Xiao Zhang's jade pot spring bottle can be described as handy for drawing blanks.

There is no other reason.

That is, their blank drawing skills are really rising in a straight line.

This jade pot spring bottle itself was once fired.

It can be said that Xiao Zhang has great skills in the jade pot spring bottle.

At that time, the main advantage of the jade pot spring vase fired was the beauty of the glaze.

And the tire type at that time was completely vulnerable in the eyes of Xiao Zhang now.

After all, the real strength is slowly growing.

Today's Xiao Zhang has a grandmaster-level Ru porcelain firing skills, and at that time he was just a beginner's apprentice.

Xiao Zhang looked at the jade pot spring bottle in his hand and nodded secretly.

The jade pot spring vase is a classic type of Ru porcelain and even porcelain.

The jade pot spring bottle, also known as the jade pot appreciation bottle, is a typical vessel shape in the shape of flower thorn porcelain.

The epidemic area is wide, and it has been used for a long time, and it has been fired in kilns all over the country after the Song Dynasty.

Its shape evolved from the water purification bottle in the temple of the Tang Dynasty.

The basic shape is skimming, thin neck, hanging abdomen, and ring feet.

It is a type of bottle with a softly changing arc as the contour line.

The uniqueness of its shape is: the neck is thinner, the center of the neck is slightly constricted, the neck gradually widens downward and transitions into an apricot round drooping abdomen, the curve changes slowly, and the circle foot is relatively large, or introverted or outward.

The shape of this bottle was fixed in the Song Dynasty, and went through the Song, Yuan, Ming, Qing, Republic of China until modern times.

Xiao Zhang gently put the jade pot spring bottle aside and prepared to dry it in the shade.

Such a bottle with very traditional characteristics, Xiao Zhang still attaches great importance to it.

Only by sending such excellent exhibitions abroad can we reflect the beauty of our porcelain and the beauty of tradition in China.

Xiao Zhang picked up the mud and began to continue to draw the blank.

This time, Xiao Zhang's eyes were on the body of the garlic bottle.

The skills required to use Xiao Zhang's garlic bottle may be more difficult than that of the jade pot spring bottle.

Because the mouth of this jade pot spring bottle is larger than the garlic bottle.

And the diameter of the mouth of this garlic bottle can be said to be surprisingly small.

This is a really big test of the drawing technique.

After all, this is no joke.

The overall shape of the device is the most important.

A slight difference will affect the overall aesthetic.

Xiao Zhang is a person who pursues perfection, so naturally he will not let this kind of thing happen.

Just be more cautious on the wheel.

Xiao Zhang knows that this porcelain garlic bottle was popular in the Ming and Qing dynasties, and Jingdezhen kiln products are more common, with varieties such as blue and white, colorful, sprinkled blue and gold.

There are various monochrome glaze varieties such as blue and white, five-colored, pastel, blue glaze, sauce glaze and so on.

Ming Jiajing garlic bottle is the shoulder with a pile of plastic cockroach decoration; Ming Chenghua garlic bottle, only the mouth is petal-shaped, the ear is randomly stacked; Ming Zhengde garlic bottle, set up a halberd on the belly of the bottle; Ming Wanli garlic bottle, tend to be simplified, the mouth has no garlic, but the shape of the vessel is tall, and the blue and white colors are more common.

The shape of the garlic bottle in the Qing Dynasty tends to be light and beautiful.

Xiao Zhang remembered seeing this garlic bottle in the Palace Museum.

It is a Ming Wanli mackerel algae pattern garlic bottle in the collection of the Palace Museum.

The shape is a very beautiful and stable one.

Xiao Zhang strives for perfection.

Because this garlic bottle is imitated from the bronze garlic pot of the Han Dynasty, with a long neck, shaved shoulders, a round belly, a circle foot, and the mouth of the bottle resembles a garlic head.

The abdomen of the garlic bottle is very round, and the internal space is also very large, but the neck is very long, and the slender neck is combined with a small caliber, which is the reason why it is difficult to draw the blank.

