The history of glaze color development of early Chinese ceramics

Chinese ceramics has never been a mere practical tool. Making chinaware ceramic more beautiful in form and carrying more cultural connotations through various decorative methods has been the unremitting pursuit of ceramic makers in all generations. The reason why early celadon was mainly decorated with tires was not deliberate, but because it was difficult to make a breakthrough in glaze color. People not only need to understand the coloring principle of metal components theoretically, but also do not make any difference in actual operation. If you make a difference, you will lose all your efforts. To make a satisfactory porcelain, technology and experience are important, and sometimes it takes a little luck.　　 produced before the Southern and Northern Dynasties mainly used iron as the coloring agent. After being fired in a reducing flame, the porcelain glaze was mostly green. After long-term accumulation of experience, ceramic craftsmen have realized that by controlling and eliminating the interference of iron in the glaze, white porcelain can be fired. On the contrary, if the iron content in the tire glaze is increased, black porcelain white porcelin dinnerware can be fired. In the Northern Qi Dynasty, white porcelain white porcelin dinnerware finally appeared. In the Tang Dynasty, glaze decoration represented by Tang Sancai, Changsha kiln color painting, and Gongxian blue and white was developed, breaking through the traditional monochromatic glaze pattern.　　 The Song Dynasty was the peak of the history of Chinese ceramics. The Ru kilns and Longquan kilns of this period presented good decorative effects only with the monochromatic glaze. Although there was no carving, they had the beauty of dignity, deepness, subtlety and richness. Guanyao Ge kiln created 'gold wire iron threadEspecially prominent is the kiln glaze created by the Jun kiln (a special glaze produced by combining two or more glazes). This kind of kiln glaze is 'one color in the kiln, and a variety of colors out of the kiln.' It's beautiful. The firing principle of the glaze color of 　　jun enamel originated from the flower-glazed porcelain of the Lushan kiln in the Tang Dynasty. At that time, 'Tang Jun' with colored spots appeared partially. Mr. Yang Jingrong, a porcelain expert in the Palace Museum of Beijing (weibo), said in an article that he had seen a Jun kiln bottle that was collected by the people, 33 cm high, regular in shape, and characteristic of the Tang Dynasty, but the glaze color was Jun kiln. It also has red spots and magnificent glaze, which is comparable to the handed down Jun kiln. After testing, the product is a product of the Song Dynasty or before the Song Dynasty. The glaze method of the Tang Dynasty flower glaze porcelain is to coat another kind of glaze with a strong color contrast on the darker or lighter base glaze. Because different glazes contain different coloring principles of metal oxides, the fired utensils Colorful artistic effects appear on the surface. Song Jun kiln changed glaze was also fired using this principle, but the process was much more complicated than that of Tang Dynasty flower glaze. The key to Song Jun's success in kiln change was the stable firing of high-temperature copper red glaze.

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