紫砂壺是中國(guó)特有的手工制造陶土工藝品，其制作始于明朝正德年間，制作原料為紫砂泥，原產(chǎn)地在江蘇宜興丁蜀鎮(zhèn)。紫砂壺在拍賣市場(chǎng)行情看漲，是具有收藏價(jià)值的“古董”，名家大師的作品往往一壺難求，正所謂“人間珠寶何足取，宜興紫砂最要得”。

制作原料為紫砂泥，原產(chǎn)地在江蘇宜興丁蜀鎮(zhèn)又名宜興紫砂壺。據(jù)說紫砂壺的創(chuàng)始人是中國(guó)明朝的供春。因?yàn)橛辛怂囆g(shù)性和實(shí)用性的完美結(jié)合，紫砂壺才這樣珍貴，令人回味無窮。更加上紫砂壺泡茶的好處、和茶禪一味的文化，這就又增加了紫砂高貴不俗的雅韻。

紫砂陶所用的原料，包括紫泥、綠泥及紅泥三種，統(tǒng)稱紫砂泥。紫泥是甲泥礦層的一個(gè)夾層，礦體呈薄層狀、透鏡狀，礦層厚度一般在幾十公分到一公尺左右，穩(wěn)定性差，原料外觀顏色呈紫色、紫紅色，并帶有淺綠色斑點(diǎn)，燒后外觀顏色則呈紫色、紫棕色、紫黑色。紫泥主要成份為水云母，并含有不等量的高嶺土、石英、云母屑及鐵質(zhì)等。綜合分析，紫砂泥屬于粒土--石英云母系，頗類制瓷原料的特點(diǎn)，因此單種原料即具有理想的可塑性，泥坯強(qiáng)度高，干燥收縮率小，為多種造型提供了良好的工藝條件。綠泥是紫砂泥中的夾脂，故有“泥中泥”之稱（團(tuán)山泥則是紫泥和綠泥混雜共生一起的泥料）。綠泥產(chǎn)量不多，泥質(zhì)較嫩，耐火力也比紫泥為低，一般多用作胎身外面的粉料或涂料，使紫砂陶器皿的顏色更為多彩。

藏品介紹

中文名稱：邵順昌紫砂壺，楊彭年紫砂雙耳罐

英文名稱：Shao Shunchang purple clay pot, Yang Pengnian purple clay two-ear pot

類別：雜項(xiàng)

規(guī)格：二件

品相：美品

紫砂壺是純手工制作，所以一把好壺沒有幾十年經(jīng)驗(yàn)是做不好的，紫砂不像玉石那樣可以精雕細(xì)琢，他就像是要把泥玩出藝術(shù)這一點(diǎn)是非常難得，就目前宜興已經(jīng)開采不出紫砂了，都是一些泥俗稱紫砂泥，與紫砂是有區(qū)別的，一把壺好不好，看是否三條一線，蓋子間隙是否小而圓，出水是否斷水。

邵順昌篆書款，周邊回形紋環(huán)繞，極為精美，款為與壺底正中央，書寫精美，線條清晰輪廓分明，整體表現(xiàn)款十分的正，邵順昌是清代的知名制壺名家，這把壺底光柔和，形成了包漿，是一件開門的邵順昌紫砂壺，從各角度看沒有任何的磕缺損毀，品相完美達(dá)到館藏級(jí)藏品。

紫砂壺的斷水性：也就是指把紫砂壺中茶水倒入杯的時(shí)候中止的那一瞬間，也就是停止倒水的動(dòng)作。是否會(huì)立即斷水，還是會(huì)有水會(huì)緣著壺嘴往下流，斷水工藝極其困難，只有大師級(jí)能做到，也是鑒定真?zhèn)?，判斷紫砂壺?jí)別的好辦法。

楊彭年，字二泉，號(hào)大鵬，清嘉慶、道光年間（1796-1850）制宜興紫砂壺名藝人，浙江省桐鄉(xiāng)人。善制茗壺，有的渾樸雅致，有的精巧玲瓏，且善配泥色。首創(chuàng)捏嘴不用模子和掇暗嘴之工藝，雖隨意制成，亦有天然之致， 世稱“彭年壺”，對(duì)后世影響頗大。

