My system is not decent

If it is defined by the word "Junhun", then Long Yongtu's words can be used as a reference.

"Its rich historical and cultural heritage and rich kiln transformation charm, in a sense, convey the spirit of simplicity and keeping pace with the times that the ancient China insisted on."

To sum it up, that is to say, Jun Kiln did exist, but it was not with this name in the Song Dynasty, and this famous brand effect has not yet appeared systematically.

During the Song, Jin, and Yuan dynasties, Jun kiln porcelain has been developing rapidly, and the Jun kiln porcelain of these three dynasties has good artistic performance.

The development of Jun kiln wares in the three dynasties can be analyzed in four aspects to gain an in-depth understanding of the differences between Song Jun and Yuan Jun.

Only by clearly knowing their differences can we truly understand the Song Dynasty Jun kiln porcelain.

The early Northern Song Dynasty was the initial historical period of Jun kiln porcelain, and its firing source can even be traced back to the distant Tang Dynasty glazed porcelain.

The early Jun kiln porcelain sites are generally concentrated in the Baguadong area of ​​today's Yuzhou.

Most of the antique porcelain fired at this time are very similar to the Ru kiln, official kiln and Ding kiln porcelain in the Northern Song Dynasty.

Moreover, the characteristics of the glaze color of the Jun kiln have also been initially formed at this time.

The late Northern Song Dynasty was the mature period of Jun kiln porcelain.

At this time, the glazing of Jun kiln porcelain has made significant progress and improvement compared with the earlier period. Generally, the whole body is glazed and fired with nails.

In addition, due to the thick glaze layer, the so-called "earthworm slime pattern" phenomenon is formed after firing.

Full-glazed branch firing and earthworm slime pattern are important glaze firing features in this historical period.

In the late Northern Song Dynasty, the firing volume of Jun kiln porcelain increased.

Therefore, it is particularly important to classify the size of Jun kiln wares.

That is, on the bottom of the Jun kiln objects, the numeral symbols "one" to "ten" are drawn.

For example, in the same type of Jun kiln porcelain shape, the number "one" means the largest caliber, while the number "ten" means the smallest caliber.

In addition to the numbers on the bottom of the flower pots and pot holders, there is also another matching number engraved on the inside of the feet.

In addition, it is also very common to engrave the bottom of Jun kiln wares with the place of storage as the inscription, such as "Fenghua", "Provincial Government" and other inscriptions.

Although the Jun kiln porcelain of the Jin Dynasty continued to be fired under the influence of the Song Dynasty, due to the war, the quality of the Jun porcelain was poor, and most of the shapes were not regular.

In 1184 A.D., the Jin Dynasty officially changed Yuzhou to Junzhou. Although the Ming Dynasty changed its name to Yuzhou more than 100 years later, Jun Kiln got its name from this, and the name has never been changed since then.

The development of Jun kiln porcelain in the Yuan Dynasty showed a thriving and prosperous situation.

Not only did Yuzhou prosper and develop locally, but even the production splendor spread throughout North China. Yuan Jun became a veritable flagship product of northern porcelain.

Due to the large number of copper red kiln variants of Jun kiln porcelain in Yuan Dynasty, this also promoted the further development of Jingzhen underglaze red porcelain.

The Jun kiln porcelain of the Yuan Dynasty and the Jun kiln porcelain of the Song Dynasty were in different historical periods, so they were different in many aspects.

For example, in terms of shape, most of the shapes fired by Jun kiln porcelain in the Song Dynasty are mainly various antique utensils.

In the Yuan Dynasty, Jun Kiln porcelain focused mainly on daily utensils.

In addition, Yuan Jun was more advocating large utensils, while Song Jun was different from Yuan Dynasty.

Utensils with special shapes, such as plum vases, goblets, and three-legged stoves, are more common in Yuan Jun, but less in Song Jun.

In terms of fetal glaze, Song Jun's fetal color is darker and denser;

At the edge of the mouth and the thin glaze of the feet, the fetal bone presents a "sesame sauce color", while Yuan Jun's fetal bone color is lighter and the fetal quality is relatively loose.

