Dynasty.

For example, during the Huizong period of the Song Dynasty, there was a painting academy exam where students were required to paint with a poem: "Tread flowers and return to the fragrance of horseshoes."

The work that finally won the first prize is: One Man Riding a Horse, A Swarm of Bees Flying with the Horse's Hoof.

The painting does not show flowers, but uses the bees to pursue the horseshoe to express the "horseshoe fragrance" examination question, substituting fiction for reality, focusing on expressing the beauty of the artistic conception of the painting.

It can be seen from this that what the art of the Song Dynasty pursued was simplicity and profound meaning, not simplicity.

People in the Song Dynasty used a warmer tone of white to present the beauty of Dingyao, which is as gentle as the skin.

It is precisely because of the unique aesthetics of the Song people at that time that the white color of Ding Kiln can stand out in the era when cyan is the main color, and has its own exclusive color.

At that time, people in the Song Dynasty were pursuing artistic diversity, and pure white was not enough to express people's understanding of art.

Therefore, decorations such as peonies, lotus flowers, birds, twigs, and simple geometric patterns are often integrated into porcelain with the help of decorative techniques such as printing, engraving, and scratching.

What is amazing is that these patterns are integrated with the white color, without the slightest intention to overwhelm the host.

This also pushes the artistic achievement of white porcelain to a new height.

Liu Qi in the Yuan Dynasty praised it in "Gui Qian Zhi", "the flower porcelain Ou of Ding kiln, the color is white all over the world".

Among them, "Hua Porcelain Ou" refers to the carving technique of Ding Kiln.

Chen Wenzhe was able to fire Ru Kiln, so it would not be too difficult to learn the firing techniques of Ding Kiln.

There are even many similarities between the two, of course, more differences.

This is what Chen Wenzhe learned emphatically, and he also paid special attention to the difference between Ding kiln and other kilns.

For example, Ding Kiln and Ru Kiln have different nail-firing methods, and the over-firing method is often used.

The so-called over-firing method is to turn the utensils upside down and fire the utensils with the mouth close to the gasket.

In this way, the glaze cannot be hung on the mouth, and a circle of unglazed "mang mouth" will be left.

This is the biggest feature of Ding Kiln, and it is also the biggest shortcoming. The reason why it disappeared is related to this shortcoming.

At that time, in order to solve the defect of "mangkou" left by overburning, gold, silver and copper buckles were inlaid on the "mangkou" to meet the requirements of the royal family and nobles.

After solving the problem of "Mangkou", the advantages of Ding kiln porcelain over other kiln mouth porcelain are revealed.

Because the Ding kiln ware, including the bottom, can be glazed almost 360 degrees without dead ends.

Of course, it is impossible to fire Ding kiln porcelain just through these.

Because the Ding kiln not only fired white porcelain, but also many other varieties, and the most important thing was that they all fired very well.

Although Ding Kiln was famous for white porcelain, it did not mean that Ding Kiln only produced white porcelain at that time.

Ding kilns in the Song Dynasty also had black glazes and soy sauce glazes, which were also quite exquisite, which were commonly known as "Black Ding" and "Purple Ding".

Now the Forbidden City has a Ding kiln sauce glaze tureen, which is 6 cm high, 12 cm in diameter and 5.3 cm in foot diameter.

The bowl has a straight mouth, a deep belly, a ring foot, and a melon-shaped button on the top of the lid.

The whole body is glazed with soy sauce color, the edge of the bowl and the ring foot are unglazed, and the exposed part is white.

Compared with the white-glazed porcelain of the Ding Kiln, the number of firings of other glazed wares is relatively small, so they are more precious.

Covered bowls of this shape were commonly fired in northern kilns in the Song Dynasty, most of which were in the northern and southern Hebei provinces.

In addition to sauce glaze varieties, there are also red glaze and green glaze utensils.

These utensils are generally undecorated, and some are decorated with lotus petal patterns.

In addition, when the Palace Museum investigated Jianci Village, the kiln site, in 1957, it found two specimens, the body color was white, but green glaze was applied.