My system is not decent

Ding Kiln comes from Dingzhou, and if you want to produce raw materials for Ding Kiln wares, you can buy them at the modern Ding Kiln factory on the shore of Dingzhou.

Therefore, Chen Wenzhe was not afraid of not being able to find suitable mineral materials.

There is no problem with the fetal glaze, so the craftsmanship is left in the end.

One of the biggest problems of Ding kiln works is the decoration. The porcelain it produces can be decorated with printing, engraving, painting, picking flowers, gold color and so on.

Although Chen Wenzhe has never used the craft of printing, it has been passed down until now, and it has even been carried forward even more.

Ding kiln printing decoration appeared in the middle of the Northern Song Dynasty, and it was very mature as soon as it appeared, and it seems that there is no stage of development.

This artistic phenomenon is not unique to Ding kiln printing.

In the history of Chinese ceramics, there are other examples, such as the sudden maturity of blue and white in the Yuan Dynasty, etc., which are all related to its specific environment.

Why was the printing technique suddenly used on a large scale in the Song Dynasty, especially on Ding kiln porcelain?

The main reason is that there are too many decorations in Ding kiln. If it is mass-produced, it will be too slow to rely on manual hand-painting and carving one by one, so there is the rise of printing technology.

Of course, the printing, engraving, and even picking techniques of Ding Kiln did not appear suddenly.

In ancient Dingzhou, the art of stone carving was well developed, and the art of Kesi was also very famous.

The technical basis of stone carvings and the mature patterns of Kesi made the printing of Ding kiln have distinct layers, clear lines and neat layout.

There are many printing themes in Ding kiln, mainly flowers, birds, animals and fish.

Character patterns are relatively rare, and are only seen in a small number of baby play patterns.

Most of the flowers are peony and lotus, followed by chrysanthemum.

Birds are mainly peacocks, phoenixes, egrets, mandarin ducks, geese, and ducks, and they are mostly combined with flowers to form neat patterns.

For example, egrets and mandarin ducks are often combined with lotus flowers, and peacocks are often combined with peonies.

Most of the beasts are dragon patterns, and lion patterns are rare

Most of the swimming fish are Pisces in pairs, and the figure pattern is very rare.

Quyang has unearthed a plate with a printed lion dance pattern, but it has never been seen in other places.

The pattern of baby playing includes baby playing peony, baby playing lotus, baby playing three fruits, and baby playing lotus pond to drive ducks, etc.

In the Song Dynasty, the baby-playing pattern was more popular, and all kilns had baby-playing patterns, but the baby-playing three-fruit pattern was unique to the Ding kiln.

Its three fruits are peach, pomegranate and loquat.

The three fruits and the three infants are arranged at intervals, and the vessel is covered with decorations wrapped around branches. The three infants have different postures and hold the branches with both hands.

The three infants are riding, sitting, and standing on the branches respectively, naked and barefoot, and the innocent and playful posture of the infants is quite charming.

Such top-level Ding kiln porcelain has a natural and lifelike expression, and it looks like a master-level craftsmanship at first glance. After all, it has given Sanying a charm.

This is not easy, so the real top Ding kiln porcelain is very precious.

And these are just some ordinary decorations. Among the products of Ding kiln, printing, like engraving and painting, all have a large number of dragon patterns.

There are many dragon patterns, but it does not mean that the value is low, because such porcelain must be related to the porcelain tribute to the palace.

Among the kilns of the Song Dynasty, Ding Kiln was the one with the most dragon patterns.

There are dragon patterns on the shapes of plates, bowls and bottles.

Its composition is mostly in the shape of a circular arc, and the dragon pattern on the bottle shows the curved body of the dragon, the dragon's claws dance wildly, and fly in the air, quite like flying through the clouds and fog.

Besides, picking flowers, compared with printing, the process of picking flowers is a little more difficult.

Therefore, the output of flower-picking products in Ding kiln porcelain is not large, and the main varieties are pillows and bottles.

Fragments of flower-picking pillows were collected at the kiln site, decorated with geometric rhombic patterns.

The bottle has been handed down from generation to generation, and there seems to be only one piece, which was scattered abroad in the early years.

