I Can Extract Abilities From Antiques

Jun porcelain was not only burned in the Song Dynasty.

After that, Jin Yuan and the late Qing Dynasty were all fired.

But without exception, none of them surpassed that of the Song Dynasty.

Therefore, as long as you know the characteristics of Jun porcelain in each period, you can date it.

During the Song Dynasty, Emperor Huizong of the Song Dynasty conferred "Shen Jun Bao Porcelain" and "Exotic Treasures".

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Only thirty-six pieces are allowed to be fired every year, and they are selected for admission to the palace.

At the same time, Jun porcelain was designated as royal treasures by the kings of all dynasties.

It has become a symbol of status and status, and is called a national treasure and a treasure.

This Jun porcelain is the most exquisite.

So when we talk about ancient Jun porcelain, people think of the official kiln of Jun porcelain in Song Dynasty.

Although the Jun porcelain of the Jin Dynasty continued to use the technology of the Song Dynasty, the production and firing process was relatively rough, and the shape of the wares were mostly household utensils, such as double-tie jars, ribbon pots, bowls, etc.

During the Ming and Qing Dynasties, the porcelain-making center moved south, the famous kilns in the north declined, and Jun kilns basically stopped firing.

In the third year of Wanli in the Ming Dynasty, Zhu Yijun, Emperor Shenzong of the Ming Dynasty, changed Junzhou to Yuzhou because of taboos, and ordered to stop the production of Jun porcelain. Since then, the burning of Jun porcelain has been stopped.

In the Qing Dynasty, especially in the Yongzheng and Qianlong periods, the economy was once prosperous.

The development of the southern porcelain industry has reached the peak of history, and Jingdezhen once became the center of the country's porcelain industry.

During the Yongzheng period, an imperial kiln factory was set up in Dezhen, Jing 19, to imitate Jun kilns.

Tang Ying, the pottery officer of the imperial kiln factory at that time, once went to Yuzhou to visit Jun kilns to seek Jun porcelain firing techniques. He sighed and wrote a poem: "If roses and jadeite are spread, search for treasures and old people."5

It can be seen that the sacred Jun kilns were very rare at that time.

In the late Qing Dynasty, Jun porcelain was revived, and in the thirty years of Guangxu (1904), there were more than 10 companies firing Jun porcelain in Shenli Town.

Jun porcelain has been greatly developed, and the quality has also been greatly improved.

During the Republic of China, due to frequent wars and famines, and the exodus of artists, the production of Jun porcelain was difficult and tended to be discontinued.

until under the care of a leader.

Jun porcelain was restored in Yuzhou.

Through the continuous research and practice of Jun porcelain theory by craftsmen, after nine years of exploration, Jun porcelain was finally fired again in 1958!

However, compared with the official kilns of Jun porcelain in the Song Dynasty, these Jun porcelains have an obvious difference, that is, there is no earthworm walking mud pattern.

Therefore, as soon as the Begonia purple glaze bucket-shaped flowerpot was used, Hu Muzhi's first focus was the glaze.

Through viewing, Hu Muzhi found that there are earthworms walking mud pattern on the Begonia purple glaze of this slag bucket-shaped flowerpot.

The "earthworm walking mud pattern" of Jun porcelain is a phenomenon of kiln change in the official kilns of Jun porcelain in the Northern Song Dynasty, but the folk kilns at that time did not have it.

The so-called "earthworm walking mud pattern" refers to some curved dark lines naturally formed on the glazed surface of fired Jun porcelain.

Because it is meandering and irregular, just like the traces left by earthworms crawling over the wet and soft ground when the rain is over and the weather is fine.

At that time, it also became a feature of Jun porcelain kiln changes.

The reason why the earthworm walks the mud pattern is that Jun porcelain is glazed relatively thickly, and even the glaze is applied twice.

And Jun glaze is relatively viscous.

When the first glaze is applied, there will be slight cracks due to the relationship between the water absorption of the embryo and the viscosity of the glaze.

Although craftsmen then use tools such as brushes to dip the glaze and fill in the cracks, slight marks will appear during firing, even after firing.

During the Northern Song Dynasty, the craftsmen of the official kiln never knew the reason for this situation, let alone find out the problem.

After going back and forth, the existence of this pattern is acquiesced.

However, artisans at the time saw this pattern as a flaw.

After the Jin Yuan, people feel amazing that this kind of "earthworm walking mud pattern" can no longer be fired.

Therefore, people naturally regard "earthworms walking mud pattern" as a main feature of Jun porcelain in official kilns of the Song Dynasty.

To this day, Jun porcelain collectors regard the "earthworm walking the mud pattern" as a highlight of Jun porcelain, and they are very much in pursuit of the natural beauty of the kiln change of Jun porcelain "earthworm walking the mud pattern".