But this is not a problem for Xiao Zhang.

The mud tires were finished in almost fifteen minutes.

It can be said that Xiao Zhang is now more and more comfortable and more and more feeling.

The feeling of rustiness before is completely gone.

As Xiao Zhang's mud tires become more and more refined, Xiao Zhang's requirements for himself are getting higher and higher.

After continuing to draw four or five clay tires, Xiao Zhang's eyes fell on a tool that he had never fired before.

That is the gall bottle that has always existed in Xiao Zhang's mind.

The gallbladder bottle is named because of the shape of the device such as hanging gall.

Straight mouth, slender neck, shaved shoulders, gradually growing below the shoulders, plump lower abdomen.

It is a flower vessel, which was burned from the Tang Dynasty to the middle and late Qing Dynasty.

It prevailed in the Song Dynasty and is a classic in the ceramic type.

Because of its elegant and beautiful shape, the gall bottle gave people an extraordinary and infinite taste, and was sought after by all walks of life in the Song Dynasty at that time.

Xiao Zhang is very familiar with the shape of this gall bottle, but Xiao Zhang, the gall bottle of Ru porcelain, has indeed not been fired, and he has never seen others burn.

It is because the tire shape of this bottle is more difficult.

The overall shape of this gall bottle is very peculiar.

The gallbladder bottle has a round belly and a thick bottom, a long neck and a small mouth, concise and smooth, stable and straight, especially suitable for offering single-branch long-stemmed flowers and plants, and the story of lying on the salary and tasting gall has increased its profound and long-standing cultural heritage.

This makes it very difficult for craftsmen to control when making clay tires.

Xiao Zhang didn't dare to try it before, because he was afraid that his mud tire drawing technique was not perfect enough, but now Xiao Zhang dares to try, also because he is now a master level craftsman of Ru porcelain skills.

If you don't dare to try to fire Ru porcelain, then who can burn it well?

However, Xiao Zhang still knows a lot about the statement of the gall bottle.

The elegant and refined association of this gall bottle and the inspirational meaning of the heart have won the consensus of the literati, and also made it unique and enduring cultural charm.

The history of this gallbladder bottle is also very long.

In fact, as early as the Song Dynasty, the gall bottle was introduced to the Buddhist hall and became an otherworldly spiritual object in a pure place.

The frustrated literati of the Yuan Dynasty took pleasure in wild meditation, and the lonely flower of the gall bottle was especially in line with Yishi's mind.

In the Ming Dynasty, the scholarly class grew stronger, and the meaning of the gall bottle was alienated by utilitarianism, and became a symbol of noble interest and status for the nobles and nobles.

In the Qing Dynasty, social changes accelerated, the development of the commodity economy developed, and the gall bottle was painted with gold and color, with ears and rings, and reduced to a plaything for secular pleasures.

It is precisely because he is very familiar with the cognition of the gall bottle that Xiao Zhang dared to try to burn the gall bottle.

Xiao Zhang, who said he would do it, picked up the mud and put it on the wheeling car.

As the wheel car rotated, Xiao Zhang began to draw the blank finely.

While pulling the blank, Xiao Zhang remembered that although he had never seen Ru porcelain's gall bottle, he was in Ouyang Feng's home in Jingdezhen.

Xiao Zhang has seen this blue and white porcelain gall bottle.

This Ouyang family's blue and white gallbladder vase can be said to be upright and beautiful, with a delicate carcass and moist enamel.

The whole vessel is based on the theme of entwined branch flower pattern, supplemented by sea water wave pattern, deformed flower pattern, ruyi cloud head pattern, Yanglian petal pattern and curly grass pattern, etc., the layout is sparse and dense, and it is magnificent. The blue and white hair color is bright, and the painting is smooth and fine, which can be said to be a rare masterpiece.

Of course, it was also because he left a deep impression on Xiao Zhang, which gave Xiao Zhang the idea of firing a Ru porcelain gall bottle at this time.