Chapter 1590: It’s not possible to miss something every time
The thing in Zhou Zhi’s hands now perfectly fills this gap.
The technique of covering the bottom of the pottery embryo with makeup soil began in the Northern Qi Dynasty. Later, the technique of making colors on the makeup soil began to appear. It was green color at first, and then other colors were added. It developed into three colors in the Tang Dynasty. color.
But because glass glaze appeared relatively late, these colored porcelains have always been overglaze colored.
If you want underglaze color to appear, there must be a prerequisite, that is, the transparency of the glass glaze on the surface must reach a level that can reveal the color of the underglaze color.
According to the law of development of things, this glass glaze must go through a transition process from opaque to emulsified, and then from emulsified to transparent.
But it is strange. Whether it is the earliest celadon underglaze pot with colorful feathers and human patterns, or the later Changsha kiln, it seems that the development of the top glaze has reached the level of transparency. Even if no makeup clay is added to the base, the sauce-colored or greenish-yellow base color can be presented relatively completely under the glaze.
Without the small jar in Zhou Zhi’s hand for comparison, everyone would not have thought about it, but with this small jar, everyone would have realized whether it was the celadon underglaze color from the Three Kingdoms period or the There seems to be a problem with the underglaze colors of the Changsha Kiln in the late Tang Dynasty, that is, the level of the carcass and coloring is somewhat out of sync with the development level of the surface glass glaze.
The small jar in Zhou Zhi's hand is just the opposite, filling all the gaps left before.
The base of this melon-edge jar was originally made of relatively rough porcelain clay. Its true color is light brown-red, which can be seen from the unmodified base and the thin rim of the glaze. .
In order to make up for this defect, the kiln workers mixed the paste with finely washed kaolin and painted the carcass several layers, so that the original light brown-red porcelain body was wrapped with a layer of white decorative soil, making the utensils white and translucent. Run.
On this basis, the craftsmen used iron-containing glaze and copper-containing glaze to paint the porcelain body with two colored spots, staggered between the melon edges and the melon edges. The blank space achieves the effect of improving the aesthetics.
Finally, people pour a layer of glass glaze on the painted porcelain body to protect the background color of the porcelain.
The benefits of underglaze color are of course self-evident. The first is to protect the color block from falling off due to washing and contact.
Secondly, the glass glaze is non-toxic and tasteless. It is not rich in mineral ions like the base paint. Many of those ions are even toxic. This creates an "isolation layer", even if it is used as a daily container. There is no problem in using it.
Finally, it is easy to clean. Some liquids themselves are corrosive and will replace the metal ions in the color materials. During use, they will leave color traces of corrosion on the porcelain, making the porcelain ugly. With a layer of glass glaze protection that is extremely hard and does not react well with acids and alkalis, this problem naturally disappears.
This is a good idea, but the glass glaze formula in the early years has not yet reached the level of sophistication as in later generations, so it should have been like the one shown on the melon jar in Zhou Zhi's hand, not as complete as crystal. Transparent, but like evaporated milk, showing a translucent light milky white color.
This is what the transition period should look like.
There is another reason why Zhou Zhi couldn’t put it down for this melon-edge jar. Just like the purple iron feet and golden iron wires of the Ge kiln porcelain in the Song Dynasty, this was originally a flaw due to poor craftsmanship. The glaze is not tightly bonded because of a "glaze shrinkage" phenomenon caused by internal stress in the porcelain.
However, the consequences of this flaw have given rise to a peculiar aesthetic appeal, which has been highly sought after by collectors for thousands of years.
The same is true for the emulsified glaze on this small pot now. Because it is not completely transparent, a kind of freehand picture of "clouds emerging unintentionally" is formed on the colored spots, which makes the colored spots move from the edge to the center, strengthening the transition between shades. , which brought rich changes to the originally slightly monotonous red and green colors.
Emphasizing that such changes were more concretely reflected in a later famous porcelain type, that is, Jun kiln. The performance of this small jar is almost similar to that of the Jun kiln with a white background. There is even a possibility that the Jun kiln itself inherited the aesthetic style of this type of underglaze colored porcelain, and then embarked on the kiln discoloration using copper glaze. Carry out the expression path of "transformation into nature".
Don’t forget that the purple-red glaze on this small jar is also a very typical copper-red glaze. If the final scientific identification result is consistent with the shape of the vessel, this will be the first glaze in the history of human porcelain manufacturing. , the first attempt at copper red glaze, it was a natural thing that after its success it was inherited and carried forward by other kilns.
Although Zhang Cheng is only an expert in appraising porcelain from the Ming and Qing dynasties, he is quite clear about the general development of Chinese porcelain. Now he also understands the importance of this gadget in Zhou Zhi’s hand: “If it’s really There are many papers that can be published on the Qiong Kiln items of the Five Dynasties. ”
"Hahahaha..." Zhou Zhi felt very happy, and turned to look at Lu Qiao, who was already asleep in the back seat, and sighed: "I really want to go to the history department and use scientific methods to identify it. In fact, even if it is not the fifth generation It doesn’t matter if it’s a Qiong kiln. This little thing is completely in line with my aesthetics. It’s comfortable to play with on the desk at all times.”
“You seem to be better at this?” Zhang Cheng thought about it: “This thing, Jun kiln, later imitated Jun kiln glaze, even Zhang Daqian’s big one. Splash and Xiao Splash seem to have something in common.”
“Eh? It seems that this is really the case." Zhou Zhi reminded Zhang Cheng, and then he reacted belatedly: "It seems that I have no resistance at all to this kind of thing."
"Chun Yun. "Have the pictures "The Dawn Maze" and "The Deer Ape Playing with the Crane" arrived?" Zhang Cheng asked: "There are still six scrolls. The three silk paintings on the side are here. "Spring Clouds and Dawn Maze" are in the exhibition room of Suihuaxuan underground library, Mr. Zhang Shanzi's "Deer Ape Playing with Cranes", and Mr. Daqian's "Little Splashes of Color". "Tall Tree Listening to the Stream", two pictures of deer apes, one on the left and one on the right."
"Zhao Lingran's "Picture of Geese", Zhao Mengfu's "Picture of Washing Horses", and Han Qian's "Picture of Horse Nature" have also been repaired, but they are too precious, and they are placed in the Suihuaxuan safe with the other three scrolls. In the capital Two old men You have urged me to send it over several times."
"How about leaving this job to me?" Zhang Cheng asked: "Go to Sui Huaxuan and read "Chun Yunxiao" and send it to you by the way. Goods?”
Everyone knows Sima Zhao’s intentions, but Zhou Zhi also feels that Zhang Cheng is the one who can make him feel at ease. He smiled and said: "I really wouldn’t be at ease if it were someone else. If it’s Brother Cheng, you’ll be fine."
"How about we go now?"
Zhou Zhi felt that time was too late: "Qiaoqiao is still here. It's not appropriate to go now. Let's go back to school first. Anyway, it's not too late in the next few days. .”
"Then I'll drive to Dayazhai in a while, and you can go back on your own."
Before parting, Zhou Zhi handed Zhang Cheng a check: "Brother Ming settles the accounts, this is the labor fee for this visit to the house, and also There is the handling fee for Mr. Wei’s previous painting "Hai Yun"."
Zhang Cheng looked at the check: "The handling fee for "Hai Yun" is 5,000, leaving 32,000. It turns out that you spent 320,000 on that plate!"
"No way, When you meet an expert, you can't always pick something up when you visit the house." Zhou Zhi spread his hands.
(End of this chapter)