Novel tang-dynasty jun porcelain glaze and manufacturing process thereof

Abstract

The invention discloses novel tang-dynasty jun porcelain glaze. Yellow feldspar, white feldspar, calcite, quartz, copper ore and iron core are used as glaze raw materials; the yellow feldspar, the white feldspar, the calcite, the quartz, the talcum powder, the copper ore, the zinc oxide, the tin oxide, the copper oxide and ox bone are used as ground coat raw materials; the burnt jun porcelain glaze satisfies the requirement of the tang-dynasty jun porcelain glaze technology, so that the glaze color is natural and variable.

Description

technical field [0001] The invention relates to a production process of Tang Jun glaze, in particular to a novel Tang Jun glaze and its production process. Background technique [0002] Tang Jun, in the historical process of Chinese ceramics, took the lead in breaking through the single glaze color system of "southern green and northern white", created a precedent for kiln art, and catered to the social requirements of the high demand for culture and art in the Tang Dynasty. The influence of porcelain development has a direct inheritance and origin relationship, and occupies a very important position in the history of Chinese ceramic development. From the budding of Tang Jun in the early Tang Dynasty to the maturity of Tang Jun's craft technology in the late Tang and early Song Dynasty, Tang Jun experienced the power and source for the later Song Jun prosperity and shared prosperity with Song Jun. As the Song Dynasty moved south, Tang Jun and Song Jun tended to shrink t...

AI Technical Summary

Problems solved by technology

[0013] Tang Jun in the Tang Dynasty was the bearer of the two-color glaze and kiln transformation art. Due to the limitations of history and technology, compared with modern technology and the aesthetic requirements of the times, there were fly in the ointment, mainly as follows: First, black dominates, although it is exquisite Atmospheric, but the colorful spots are limited to embellishment; although the colorful spots on the black background are "finishing" wonderfully, they limit the wanton space and natural world of the kiln.

Second, kiln-changing color spots are generally limited to one piece of one color, and the color is monotonous, so it is difficult to show colorfulness. Even if other colors infiltrate, it should be suspected as a random move, which limits the expansion and progress of Tang Jun's art.

The third is the artificial smearing of colorful spots, although it reflects the freedom, openness and chicness of the Tang Dynasty, it lacks artistic creativity, and it is suspected of being unclear and casual.

Fourth, because the kiln transformation is in its infancy, some are unintentional. Although there is an obvious pursuit of the kiln transformation in the mature stage, the fundamental breakthrough is not big because of the narrow space and backward skills.

At the same time, due to the narrow space of color spots, it is difficult to promote the development of kiln transformation, and it is difficult to present natural pictures and exquisite artistic conceptions.

Fifth, due to the low firing temperature, loose tire quality and high water absorption rate, the glaze effect on the green body is not good, resulting in rough glaze surface, poor appreciation and easy damage

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