Dangyangyu Kiln Relics
Dangyangyu Kiln was one of the famous folk porcelain kilns in the northern Song Dynasty. It was located in Dangyangyu Village, Xicun Township, Xiuwu County, Jiaozuo City, Henan Province. Many cultural relics were unearthed here, such as: - A plum vase with black flowers on a white ground in the Dangyangyu kiln of the Northern Song Dynasty. Unearthed in Zhenping County, Henan Province in 1985, collected by the Henan Museum. This bottle has a small mouth, a short neck, a full shoulder, an open belly, and a lying foot. The shoulder and upper part of the abdomen are painted with black colored scroll grass patterns, and the lower part of the abdomen is painted with peony patterns and lotus petal patterns. The whole body is covered with white glaze, and the inside of the foot is exposed. It had a large body, elaborate decorations, and five layers of patterns. It was a classic work of the northern Cizhou kiln in the Song Dynasty. - Northern Song Dynasty Dangyangyu kiln carved peony pattern plum vase, Beijing Xingding cultural relics store collection. The carving process of this kiln was quite unique. The plum vase was carved with peony patterns, and the composition was diverse. It had a three-dimensional sense and layered changes brought by the embossed effect. The peony pattern was used as the theme decoration, and the pattern was exquisite and dynamic, blending with the shape of the vase. - The glazed bowl of the Dangyangyu kiln of the Northern Song Dynasty was unearthed in Xiuwu County, Henan Province in 1962 and collected by the Henan Museum. It was 6.1 centimeters tall, 11 centimeters in diameter, and 4.9 centimeters in diameter. Straight mouth, slightly deeper belly, flat bottom, is the representative work of Dangyangyu kiln twisted tire craft products. Dangyangyu kiln's body quality has fine clean white body, hard gray body, coarse loose sand body and cylinder tile body, etc., glaze color is smooth and bright. The decorative techniques included carving, half-drawing, half-carving, filling, three-color, and twisting. Among them, the twisting technique had a unique style. The most complicated carving method was to use a variety of colored glazes, and the pattern was mostly entangled peony. The most famous of the items burned were the types of flowers, the patterns were fluent and free, and the contrasting colors of black and white, brown and white were unique. Read more exciting novels for free
Jun kiln Pixiu cultural relics
The following information was related to Jun kiln Pixiu: ** I. The artistic features of Jun kiln Pixiu ** 1. ** Styling features ** - As the son of the dragon, the Pi Xiu was shaped like a lion with horns in Jun kiln works. Its lips and teeth were slightly open, which meant that it could receive wealth and fortune. Its auspicious nose was powerful and handsome. Its rich belly was round and smooth, which could accommodate wealth and fortune. It could stabilize the house and calm the mind. For example,"Tian Lu Pi Xiu" seems to sit and stand, free and easy, straight round belly and placed blessing in it, swift and fierce vigorous. 2. ** Glaze Color Unique ** - Jun porcelain began in the Tang Dynasty and flourished in the Song Dynasty. It was famous for its unique glaze and firing method to produce magical kiln changes. The art of kiln transformation was "one color in the kiln, ten thousand colors out of the kiln". On the Jun kiln Pixiu works, the color of the glaze changed endlessly after being fired at a high temperature (such as 1280 to 1300 degrees high temperature firing on the glaze). The glaze color was delicate and the kiln transformation was unparalleled. ** 2. The cultural meaning of Jun kiln Pixiu ** - Pixiu was one of the five auspicious beasts in ancient China. It fed on wealth from all directions and swallowed everything without spilling. It could bring in wealth and treasure, only entering but not leaving. It had the functions of opening up luck, warding off evil spirits, guarding houses, and promoting marriage. As the son of the dragon, it was also known as the sky. It had a face that was feared by ghosts and gods. It could ward off evil spirits, block disasters, and guard houses. Moreover, the Pi Xiu official position was incomparably high and its power was monstrous. It symbolized the smooth flow of official fortune and rapid success. In terms of cultural content, the Jun kiln Pixiu carried the pursuit of "happiness, longevity, happiness and wealth" in traditional China folk culture. It was a manifestation of the people's concept of happiness and expressed their yearning for happiness, promotion, longevity, celebration, wealth and other life hopes. ** 3. The creator of Jun kiln Pixiu and related works ** 1. ** Creator related ** - For example, Li Yazhou, a master of arts and crafts in Henan Province and a representative inheritor of China's intangible cultural heritage, carefully designed and created Jun porcelain "Tianlu Pixiu." Li Jianfeng's Jun porcelain "Pixiu" design in 2008 won the "Henan Star" design art competition ceramic category gold medal. 