This is why Chen Wenzhe directly chose the baby pillow as the representative work of Ding Kiln to imitate.

Even if it is among the Ding kiln wares, it is a rare and precious treasure.

Of course, as long as you know how to make Dingyao baby pillows, you should not have much difficulty in making other Dingyao porcelains.

Picking flowers is one of the traditional decorative techniques of ceramics. After the decoration is carved, the part other than the decoration is removed.

This kind of craft is also divided into two types: leaving flowers and picking ground and leaving ground and picking flowers.

Cizhou kiln, which appeared in the late Five Dynasties and early Northern Song Dynasty, has quite strong northern cultural characteristics.

To leave flowers and pick the ground is to apply a layer of make-up soil on the green body, then draw out the decoration, then pick out the space outside the pattern, and finally cover with transparent glaze and fire.

The pattern is raised and has the effect of shallow relief, which is represented by the products of Cizhou kiln in Song Dynasty.

The latter picks out the exposed patterns on the glazed body, such as the Jizhou kiln and the Cizhou series of flower-picking products.

After carving the pattern, remove the part other than the pattern.

Among the major kiln systems popular in the northern part of the Song Dynasty, the black-glazed flower-picking porcelain of the Xiuwu (now Nanhe) kiln at that time is the most representative.

The brown ground sets off the white decorations most distinctively.

In the Yanbei area (now part of Xishan), flower-picking decorations were popular during the Jin and Yuan dynasties.

It is mainly black glaze, and the concise patterns are carved on bottles, jars, cylinders and other utensils, which is unique.

Picking flowers appeared in the late Five Dynasties to the Cizhou kiln in the early Northern Song Dynasty, which has quite strong northern cultural characteristics.

Picking flowers appeared in the Cizhou kiln from the late Five Dynasties to the early Northern Song Dynasty, and has quite strong northern cultural characteristics.

The reason why picking flowers is popular in the north is that the porcelain body in the north is thicker, which is more suitable for the carving process than the thin-bodied porcelain in the south.

The flower-picking porcelain was originally imitated from gold and silver wares.

The highly concave-convex patterns on gold and silverware inspired porcelain craftsmen to some extent.

At the same time, the relief works in wood carving, stone carving and brick carving also gave a lot of influence to the flower-picking porcelain.

These reliefs are often seen in folk architecture.

The flower-picking technique on porcelain has undoubtedly absorbed a lot of nutrients from it.

The decoration of picking flowers can be divided into three types: picking makeup soil, picking tires, and picking glaze, with different styles.

The raw materials used in Cizhou Kiln are mainly coal, kaolinite mudstone in the formation, mainly Daqing clay, and the quality of raw materials is not high.

The porcelain bodies fired in this way are mostly gray, taupe or brown, which cannot be compared with Xing kiln and Ding kiln.

Therefore, from the very beginning, the clever craftsmen of Cizhou kiln used make-up clay to carefully dress up the porcelain body.

The white-glazed flower-picking tube jar of the Jin Dynasty has two layers of decoration on the body, the upper layer is a continuous curly grass pattern, and the lower layer is a rhombus-shaped deformed petal. The overall ornamentation is both patterned and full of rhythm.

Inside the mouth of this kind of porcelain jar, there is a raised edge around it, which can just support the lid.

Straight cylinder jars began in the late Northern Song Dynasty and prevailed in the Jin Dynasty. Both Guantai Kiln in Beihe and Dangyangyu Kiln in Nanhe were unearthed.

Jin and Yuan dynasties Nanhe and Qilu also produced a lot of white-glazed flower-picking porcelain.

The flower-picking technique is also often used on porcelain pillows. The production method is to first cut out a certain thickness of mud boards with tools, and then close the mud boards.

The joint part of the mud board is bonded with mud strips dipped in mud.

After drying for a certain period of time, trim the base and apply make-up soil, and then pick the flowers.

Poke a small hole in the back (or front or side) of the pillow, and poke two holes individually.

This is to prevent the hot air in the pillow from expanding and damaging the green body during firing in the kiln.

Finally, transparent glaze is applied and fired in a kiln.

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