My system is not decent

The imitation Ding kiln of the Qing Dynasty and the Three Dynasties imitated the softer carcass of Song Ding kiln on the carcass, but it appeared soft but not firm;

On the glaze decoration, although the tone and smoothness are close to those of the Song Ding kiln, there are no tear marks and awnings;

In terms of decoration, it imitates the engraved flowers and printings of Song Ding Kiln, but the patterns have changed.

Plants and birds are mostly seen on Song wares, while auspicious decorations are mostly seen on imitations of the Qing Dynasty.

The imitation of Ding kiln in the middle and late Qing Dynasty was only seen in the Jiaqing and Daoguang periods.

The Jiaqing imitation glaze is relatively white, especially the typical wave glaze on the glaze surface, which is easy to identify.

Daoguang imitates Ding glaze, and the glaze color is white and moist, which is very different from Song Ding kiln.

It can be said that as the official antique porcelain, there is still some self-confidence, but they imitate the antique but do not stick to the rules, showing their own characteristics.

This is what Chen Wenzhe is worth learning, and in the period of the Republic of China, it should have entered the era of contention among a hundred schools of thought.

During the period of the Republic of China, masters of antique porcelain abounded.

Therefore, there were many imitations of Ding kilns in the Republic of China.

The imitation of Ding kiln in the Republic of China mainly imitates the bowls and plates of Ding kiln, because only the bowls and plates have the three characteristics of awn mouth, tear stains, and bamboo silk brush pattern.

Literature records often use whether there are tear marks as the key point of identification, but there is no such phenomenon in Ding kiln with thin glaze.

The so-called bamboo silk brush pattern is only found on the outer walls of round vessels such as plates, bowls and bottles, and is not obvious. It is not applicable to cutters that cannot be formed at one time.

The main purpose of imitating Ding kiln in the Republic of China was to make huge profits.

If you want to imitate the varieties that are not easy to cause controversy, the production of bottles and other utensils is complicated, and there is no mouth phenomenon, so it is difficult to deceive people who seem to understand.

To imitate is thankless, because it is very likely that the hard work of the imitators will be wasted because the utensils have no mouth.

Of course, no matter how good the imitation is, there will be many flaws.

There are two main flaws in the imitation works of Ding Kiln in the Republic of China.

The first is that the mouth of the awn is painted yellow, unlike the light gray of Song Ding Kiln;

The second is that there is a small hole in the center of the bottom, but Song Ding Kiln does not.

This time, Chen Wenzhe can be said to have gone through the production of Ding Kiln from the beginning.

Finally, when he wants to make, he must focus on the most precious batch of Ding kiln works.

Then Ding Kiln is most famous for its white glaze and black glaze, what else is special?

It must be a gold binding!Chen Wenzhe will never forget this famous porcelain (ci) that many laymen know.

The reason why he paid special attention to gold color craftsmanship before was mainly because gold color was also credited to gold setters.

The white porcelain of the Ding Kiln in the Song Dynasty was decorated with gold mouth, silver mouth or copper mouth.

Gold, including gold, silver, copper and other precious metals, not specifically gold.

Gold-painted porcelain is also extremely rare in Ding Kiln.

As far as Chen Wenzhe knows, there are only three pieces in the Forbidden City collection, and several pieces in the Neon collection.

This should be an early product of the Ding kiln, the so-called gold-mounted setter, or refers to this type of gold-painted vessel.

Jinkou and Yinkou refer to Ding kiln porcelain inlaid with gold and silver.

The mang mouth of Ding porcelain has indeed aroused criticism from the royal family and social consumers.

However, the Ding Kiln did not change the craftsmanship achieved through untold hardships. Instead, it went to the market again and returned to the royal family with the awn mouth inlaid with gold, silver and copper, which aroused the treasure of the royal family.

The awn mouth is a defect, but there are gold-inlaid and silver-inlaid gold holders, which can make up for this defect, and even improve these porcelains to a higher level.

If it is white porcelain, simple white porcelain, plus gold, makes this simple and luxurious craft work more conspicuous and brighter.

It's just that if you want to inlay gold and become a gold-mounted set, ordinary set kiln wares will definitely not work.

Therefore, no matter what you do, you need a batch of high-quality Ding Kiln Ware first, and then you can produce Gold Ding Kiln Ware.

However, the reality is not as beautiful as imagined.

Don't think that all the porcelains made in modern times are shoddy things.

Modern porcelain making technology is still not simple, because the lower limit of modern porcelain production is very high.

For example, imitating Ding kiln porcelain, the requirements for going out must be as white as jade, as thin as paper, and as loud as a chime.

So how did this kind of porcelain come about?

Quyang Ding Kiln is a large porcelain kiln system that emerged after the white porcelain of Xing Kiln in Tang Dynasty.

Ding Kiln was originally a folk kiln, and it began to produce palace porcelain in the middle and late Northern Song Dynasty.

In modern times, there is naturally no title of official kiln. However, the development of modern porcelain making technology and the resources that can be used are definitely not comparable to the ancients. Even many official kilns are incomparable.

Modern people have a high starting point, and there is a high minimum limit for making any kind of high-quality porcelain.

This is the difference between pursuing quality and pursuing quantity.

To make a fine piece of porcelain, we must first start with drawing.

This is a technical job. Through hands, the mud is turned into pieces of unique and attractive appliance models, which will be presented to you soon.

With the advancement of technology, the mass-produced porcelain is now pressed with molds.

After pressing and forming, continue to create semi-finished products in the shade.

In order to strive for perfection, every semi-finished product should be finely repaired.

During this process, every semi-finished product is handled meticulously and seriously.

Ding porcelain is mainly made of white porcelain body, which is white and delicate, with uniform glaze color, thin and hard, ranking the crown of ceramics, and has a great influence at home and abroad.

It is also good at decoration, the engraving is chic and elegant, and the printing is luxurious and elegant.

The space is supplemented by scratching, picking flowers, decals, etc., each has its own interest.

Therefore, picking flowers is an indispensable work in the production process.

Flower picking is mainly flowers, the picture is rigorous and symmetrical.

Furthermore, flower picking and scratching have a key impact on the final product.

Engraving uses a single-line or double-line carving knife to carve out the main line and auxiliary line of different depths and shallows, forming a vivid and natural image with a strong three-dimensional sense. This is definitely a delicate work.

Doing all this well is glazing, which is one of the key techniques.

Any exquisite porcelain is closely related to enamel, which is also an essential process in the production process of porcelain.

The last step is firing. Use a temperature-controllable electric furnace or gas furnace. Dingci has high requirements on the firing temperature.

The kiln in the early days witnessed the development of history.

Perhaps it was the discovery of the ruins of the Ding kiln, which allowed the detailed firing process of Ding kiln porcelain to be found inside the Suihou Pearl.

This is convenient for Chen Wenzhe to study, but the value of Ding kiln porcelain is similar to that of Ru kiln, and it is not even as famous as Ru kiln.

However, its porcelain making process is much more complicated than that of Ru Kiln.

As long as you have learned the techniques of firing fixed kilns, it can be said that you will be able to start firing porcelains from other famous kilns in the future.

For example, Ru kiln is nothing more than a glazed agate, which has made him famous through the ages.

If it weren't for the glaze surface like water, like jade, and the glaze color as blue as the sky, would it be comparable to Ding Kiln simply by comparing the craftsmanship?

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