2. ** Description of work specifications and price ** - Li Yazhou's Jun porcelain, Tianlu Pixiu·Wealth Zun, was 26cm wide and 53cm high. It was fired at a high temperature of 1280 to 1300 degrees. Its "Tianlu Pixiu" was 36cm tall and 23cm in diameter. The national price was 19800 yuan per piece. There was also the Song Dynasty Jun porcelain Pixiu, which was 20 x 26 cm in size and cost 810 yuan. ** IV. Jun Kiln Pixiu Kiln System ** - In the Jin Dynasty, the Jun porcelain kiln was centered in Yuzhou and quickly expanded to many kiln entrances in Henan, spreading to Hebei, Shanxi, Jiangsu, Zhejiang, Jiangxi, Guangdong and other places, forming a huge Jun porcelain kiln system. In modern times, there were also creations and productions related to Jun porcelain at the mouth of the Dongsheng Jun kiln, and there were many types of models used to distinguish different types of works and creators. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Protection of ancient kiln cultural relics
The ancient kiln belonged to the category of ancient cultural heritage among immovable cultural relics. Cultural relics protection is a series of measures to prevent the damage of historical relics with historical value, cultural value and scientific value. For the protection of immovable cultural relics such as ancient kilns, the principle of not changing the original state of cultural relics and the principle of minimum intervention should be adhered to, so as to preserve the historical information and historical value of cultural relics to the greatest extent. To be specific, repairs, maintenance, relocation, and other work must follow these principles. From the management level, the State Administration of Cultural Relics was in charge of the national cultural relics protection work, the provincial cultural relics bureau was in charge of the provincial cultural relics protection work, and the cultural relics administrative departments of the people's governments of various states, cities, counties (cities) were in charge of the local cultural relics protection work. At the same time, towns and villages can set up cultural relics protection leading groups to be responsible for the protection of cultural relics and the organization and management of cultural relics protectors; villages can set up cultural relics protection groups to be responsible for the protection of cultural relics within the village. Various places are also exploring various ways of protection and utilization, such as holding cultural activities, exhibition and other forms to deeply excavate the historical meaning of the ancient kiln, tell historical stories and inherit cultural value; It can also extend the cultural tourism industry chain, promote the integration of ancient kiln cultural relics and tourism, make cultural relics "live" and "fire", let more people understand the history and culture behind the ancient kiln, and make the achievements of cultural relics protection more beneficial to the people. In addition, the protection of cultural relics was a dynamic protection process, which should be presented at the legal and policy level. Since the implementation of the Cultural Relics Protection Law in 1982, it had been revised five times, which also provided legal basis and guarantee for the protection of ancient kilns. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Record the cultural relics of the Dragon Kiln of the Tang Dynasty
The Gaoming Dragon Kiln of the Tang Dynasty was discovered in 1957. In 1986 and 1987, the No. 1 and No. 2 kilns were excavated respectively, and more than 1,000 pieces of Tang Dynasty pottery were unearthed. Due to the serious damage to the No. 1 kiln, it was backfilled for protection. In 1988, an exhibition hall was built on top of the No. 2 kiln. This was a provincial-level cultural relic protection unit. Judging from the unearthed pottery and photos displayed in the exhibition hall, the level of firing was limited at that time. For example, the most unearthed pottery bowls were of different sizes, irregular shapes, and random glaze colors. Most of the pottery unearthed was ordinary pottery bowls, but some larger and better pottery were sent to the Guangdong Province Museum for collection. On December 11th, 2013, archaeologists uncovered the remains of a 78.8-meter-long dragon kiln in the site. This was the longest preserved remains of the Tang Dynasty dragon kiln discovered so far. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
What kind of kiln is Xianghu kiln
Xianghu Kiln was located 22 kilometers northeast of Jingdezhen City, near Xianghu Street Village, Xianghu Township, with a history of more than 1200 years. The porcelain made from it had a glaze color between green and white. The body was fine and white, and the glaze was lustrous. It was known as "Rao Yu". It was created in the Five Dynasties and became the main producing area of shadow celadon in the Song Dynasty. Its products ranked first among all the kilns in Jingdezhen. After entering the Yuan Dynasty, it continued to develop. Its craftsmanship was superb, and it was the famous center for the production of the Hufu ware, blue and white porcelain, and underglaze red. The novel "Listening to the Rain in Green Bamboo and Watching the Egrets" is equally wonderful. Everyone is welcome to click and read it!