楊彭年，字二泉，號(hào)大鵬。生卒不詳，清乾隆至嘉慶年間宜興紫砂名藝人。荊溪人，一說浙江桐鄉(xiāng)人，弟寶年、妹鳳年，均為當(dāng)時(shí)制壺名藝人，善于配泥，所制茗壺，玉色晶瑩，氣韻溫雅，渾樸玲瓏，具天然之趣，藝林視為珍品。

楊彭年首創(chuàng)捏嘴不用模子和掇暗嘴之工藝，雖隨意制成，亦有天然之致。他又善銘刻、工隸書，追求金石味。他還與當(dāng)時(shí)名人雅士陳鴻壽（曼生）、瞿應(yīng)紹（子冶）、朱堅(jiān)（石梅）、鄧奎（符生）、郭麟（祥伯、頻伽）等合作鐫刻書畫，技藝成熟，至善盡美。世稱“彭年壺”、“彭年曼生壺”、“彭年石瓢壺”、聲名極盛，對(duì)后世影響頗大。

楊彭年繼承、發(fā)揚(yáng)了全手工制壺工藝。在眾多的紫砂藝人中，陳曼生獨(dú)獨(dú)選擇楊彭年，看中的是他的手工捏制砂壺制作工藝，他曾說：“楊君彭年，制壺得龔時(shí)遺法。”什么是“龔時(shí)遺法”？那就是手工捏制砂壺的傳統(tǒng)工藝。因?yàn)椤扒r(shí)期制壺多用模銜造，其法簡(jiǎn)易，大彬手捏遺法已少傳人。彭年善制砂壺，始復(fù)捏造之法，雖隨意制成，自有天然風(fēng)致”（《耕硯田筆記》）也就是說：楊彭年繼承、恢復(fù)了龔春、時(shí)大彬的全手工制壺技法，并且技法嫻熟，得心應(yīng)手，巧奪天工。這一點(diǎn)，我們從傳世的“曼生壺”的制作工藝可以得到驗(yàn)證。徐秀棠大師評(píng)論曼生匏瓜壺“制作工藝嫻熟、精到，有珠圓玉潤(rùn)之感?！敝袊?guó)藝術(shù)研究院高振宇研究員評(píng)點(diǎn)曼生鈿合壺：“直腹挺刮……輪廓分明，撫之溫潤(rùn)如玉”這些都反映了曼生壺的制作者——楊彭年的工藝精制。

楊彭年是紫砂藝人與文人全面合作的典范。楊彭年與陳曼生合作的“曼生壺”，是藝人與文人深入交流、全面合作的結(jié)晶。從泥料的選定、壺款的設(shè)計(jì)到壺銘鐫刻曼生及其幕客全面參與，彭年則要能準(zhǔn)確領(lǐng)會(huì)曼生的設(shè)計(jì)意圖，并具體把它從平面的圖樣制成壺樣，且創(chuàng)新款式達(dá)數(shù)十種之多，足見彭年有較高的悟性。我們還能想象，彭年在制作中一定會(huì)提出修改意見，使之完善，所以曼生壺的創(chuàng)新造型也有彭年的功勞在內(nèi)。還要指出的是楊彭年不但和陳曼生合作，還先后與喬重禧、蔡錫恭等文人合作，這些文人大都精通書畫、鑒賞，為他們制壺，并得到首肯也說明彭年確非等閑之輩。尤其是他與朱堅(jiān)合作。朱“工鑒賞，多巧思，砂胎錫包是其首創(chuàng)”（《墨林今話》），彭年與其合作后，自己也能鑲玉包錫壺。在故宮藏紫砂器中，就有一款：宜興窯楊彭年款鑲玉包錫包壺，底鈐“楊彭年造”、“彭年制”陽(yáng)文印章，而未見“朱堅(jiān)”的印款，或?yàn)闂钆砟曜灾坪酰?/p>