Although some craftsmen in Shenli began to restore and study the trial firing of Jun porcelain in the official kilns of the Northern Song Dynasty.

However, it has never been successful.

However, Hu Muzhi knew that with the improvement of technology, accumulation of experience, and unremitting pursuit, some craftsmen in Shenwu gradually explored the law formed by "earthworms walking through mud patterns".

Therefore, Hu Muzhi did not take this earthworm walking mud pattern as the only criterion for identifying Jun porcelain.

Instead, move on to look at other aspects such as starter shape, glaze color, base, erosion and oxidation.

The shape of Jun porcelain is dignified, vigorous, simple and elegant.

It has the characteristics of sharp edges and corners, beautiful lines, concise writing and decoration, and unique sculpture.

Moreover, the enamel of Jun porcelain is opalescent and crystal clear, thick and moist.

This is most vividly reflected in this slag bucket-shaped flowerpot in the hands of Hu Muzhi.

On the bottom foot of this slag bucket-shaped flowerpot, there is also a number of 'five'.

This is also a unique signature method of Jun kiln.

It is said that these numbers are the serial numbers of the porcelains that were set to be fired by the court, indicating the size of the utensils.

The smaller the number, the larger the object.

Watching Hu Muzhi put the Begonia purple-glazed slag bucket-shaped flowerpot back on the showcase, Ye Zifeng said, "Tell me, what era is it from?"

"It's pretty good." Hu Muzhi replied.

"You said this is an imitation?" Ye Zifeng looked up at Hu Muzhi and asked word by word.

Before waiting for Hu Muzhi to speak, Tong Fan couldn't help but speak.

"Muzhi, how could this be an imitation?

"Mr. Tong, do you think this is the official kiln of Jun porcelain in the Song Dynasty?" Hu Muzhi asked rhetorically.

"Look at how obvious the earthworms are walking with mud patterns, doesn't it mean that to identify this kind of Jun porcelain, just look at the earthworms walking with mud patterns?" Tong Fan said.

Hu Muzhi didn't know that Tong Fan really didn't know, or pretended not to.

But he didn't care, he said, "In the past, earthworms walking on the mud pattern was indeed the only criterion for judging whether it was an official kiln of Jun porcelain in the Song Dynasty."

"However, as far as I know, the kiln in Shenli Town has successfully imitated the earthworm walking mud pattern a few years ago after several years of hard public relations."5

"So, the earthworm walking on the mud pattern cannot be Song Jun's absolute basis for judgment."

For this matter, the country did not brag about it.

This also leads to the fact that in this age when information is not yet developed, very few people know this information.

But for Hu Muzhi, who was reborn, he knew exactly this kind of thing.

"Then what is your basis for judging that this is an imitation?" Ye Zifeng asked.

The reason why I ask this is to see if Hu Muzhi is covered.

After all, there are two results in identifying a piece of porcelain, the real product and the imitation product.

1/2 accuracy.

If Hu Muzhi can't say the basis for the judgment, then Ye Zifeng has reason to believe that Hu Muzhi is relying on Mongolia.

This is not really a 590 thing.

"Although this begonia purple-glazed slag bucket-shaped flowerpot has earthworm walking mud patterns, and the shape of the ware is also in line with the characteristics of Jun kilns in the Northern Song Dynasty, the glaze did not form agglomeration and accumulation of beads due to time.

"The fetus is not too old."

"All features suggest that this is a modern imitation."

After listening to Hu Muzhi's analysis, Ye Zifeng finally determined that Hu Muzhi was not fooled, but justified.

He, who was unwilling to accept the result, still admitted it.

"You're right, this is indeed a modern imitation."

"But this doesn't mean you won, because if I can break the object you took out, this eyesight test is a draw.

"So take out what you want to date."

"Since what you have identified for me is Yijun porcelain, and it is a courtesy, I will let you identify Ru porcelain. 55 Hu Muzhi said.

"Do you have Ru porcelain?" Ye Zifeng looked at Hu Muzhi in disbelief.

"Of course." Hu Muzhi nodded: "But I didn't bring the china with me, it's in the hotel now."

Saying that, Hu Muzhi took out his pocket watch and looked at the time, then turned to look at Tong Fan, and said, "Mr. Tong, it's almost time for dinner."

"Come on, let's go to the Mandarin Hotel together.

What Hu Muzhi wanted to identify Ye Zifeng was the Ru porcelain fired by Tang Kai that could look like the real one.

Although this thing was placed in the Void Ring, Hu Muzhi definitely couldn't take it out now.

So I can only find an excuse to put it in the hotel.

"Okay." Tong Fan nodded, which made Liu Xuanya get off work.

Then he closed the door of Donglongju and drove Hu Muzhi and Ye Zifeng towards the Mandarin Hotel.