My system is not decent

The control of kiln changes requires superb skills, and it is necessary to abandon the randomness of Jun kiln firing in the past.

Among the Jun kiln porcelains today, there are obvious brushstrokes. The most famous plate is called "Three Pools Reflecting the Moon".

There are clearly three lines drawn on this plate, and a dot is accidentally dropped in the middle, so it is called Three Pools Reflecting the Moon.

From such Jun porcelain, we can see the controllability of the Jun kiln in the later period.

In recent years, the trend of collecting has become stronger than Japan, and the antique market has become increasingly active.

As well as the influence of counterfeiters to make profits and other aspects, a large number of imitations of Jun kiln porcelain appeared.

Since Jun kiln porcelain generally does not have decorative patterns, the counterfeiters mainly forge the glaze color and shape of the genuine ones.

However, these fakes always have several aspects, which are not satisfactory.

The identification of these Jun porcelains, especially high imitations, still requires scientific means.

Scientific and technical means such as "thermoluminescence" and "cremated seed analysis", these two methods have less error.

The accuracy of determining the firing age of ancient porcelain is also high.

However, when testing, it is necessary to drill holes on the utensils, and taking out a small amount of samples will cause damage to the utensils.

If you don't use the scientific method, you can only look at the characteristics.

The most obvious feature is the glaze color.

The glaze color of Jun kiln has a milky opaque feeling.

Blue opalescent glaze is the basic glaze color of Jun kilns, and of course it is also an important feature.

The lighter blue is called "Tianqing", the darker one is called "Tianqing", and the one that is lighter than "Tianqing" is called "Yuebai".

The basic style of hook kiln glaze color is blue and purple, with green inside and purple outside.

The cyan glaze is applied to the inside of the vessel, and the red and purple glaze is applied to the outside of the vessel.

This kind of glaze has purple in red, blue in purple, blue in blue, red in blue, mixed with blue and red, and purple in shades.

This kind of glaze looks like clouds in mountains, waterfalls in canyons, and smoke from green bamboos, which is fascinating;

It is also like the setting sun, and the sunset glow in the blue sky is gorgeous and moving.

The poet praised the flexible and wonderful changes of the glaze color of Jun porcelain with a good sentence of "sunset purple green suddenly turns into haze".

Apart from the glaze color, the most obvious feature should be the air bubbles.

The flaw in the Beaulieu plate mentioned earlier is the air bubbles.

If the air bubbles are not just right, the bottle will really be useless.

In the glaze layer of Jun porcelain, the size of the bubbles and the density of the layers are inseparable from the glaze formula of the kiln series.

The thicker the glaze layer, the larger the development of its air bubbles, and vice versa;

The quality of the glaze is different, and the density of the air bubbles must be different.

And the width of the orbital development of bubbles is not equal.

Some varieties of the orbit, there are still incomplete phenomenon.

Mercury-like bubbles are sparsely distributed.

Therefore, there is no possibility of multi-level embodiment.

In the axial layer of red glazes from ancient times to the present, there are mostly sparse and small "mercury beads" phenomenon.

However, the anti-corrosion products are slightly larger and more, which is what everyone needs to pay more attention to when doing Jun porcelain appraisal.

If there is no problem with the glaze color and air bubbles, then it depends on the production process.

Jun kiln porcelain, from the "Tang Jun" at the beginning of its inception, through the Song, Jin, Yuan, and Fang Jun in the Republic of China, all use the hand-drawn technology.

The characteristic of this craft is that the bottom of the utensil is thicker, and then gradually becomes thinner upwards, and the carcass is the thinnest at the edge of the utensil.

In the exposed glaze of the ring foot of the utensil, fine swirling patterns can also be seen, and there are ring finger marks on the thin glaze of the utensil wall.

Some of the modern imitation Jun porcelains are mass-produced. First, a certain material is used to make a mold, and then poured into it.

Porcelain made by this method has uniform wall thickness, light weight and rough trimming.

Especially on both sides of the utensils, you can touch the seam marks of the mold.