楊彭年具有一定的文史知識(shí)、書畫功底是一位具有文人氣質(zhì)的藝人。楊彭年在與文人的長(zhǎng)期合作交往中，“近朱者赤”，自身的文化修養(yǎng)也相應(yīng)提高。據(jù)說他制壺而外，亦善陶刻，“兼善刻竹刻錫，亦佳?！保ā陡幪锕P記》）。楊彭年具有一定的文史知識(shí)，從下面兩件作品可證明。一是他曾仿宜興古代文物國(guó)山碑，制一紫砂瓶，并仿碑上古文字在瓶上陶刻（圖，現(xiàn)藏南京博物院），沒有一定的文史知識(shí)，怎能有此創(chuàng)作靈感？二是在故宮藏紫砂器中有一“四方委角詩(shī)句方盤”。此方盤盤心刻十字形紋與四邊線形成河洛圖形。盤心分左右兩邊刻整篇行書銘文云“古者黃帝夢(mèng)兩龍授圖，乃齋詣河洛求之，得龍馬之圖，遂命倉(cāng)頡造字……余于研朱滴露之暇。有感于斯置河洛之盤，置之座右，以志不忘本之志”，后署“道光甲午邑秋甲子朔書于陽(yáng)羨友石山房楊彭年制”：從這一方盤及其銘文，我們可以窺見彭年的創(chuàng)作思想，并證明他是一位有深厚的文史知識(shí)、具有文人氣質(zhì)的藝人。

楊彭年在清中期，恢復(fù)了時(shí)大彬的手工制壺遺法，且與曼生等一大批文人合作，制作了一批造型新穎、題刻壺銘的文人壺，而他又能書善刻，多才多藝，和陳曼生等文人一起對(duì)紫砂的中興、發(fā)展作出了一定的貢獻(xiàn)。

這種陰刻款極難把控，此壺書寫十分完美，字跡清晰精美，此款整體十分規(guī)整，表面也產(chǎn)生了包漿，十分開門，這件雙羊耳罐，罐頂瑞獸為鈕，罐頸雙羊耳，底部落款精美，整體器型端正，且無任何穿線，磕缺，損毀，是一件難得的館藏級(jí)藏品，也是楊彭年的巔峰之作，極具收藏價(jià)值。

鈞窯。是宋瓷五大名窯之一。均窯有唐均，宋均，金均，元均，明均之分。鈞瓷與其他瓷器一樣，由陶器演變而來，是對(duì)陶器的繼承和延續(xù)。根據(jù)考古發(fā)現(xiàn)和對(duì)現(xiàn)存古鈞瓷的研究，古代鈞瓷的器型大體可以分為兩類:一類為日用生活器皿類器型，另一類為陳設(shè)類器型。有的專家認(rèn)為，以碗、盤、碟、爐、鼎等民間日常用器為主的俗稱民鈞。與此對(duì)應(yīng)的，是以花盆、洗、尊、瓶等為主的造型，俗稱官鈞。官鈞瓷器，造型大雅，窯變美妙，被認(rèn)為鈞瓷中的珍品。流傳于世的官鈞瓷器十分稀少，主要收藏在北京故宮博物院、臺(tái)北故宮博物院、美國(guó)弗利爾美術(shù)館、哈佛大學(xué)賽克勒美術(shù)館等處。世界范圍內(nèi)公私收藏的官鈞瓷器僅有百余件，彌足珍貴

藏品介紹

中文名稱：清均窯鹿頭尊

英文名稱：Qing Dynasty kiln deer head zun

類別：瓷器

規(guī)格：一 件

品相：美品

鹿頭尊：尊的一種式樣。器形與牛頭尊相同，大口，口以下漸放，垂腹，圈足，肩兩側(cè)有對(duì)稱的獸頭耳，通體繪群鹿，故名，清代乾隆景德鎮(zhèn)窯制，品種以彩為主，晚清有仿造。又名'鹿頭尊',收口，腹上斂下垂，夔耳，倒置器身若鹿頭或牛頭，故稱之為'鹿頭尊'或'牛頭尊'。始見于清康熙，至乾隆朝盛行。當(dāng)時(shí)粉彩器多以青綠山林為景，繪十鹿或百鹿奔跑、穿行于山林之中，故亦稱'百鹿尊'。