The glaze colors of Song Jun are very rich, especially the begonia red and lilac purple are very vivid.

In Yuan Jun, there are more moon white, sky blue, and the blending of the two, but the color is a bit dull.

In addition, there are almost no glaze colors such as begonia red and lilac purple in Yuanjun.

In terms of glazing, Song Jun is mostly glazed all over and fired with nails, while Yuan Jun is generally not glazed to the end, and there is basically no glaze inside and outside the ring foot.

In terms of decoration, Song Jun's decoration techniques are not as rich as Yuan Jun's.

For example, in the Yuan Dynasty, it was more popular to decorate with appliqués, but it was relatively rare in Song Jun.

For Chen Wenzhe, his favorite is actually porcelain.

The reason why I make jade carvings, stone carvings, wood carvings, brick carvings, etc. is just idle and boring.

However, recently he found several glaze colors in porcelain that he had never touched before.

That is the rose purple, begonia red, eggplant purple, plum green, mule liver, horse lung and other glaze colors that only appeared in the Qing Dynasty.

In fact, these are all glaze colors developed from imitation Jun kiln porcelain, so the unique glaze color of Jun porcelain has a profound influence on later generations.

Since the Ming and Qing Dynasties, many porcelain kilns have regarded it as a model and imitated it.

The Royal Kiln Factory is an institution specialized in the production of royal porcelain in the Ming and Qing dynasties, and the kiln site is located in Jingzhen City.

Since the Xuande period of the Ming Dynasty, the Imperial Kiln Factory has started to imitate Jun-glazed porcelain, and the imitations of the Yongzheng period of the Qing Dynasty are the most exciting.

The Yongzheng Imperial Kiln Factory imitated the Jun Kiln, and its typical feature is that the tire is thicker.

In the year of Yongzheng, Yongzheng's official kiln used kaolin in Jingzhen. He couldn't make such thick things, so he began to try to find a way.

So I thought of using a sandwich type, that is, a two-layer tire. It looks thicker from the outside, but it is actually a hollow tire.

We have not seen this method in the Forbidden City today, but we can see some trial products at that time from the kiln site.

However, during this period, products imitating Song Jun kiln were finally successfully fired.

In the 13th year of Yongzheng, Tang Ying, the pottery supervisor, recorded a total of 57 kinds of antique and innovative porcelain fired by the imperial kiln factory at that time in "A Brief Account of Taocheng Events".

Among them, "Jun Glaze" imitates the old utensils of Neifa. In addition to five kinds of rose purple, begonia red, eggplant purple, plum green, donkey liver and horse lung, there are four new ones: new purple, beige, sky blue, and kiln change.

"Imitation of old utensils" is imitated and fired according to the "old utensils" of Jun porcelain sent to Jingzhen by the court.

Therefore, in terms of shape, glaze color, and firing method, it is basically the same as the official Jun collected by the court, and it is almost a fake.

Some deliberately do not sign the year, which can almost be fake, and some utensils are engraved with the six-character and three-line seal script "Yongzheng Year System of the Great Qing Dynasty" on the outer bottom.

In addition to imitating antiques, the Qing Palace also applied newly invented imitation Jun glazes on newly created wares, forming the unique "Jun Porcelain" of the Qing Dynasty.

The imitation Junxin purple glaze is one of the imitation Jun glaze varieties created and fired during the Yongzheng period of the Qing Dynasty.

The glaze color is mainly copper red glaze, combined with redox of other metal elements.

It presents colors such as moon white, blue, purple, green, sauce, green, and brown.

They complement each other with red, forming ever-changing and colorful color blocks and stripes.

The kiln-changing glaze in the early Qianlong period maintained the "flame green" characteristics of the Yongzheng period.

Then it gradually changes into patches and stripes of red, blue and moon white intertwined into blocks.

In the late Qianlong kiln glaze, there are less moon white and blue, and most of them are red.

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