There is also a kind of thin glaze, such as the small mouth of the Song Dynasty folk kiln, the glaze water is very thick, the glazing speed is very fast, it seems to be random, and the technique of oblique glaze is mostly used, and the glaze layer and the junction of the exposed tire are very thin.

In the process of reduction, the reducing atmosphere produced by each kiln is different, which causes the same kind of soil and the same glaze to produce different effects in the same kiln. This is something that the craftsmen have no control over.

Song Da always said that Jianzhan is a handicraft, not a work of art, in fact, no matter what the product is, it is inseparable from a certain difficulty standard. The art of building a lamp is to pursue change in the unchanging, to capture the best image in the kiln fire, and to pursue the divine change. Once in the kiln, the artificial can not interfere with the formation of markings and glaze in the kiln, and the final result is a test of the experience and skills of the craftsman, and the creation of the atmosphere in the kiln is required.

Every time the finished product comes out of the kiln, Song Da has to sigh: it is difficult to burn firewood, and it is not easy to use the electric kiln. Because the process characteristics of Jianzhan are to apply thick glaze and burn upwards at the mouth edge, the glaze water will flow downward in high temperature, so the glaze along the mouth is easy to burn dry and will be thin. It is difficult to avoid that the vitrified layer is burned out, and a little dry mouth is a normal phenomenon.

In the Song Dynasty, there were many Jianzhan with very narrow dry mouths. While dry mouth can't be eliminated completely, it's not too difficult to reduce the extent of dry mouth with today's technology. For dry mouth, we must look at it rationally, and pursue zero dry mouth, I am afraid that there is no room to buy. After all, all wonderful crystallization can only be fired by this special process.

If you want to pursue a completely dry mouth, then you will lose the possibility of all kinds of beautiful oil droplets, rabbit hair, and yao. For example, there are those who like the black gold glaze, which is mysterious black, with a little dry mouth, tea powder and gold dots, and even a faint or metallic performance.

If you only want the effect of pitch black as ink, the whole mirror, and nothing else, then there is a black glaze that can satisfy you, fired at medium temperature, it can not even have pores, but it is not a building lamp.

If you encounter an obvious dry mouth and other advantages are also obvious, then use gold, silver, brass and other metal buckles, you can directly use and collect. This can not only solve the influence of dry mouth, but also will not miss the precious heritage of the Song people, and it is also a perfect combination of the two Tang and Song cultures.

Lan Eucalyptus suddenly asked, what kind of building lamp is worth collecting?

Song Da told her that in simple terms, it is nothing more than three points - glaze, shape, and people.

The first is the glaze color of Jianzhan, and the glaze markings are the soul and core of Jianzhan. Its inability to reproduce determines its collectible value. Due to the particularity of the process, a variety of different kiln markings will be produced. The firing difficulty of different glaze colors is different, and the precious varieties include rabbit hair, oil droplets, and yaobian.

Although the glaze color is the core and soul, it has always been valued by the world, and the shape of the instrument should not be underestimated. As a tea vessel, it is not only used for ornamentation, but also for hands-on use.

On the basis of the traditional shape of the Song Dynasty, it is slightly adjusted based on the modern people's tea drinking habits, which conforms to the beauty of minimalism and takes into account both ornamentation and practicality.

Song Da attaches great importance to the spirit of craftsmanship, has the ultimate requirements for the work, does not burn the desired markings, will never leave the factory, no matter how low the quality rate is, he also sticks to his heart and does not take shortcuts. This is probably the collection realm of the unity of the material and the self in the book "The Family of Collectors on the Sea". Take a look at the latest chapters of "Dream Claw Book House in the Great Era" and read it for free for the first time.