鈞窯是我國(guó)宋代五大名窯之一，它不僅造型端莊沉穩(wěn)，而且釉色古樸凝重，變幻莫測(cè)，尤以玫瑰紫、海棠紅、火焰青、雞血紅、鸚哥綠等多種窯變釉為其他窯口所不及。鈞釉有高溫一次燒成，也有二次燒成，第一次素?zé)?，出窯后施釉彩，二次再燒。鈞瓷的釉色為一絕，千變?nèi)f化，紅、藍(lán)、青、白、紫交相融匯，燦若云霞，這是因?yàn)樵跓七^程中，配料摻入銅的氧化物造成的藝術(shù)效果，此為中國(guó)制瓷上的一大發(fā)明，稱為“窯變”。

這一件均窯鹿頭尊開片自然，無外卷，崩裂脫落現(xiàn)象屬于長(zhǎng)時(shí)間的陰干現(xiàn)象，只有時(shí)間漫長(zhǎng)才能有這樣的開片，是真品無疑，這件窯變藍(lán)色釉是非常難得的，窯變處看起來就是一副潑墨山水畫，用放大鏡看有如璀璨的星河美的動(dòng)人心魄。

禹州的鈞瓷，被稱為“國(guó)寶”、“瑰寶”。鈞窯是我國(guó)宋代的五大名窯之一，它的主要貢獻(xiàn)在于燒制成艷麗絕倫的紅釉鈞瓷，從而開創(chuàng)了銅紅釉之先河，改變了以前中國(guó)高溫顏色釉只有黑釉和青釉的局面，開拓了新的藝術(shù)境界，鈞瓷是因宋徽宗時(shí)期曾在近禹州市內(nèi)古鈞臺(tái)附近設(shè)置官窯專門燒制御用瓷而得名。

英文翻譯：Zisha teaporting is a unique handmade pottery craft in China. It began to be made during the Reign of Zhengde of the Ming Dynasty. The raw material for making zisha teaporting was originated in Dingshu town, Yixing, Jiangsu province. Zisha teapot in the auction market rising, is a collection of value of the 'antique', masters often a pot of works are difficult to find, is the so-called 'human jewelry how enough to get, Yixing zisha the most.

The raw material is purple clay, which is originated in Yixing, Jiangsu province. It is said that the founder of zisha teapus was the spring of Ming Dynasty in China. Because of the perfect combination of artistry and practicality, zisha teaports are so precious and memorable. Moreover, the advantages of making tea in a purple sand teapot and the blind culture of tea zen add the elegance and elegance of purple sand.

The raw materials used for purple clay include purple clay, green clay and red clay, collectively referred to as purple clay. Purple clay is an interlayer of a mud ore layer. The ore body is thin-layered and lenticular. The thickness of the ore layer is generally tens of centimeters to about one meter with poor stability. The main composition of purple mud is hydromica, and contains unequal kaolin, quartz, mica chips and iron, etc. The comprehensive analysis shows that the purple clay belongs to the system of granular soil-quartz-mica, which is the characteristic of porcelain making raw materials. Therefore, the single raw material has ideal plasticity, high mud strength and low drying shrinkage rate, which provides a good technological condition for various shapes. Green mud is the fat in purple sand mud, so it is called 'mud in mud' (Tuanshan mud is the mud mixed with purple mud and green mud). Green clay output is not much, clay texture is more tender, fire resistance is lower than purple clay, generally used as the tire body outside the powder or paint, so that the color of purple sand pottery vessels more colorful.