Bubbles in Firewood Kiln and Bubbles in Gas Kiln
There were many differences between the bubbles in the wood kiln and the air kiln. 1. ** Bubble Uniqueness **: - The bubbles in the kiln were uneven. Because firewood had to be added continuously during the firing process, the temperature was difficult to control accurately, so the bubbles varied in size and had a certain layering. - The air bubbles in the gas kiln were very uniform, and the temperature during firing could be well controlled. The size of the bubbles was uniform and dense. 2. ** Bubble density **: - The bubbles on the wooden ware were more sparse, with different sizes and depth, similar to the pearl particles scattered on the plate. - The air bubbles on the gas kiln were even denser, densely packed and stacked. This was because the temperature of the gas kiln rose quickly, and the gas activity in the glaze became more intense. 3. ** Color Effect **: - When firing in the firewood kiln, the ashes and flames produced by the burning of wood directly rushed into the kiln, causing the natural ash falling on the green body. After a long period of high temperature, it would fuse into a natural gray glaze, and the color would be gray. - The color of the gas kiln would be white and bright. 4. [Effect on Glazed Porcelain]: - The wood kiln used pine wood as fuel to fire. During the firing process, turpentine oil would be produced. The turpentine oil would be absorbed on the tire, making the glaze of the wood kiln fat and moist. The blue and white flowers fired in the wood kiln would fall into the tire, giving off a smudged feeling like an ink painting. - The blue-and-white flower statue of the gas kiln floated on the surface, and the patterns were clearer and more neat. In addition, it took more than 50 hours to fire in the wood kiln, while it took more than 20 hours to fire in the gas kiln. The texture of the wood kiln that was fired for a long time was more stable and warm than the gas kiln. The novel " Shou Zang " is equally exciting. Everyone is welcome to click and read it!
Which is healthier, the firewood kiln or the gas kiln?
The gas kiln was relatively healthier. Burning wood in the kiln required a large amount of wood, which would cause damage to forest resources and may produce more impurities during the burning process. The gas kiln used modern liquefied gas, which was relatively environmental friendly. The temperature was also easy to control and the cost was relatively low. The novel " Shou Zang " is equally exciting. Everyone is welcome to click and read it!
Ode to Cold Kiln
Ode to Cold Kiln was a fable written by Lu Mengzheng. It used vivid metaphor and exaggerated language to describe the hardships of life and the uncertainty of fate. The article quoted the stories of Confucius, Tai Gong, Yan Yuan, Zhang Liang and other famous people, showing Lu Meng's philosophy and emotions. The theme of Han Yao Fu included poverty, wealth, fate, and happiness. It emphasized that life was uncontrollable and unchangeable, reminding people to be clear-headed, brave, and hardworking. They should go with the flow, not miss the past, and not look forward to the future.
My 1979 Farm Kiln
" My 1979 Small Farm Kiln " was an urban romance novel. It told the story of a small farm in a small mountain village far away from the hustle and bustle of the city. There were low-priced Maotai, Wuliang liquor, organic vegetables, fish, shrimp, and mutton. The protagonist was a middle-aged divorced failure, but later became a leisurely farm owner. The farm's reputation spread far and wide, and the protagonist lived a leisurely life. " Reborn in a Small Village in the Nineties " was equally exciting. Everyone was welcome to click and read it!