This is a clumsy method, but the smart ones are to artificially stick some other substances (such as cement) inside the utensils, such as the inside of the bottle, where people are not easy to detect, so as to achieve the heavy feeling of ancient Jun porcelain.

Or on the inner wall of the utensils formed by the "grouting method", ring finger marks are deliberately made.

But if you look closely, you can see that it is different from the uniform finger marks of the real "hand-drawn billet".

The imitated wheel finger marks are not only rough, but also the wheel finger marks on each lap and each lap are extremely unevenly distributed.

The last thing is to look at the inscriptions. There are very few inscriptions on Jun kiln porcelain in the Song Dynasty, mainly numbers.

That is, the data from one to ten are engraved on the bottom of the utensil.

The exact meaning of the number is that the smaller the number, the bigger the utensil.

That is to say, the engraved "one" character is the tallest or the largest caliber among similar utensils.

The word "11" is engraved, which is the lowest or the smallest caliber.

Its inscriptions are often found on the bottom of utensils such as washing dishes, plates, bowls, and stove squats.

This kind of digital inscription is unique in Song porcelain.

Among the utensils engraved with numerals, there is a sunflower-style three-legged wash in Jun Kiln of Song Dynasty.

The mouth of this three-legged sunflower is folded, the abdomen is divided into six petals, and the bottom supports three ruyi-shaped feet.

Rose purple glaze on the outer wall, colorful, sesame sauce glaze on the bottom, engraved with the word "six" on the bottom.

There are also inscriptions on the bottom of the Jun kiln, such as "Fenghua", "Chonghua Palace Zhilan Room", and "Chonghua Palace Shufangzhai".

For example, the Song Jun Kiln Tianqing sunflower-style pot holder in the museum is engraved with the words "for the Zhilan Room of Chonghua Palace".

Song Jun Kiln Sky Blue Begonia-style Narcissus Basin, engraved on the bottom of the vessel with the inscription "Chonghua Palace Shufangzhai".

These porcelains are exclusively for the Song Neifu.

In terms of inscription recognition, there is not much difference between Jun porcelain and Ru porcelain.

After all, the most prosperous period of these two was in the Northern Song Dynasty, and both were official kilns in the Northern Song Dynasty.

The porcelain produced by such two famous kilns has similarities, not to mention differences.

Sometimes, many Tibetan friends will say "Jun Ru does not distinguish", this view is wrong.

First of all, we know that both Jun porcelain and Ru porcelain belong to the five famous porcelains of Song Dynasty.

At that time, it was difficult to distinguish the difference between the two from the glaze color.

Yuzhou is the "Capital of Jun Porcelain", and Ruzhou is the "Hometown of Ru Porcelain".

The two places are separated by a mountain. In history, craftsmen have often communicated and learned from each other, and there are also references in technology.

Many people have doubts about the "sky blue, sky blue, and moon white" monochrome glaze colors of Jun porcelain compared with Ru porcelain.

Understandable on the surface, but in essence we need to figure it out.

There are several differences between Jun porcelain and Ru porcelain. The first is the difference in glaze composition.

The content of silicon oxide and aluminum oxide in Jun porcelain glaze is relatively high, which is relatively hard in nature and has a strong sense of glass after firing;

Including copper oxide and phosphorus oxide, their ratio and function are quite special.

The raw materials of Ru porcelain, calcium oxide, iron oxide, and magnesium oxide, account for a relatively high proportion, but silicon oxide accounts for a relatively low proportion.

In this way, the substantial difference between the two is first determined.

Second, the glazing is also different.

The carcass of Jun porcelain is thicker, and the glaze is also thicker, which is also to meet the change of glaze color.

Ru porcelain is not the case, the glaze layer is relatively thin, the carcass is also lighter, and the glaze surface has slightly exposed natural lines.

The third is that the firing temperature is different. Since Jun porcelain is a kind of hard porcelain, the firing temperature is around 1300°C.

But Ru porcelain is not, which is related to the materials and technology of Ru porcelain embryo body.