Using a high-foot plate to serve food is definitely the later usage.

The first high-leg plate that appeared must be a sacrificial weapon.

Because all good things in ancient times were from gods to man.

After that, it is the process from aristocrats to civilians.

By the Song Dynasty, Gaozu Pan was already a commonly-fired artifact from porcelain kilns in the north and south.

According to archaeological data, Gaozu Pan was first seen in the Southern and Northern Dynasties and the third year of Tiantong in the Northern Qi Dynasty (567).

In the tombs at that time, green glaze high-foot plates were unearthed.

At present, it was found that the porcelain kilns that fired Gaozu Pan in the Sui Dynasty include Jiabi Kiln in the Beihe River, Anyang Kiln in the Nanhe River, Gongyi Kiln, Huainan Kiln in the Hui Province, Xiangyin Kiln in the Nanhu River, Qiong Kiln in the Sichuan Province, etc.

The above-mentioned porcelain kilns mainly fire green glaze high-foot plates, with light blue and transparent glaze color, and some black spots on the body can be seen.

The Gongyi Kiln in Nanhe was also made in the Tang Dynasty.

This kind of artifact was quite popular in the Sui Dynasty, and it appeared in murals and paintings of the same era.

At present, no Tang Dynasty kiln site has been discovered in Hui City. This Tang Gaozu Pan unearthed in Shitou Mountain, Hui City in 1986 is shallow and open, and should be an artifact for placing items.

Although it is a simple and simple daily necessities, it also reflects the living environment of the Tang Dynasty from different aspects.

This also proves that the ancient residents living in this area had already had material circulation and trade with other places in the Tang Dynasty due to social development and daily life needs.

The green glaze high-foot plate, the three-color high-foot plate, and Chen Wenzhe all have ready-made craftsmanship, so it is not difficult to make.

His green glaze porcelain has the highest level of firing, and the Tang Sancai technology can only be considered ordinary.

However, in this way, it must have reached the master level.

As more and more imitation of ancient porcelains are imitating, Chen Wenzhe has learned more and more skills.

Just like now, as an object extends, he can almost do whatever he can think of.

The most troublesome thing is to select ore materials and mix glaze materials. As for the process, it is not difficult for him at all.

Now for him, the gold constellation device is more troublesome.

Because the Ding kiln ware that uses a supporting ring to burn all have a marble mouth, these need to be inlaid with gold and silver buckles in the later stages.

This is also impossible, because as long as this process is used to fire, the mangroun will inevitably appear.

However, if you want to burn the fine kilns, you must burn them in a ring.

In this way of firing porcelain, the objects in the casket are all fixed by special ring support rings.

The porcelain to be fired is also reversed and placed in reverse.

It is precisely because of the covering, a circle of glaze layer must be cut off to expose the body of the object, so that it can be placed on the support ring.

After the final burning, the artifact then forms a "mangkou".

It should be mentioned here that the bracelet overburning process is not just for the purpose of expanding production.

The mouths of some large plates and bowls in Ding porcelain have thin walls as light as clouds, but rarely deformed, which must be attributed to the new technology of overburning the brackets.

While expanding the output, the overfired firing process also makes the porcelain firing in Ding kiln more regular.

However, after all, the edge of the artifact is deglazed, forming a "mangkou".

The picky ones believe that this unsmooth "Mangkou" destroys the overall beauty of the objects.

Liang Tong's book "A Study on Archaeological Kilns of Ancient Bronze Porcelain" records that after reading the tribute-fed porcelain, Emperor Renzong of Song issued an order: "Dingzhou white porcelain has a brilliance and is unbearable, so he ordered Ruzhou to make green kilns."

To solve this defect, Ding Kiln craftsmen set up metal edges in some glazed mouths and ring foot parts.

The noblest ones use gold and silver lace to make the objects look more elegant and luxurious. This craft is called gold and silver buckles.

The corresponding artifact is called "Golden Constant".

However, it is necessary to make a special note here that the gold and silver buckle process in fixed porcelain has occurred much earlier than the overfired process.

In other words, it is not because of the disadvantage of "Mangkou" that there are gold and silver buckles.

In fact, many gold mounters are products with a burning product with glazed edges, rather than a "shining mouth".

The white glaze "official" style gold-mounted lip plate of the Jingzhong Temple underground palace, and the white glaze lotus-shaped long-necked bottle with silver lid inlaid with silver feet in the underground palace of Jingzhong Temple, are the best among this kind of "golden fixing device".

In other words, sometimes without a mouth, a circle of gold and silver buckles can be inlaid with it.

Of course, as long as the Ding Kiln porcelain that can enter the palace is definitely a treasure, and even without gold, it is of high value.

However, Ding kiln porcelain with this layer of gold is definitely of higher value.

Since it is a good thing, you must copy a few more.

Porcelain such as bowls, plates and plates are very simple to make. Since all plates are made, small plates are naturally indispensable.

The white glaze "official" style unearthed from the underground palace of Shizushiji Temple is similar to the previous plate, and it is also simple to make.

The white glaze "official" style paired with cicada pattern disc, with a diameter of 12.4 cm and a base diameter of 8.5 cm.

Six-curved flower-shaped open mouth, oblique abdomen slightly bulging, flat bottom.

The tire is extremely thin, only 0.2 cm.

The body is firm and fine, the glaze is white and smooth, with a slight glaze mark with glaze marks exposed on the outer bottom.

The inner bottom is neat and slender, and it is a pair of cicada patterns.

The character "official" is engraved on the outsole, and the ink is written on "Providing the relics on May 22nd of the second year of Taiping Xingguo (977), the donor's male disciple Wu Chengxun Qian San Shizumo" is 5 lines and 28 characters.

The dish is imitated with gold and silver ware, with no glazed mouth.

The second year of Taiping Xingguo was 977 AD, and this year was not simple.

Taiping Xingguo (December 976-November 984) was the reign of Zhao Guangyi, the second emperor of the Song Dynasty, Song Taizong, for nearly 8 years.

Qian Chu, the king of Zhongyi of Wu Yue, also used this year name to record the year. His existence was from December 976 to May 978).

Here, because the donor's male disciple Wu Chengxun Qian Sanshi Zumo, it can be proved that the year name here is not the year name of Song, but the country of Wu and Yue.

The Wuyue Kingdom, which was the Five Dynasties and Ten Kingdoms, was known as the country: a place with thousands of miles, a hundred thousand armors, a mountain and a sea of ​​stews, a rich man like rhinoceros pearls and jade, and a strong man in the world.

The country is the most famous secret glaze porcelain, and it is definitely unusual to have Ding kiln porcelain appear here.

However, such a thing is not just once.

For example, there are many pieces of porcelain hidden in the tombs of Qian Kuan and Mushui Qiu, the founding king of Wuyue Kingdom, and from then on, which can be seen as its preciousness.

The tomb of Qian Kuan in the late Tang Dynasty of Lin'an was unearthed from the Ding Kiln white porcelain crabapple cup.

The "golden instrument" white porcelain cloud dragon cup unearthed from the tomb of Shuiqiu in the late Tang Dynasty of Lin'an.

From then on, it can be seen that the reputation of Ding kilns at that time was far greater than that of other kilns.

This must be because of its regular craftsmanship, beautiful shapes, and ingenious decorations that make it famous and famous.

It was because of the beauty of the Ding kilns that the porcelain kilns from all over the country at that time followed the examples, but the porcelain in Ding kilns was still the thinnest, whitest and the best!
Chapter completed!