Firewood kiln porcelain
Firewood kiln porcelain was a famous traditional China porcelain. It was made in the imperial kiln of Chai Rong, the emperor of the Five Dynasties and Ten Kingdoms. It was founded in the first year of Xiande of the Zhou Dynasty (954) after the Five Dynasties. The kiln site may be in Zhengzhou or Kaifeng, Henan Province, but no real objects and kiln sites have been found so far. According to records, Emperor Shizong of the Zhou Dynasty once ordered the imperial kiln porcelain to be "after the rain, the sky is blue and the clouds are broken. This color is for the future." From this, it was inferred that the wood kiln porcelain should be azure glazed porcelain, but in fact, wood kiln also had other colors besides azure. Firewood kiln porcelain had the following characteristics: 1. ** Scarcity **: High firing cost, low yield, and few modern wood kilns. First, the government banned the burning of firewood in the kiln, resulting in insufficient supply of pine firewood. Without special funds and specific purposes, few people would easily use the match kiln. Second, a kiln would burn nearly 2000 catties of pine firewood, which was costly. Third, the kiln required experienced teamwork. The fire and temperature of the kiln were all controlled manually. The pile-handling master needed decades of experience. A slight negligence could cause the kiln to collapse, causing hundreds of thousands of yuan of economic losses. Fourth, the temperature in the kiln was uneven. The front end was high, the back end was low, and the middle was moderate. The quality of the same furnace of porcelain varied greatly, and the rate of finished products was low. 2. ** Moistening degree **: The wood kiln uses pine wood fuel, which is rich in pine resin. The pine resin that is volatile during the burning process has a nourishing effect on the porcelain. The principle of firing was to slowly increase the temperature by constantly adding firewood, so that the utensils in the kiln could be slowly heated. In addition, the water vapor in the furnace and the porcelain glaze could be combined to produce a porcelain body with a unique style of white jade, which made the porcelain glaze subtle and moist. The firing process of the firewood kiln included many processes such as arranging the kiln, filling the pond with the blank, and hanging the kiln. In history, wood-kiln porcelain was very legendary. It had a very high status among China porcelain, and was even considered to be higher than the five famous kilns, Ru, Guan, Jun, Ding, and Ge. Among the six kinds of porcelain recorded in the Xuande Ding Yi Manual found in the Ming Dynasty's palace when sorting out antiques, the firewood kiln was ranked before the five famous kilns of the Song Dynasty and was the more expensive porcelain. However, although there were records of palace collections in history, there were no real objects of wood-kiln porcelain that had been handed down. At present, there was a Northern Song Dynasty Ruyao flower pot in the National Palace Museum in Taiwan that was thought to be a wooden kiln porcelain. The basis was that the inscription "made in the first year of Xiande of the Great Zhou Dynasty" was found under the glaze on the inner and outer walls of the flower pot. The same text could be read with the help of electron microscope instruments, but this conclusion was controversial. In modern times, wood-fired porcelain also referred to porcelain that was fired in a kiln that used pine wood as fuel. In terms of the firing effect, the porcelain fired in the wood kiln was no different from the porcelain fired in other kilns. The novel "Shou Zang" is equally exciting. Everyone is welcome to click and read it!
Yongchuan Banshan Kiln
Banshan Kiln was located in Hujia 'ao, Pumpkin Mountain, Yongchuan. There was a family of five generations who made pottery, inheriting the most traditional pottery skills. The process of making pottery required more than ten long steps, such as kneading the mud, drawing the blank, repairing the blank, glaze, blowing the glaze, firing, taking it out of the kiln, cooling the blank, and finishing the product. The ancient method of pottery emphasized the coordination of hands, eyes, feet, and heart. For example, in the mud kneading process, the mud had to be tightly pressed. If the mud was too dry, it would easily break, and if it was too wet, it would not be easy to form. The wet and dry kneading was all done by the hands. At the beginning of 2017, at the former site of the Liaojia Kiln Pot Factory in Hujia 'ao, Pumpkin Mountain, Zhou Jun (Liao Jun), led by Liao Wancai, re-established the earthenware design and production factory with the help of new environmental protection technology. Zhou Jun (Liao Jun), as the fifth generation of the Liao family's earthenware production skills, officially inherited the earthenware skills and spread the earthenware culture among the new generation of young people. In addition, Banshan Kiln was also used as a base for labor education practice activities. For example, on November 2,2021, the young reporters of Shennu Lake Primary School carried out labor education practice activities with the theme of "labor enjoys life, practice boosts growth". Students learned pottery knowledge and experienced pottery blank making here. The novel "Dream Chaser's Half Dream Residence" is equally exciting. Everyone is welcome to click and read it!