Most of the shapes of Japan's national treasure-level building lamps are standard bundles, and the Zhou Zheng is invisible. The carcass is made of rough material, the wall is thick, and the mouth is buckled with gold edges.

Song Da took out a photo of Jianzhan from his mobile phone, and saw that the glaze was thick black and gray, and the glaze juice was thick and draped. The black glaze color is deep and long, and the oil droplets are all over the whole body, gradually becoming sparse from bottom to top, and the markings are round and flawless, all of which present a metallic mirror feeling, and can be cashed silver two-color glow under the light.

Song Da swiped his finger to the left, and there was another photo on his phone, which was a color oil drop cup, which was also a standard bundle mouth cup, with black glaze and thick black glaze, and the outer sole was exposed to iron brown tires, and the oil droplet markings were round and had purple and purple red brilliance.

Song Da told Lan Eucalyptus that in addition to Inaba Tianmu, Jingjiatang also had a high-profile oil drop pot, which was this big mouthful of oil droplets. This lamp is a very special building lamp in the collection of Japanese museums.

Other famous Japanese cups (national treasures, important cultural heritage levels), all 12 caliber standard beam cups, only this is just a skimming, and it is a large skimming bowl with a caliber of 1, weighing more than one catty.

In addition, the bottom of the bowl is engraved with the word "new" clearly, and it is the only one of the several famous Japanese treasures with a bottom (none of the four national treasures have a model).

Its shape is a large skimming, no deformation, and stretching elegantly, only a little bit of fine repair, the dry mouth is very narrow, and the glaze is just right; The oil droplet spot is pure silver, and the diameter is large, three-dimensional, layered, and remains ovate.

In addition to the inheritance, the glaze performance of this oil drip itself is also very typical. Typical not only for its clear, rounded, well-distributed silver droplet markings, standard nozzle-shaped, but also for its obvious traces of firing – sticky bottom and sand holes.

The firing method of the high-temperature thick glaze iron iron tire of Jianzhan causes the glaze water to flow easily and stick to the bottom. If the new cup sticks to the bottom, it will not leave the factory, but there are too few oil droplets in the old cup, this oil drop pot only has the bottom sticky, and the other parts are not sticky, cut the sticky glaze part, and the other parts are still complete, and it has still become a famous product with orderly inheritance.

This oil drip bowl can prove that there are defects such as sticky bottom and sand hole, which does not prevent a building lamp from becoming a world-famous top work.

The most important thing about the preciousness of a building lamp is how much upper limit its glaze performance can be. If the glaze color is average, no matter how complete it is, it will not be among the top ranks. If the glaze color is outstanding, it does not seriously affect the integrity, and it is still a treasure and a fine product. Just as the old Zhan collector said, "I would rather play with the remnants than with the general".

Because of the process, it is too difficult to produce high-quality products, and it is even more difficult to burn oil droplets in the dragon kiln of the Song Dynasty.

Song Da turned out another photo of Yao Chang Jianzhan, in the same way, there are small flaws on closer observation (but they are caused by the process of circulation), but compared with their astonishing glaze, they are completely flawed.

Although it is not a variation of "worth 10,000 horses of silk", Eucalyptus Blue found that the spots are round and clear, layered from deep to shallow, and have a faint luodian-like colored light.

Most of the Japanese Tibetan building lamps will buckle the metal edge, but this one is not buttoned, and the condition of the edge of the mouth can be clearly observed - there are fine oil droplets distributed, almost no dry mouth, and the glaze is thick. The atmosphere and temperature in the dragon kiln should be just right to have such a glaze performance.

Lan Eucalyptus couldn't help but praise, "This Jianzhan has a well-shaped mouthpiece, the exposed place looks rough, but the pedicure is very careful, and the overall beauty is quite elegant and simple." It is a representative and artistic work in the oil drip pot of the kiln. It is no wonder that it has been designated as an important work of art by the Agency for Cultural Affairs of Japan. ”

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