The collection is introduced

Chinese name: Shao Shunchang purple clay pot, Yang Pengnian purple clay two-ear pot

English name: Shao Shunchang Purple Clay pot, Yang Pengnian Purple Clay two-ear pot

Category: Miscellaneous

Specification: two pieces

Appearance: Beautiful

Recommended is pure hand-made, so a good to do a good pot has no experience in decades, violet arenaceous not like jade can finely crafted, he like to play the mud out of the art it is very rare, as yixing has not been the purple sand mining, are commonly known as the violet arenaceous mud mud, and purple, there is a difference between a pot is good, to see if three line and the lid gap is small, round, if the water without water.

Shao Shunchang seal character, peripheral back form lines around, very beautiful, for with the bottom of the pot is central, writing, fine lines clear chiseled, overall performance style is very positive, Shao Shunchang masters is well-known in the qing dynasty pot, and that the bottom of the pot of downy light, formed the wrapped slurry, is an open Shao Shunchang are recommended, from the point of view without any of the lack of damage, quality perfect level library collection.

Breaking water of a zisha teapot: it refers to the moment when the teapot stops pouring water into the cup. Whether the water will be cut off immediately, or there will be water due to the spout down, the water cutting process is extremely difficult, only master can do, is also a good way to identify the authenticity, judge the level of the zizhao.

Yang Pengnian, styled Erquan, also known as Dapeng, was born in Tongxiang, Zhejiang province. He was a famous artist who made Yixing zisha POTS during the Reign of Jiaqing and Daoguang in qing Dynasty (1796-1850). Good system tea pot, some simple elegant, some exquisite exquisite, and good match mud color. It was the first technique to shape the mouth without mold and clean the mouth. Although it was made at will, it was also natural. It was known as 'Peng Nian pot' and had great influence on later generations.

Yang Pengnian, styled Erquan, also known as Dapeng. Unknown birth and death, Qing Qianlong to Jiaqing years yixing zisha artist. Jingxi people, said people in Tongxiang, Zhejiang province, younger brother Baonian, sister Fengnian, are made at that time famous pot artists, good at matching mud, made tea pot, jade crystal, elegant charm, simple and exquisite, with natural interest, art forest as treasures.

Yang Pengnian first pinched mouth without mold and tuimu dark mouth technology, although made at will, but also has a natural. He was also good at engraving, official script, the pursuit of stone taste. He also engraved calligraphy with famous artists Such as Chen Hongshou (Mansheng), Qu Yingshao (Ziye), Zhu Jian (Shi Mei), Deng Kui (Fu Sheng), Guo Lin (Xiangbo, Bingga), etc., with mature skills, perfect beauty. Known as 'Pengnian pot', 'Pengnian Mansheng pot' and 'Pengnian Stone gourd pot', it has achieved great fame and exerted great influence on later generations.

Yang Pengnian inherited and developed the craft of making POTS by hand. Among the many purple sand artists, Chen Mansheng only chose Yang Pengnian because of his handcrafted clay pot making technique. He once said, 'Yang Jun Pengnian left gong Shi for pot making.' What is gongshi Relic method? That is the traditional craft of making sand pot by hand. Because 'Qianlong period of making POTS with mold title, the method is simple, Dabin hand left law has been less handed down. In other words, Yang Pengnian inherited and restored gong Chun's and Shi Dabin's skills of making POTS by hand. Moreover, he was skillful in making POTS and pans, with great ease. This point, we can be passed down from the 'Mansheng pot' production process can be verified. Master Xu Xiutang said of a mansheng gourd pot: 'It is skillfully made, exquisite, and feels like a marble.' Gao Zhenyu, a researcher of Chinese Academy of Arts, commented on The tin pot of Mother Sheng: 'Straight belly and quite scraping... The clear outline and gentle touch reflect the craftsmanship of The maker of Mansheng pot, Yang Pengnian.

Yang Pengnian is a model of comprehensive cooperation between purple sand artists and literati. The 'Mansheng pot' cooperated by Yang Pengnian and Chen Mansheng is the crystallization of in-depth exchange and comprehensive cooperation between artists and literati. From the selection of clay materials, the design of pot money to the full participation of Mansheng and his clients, Peng Nian should be able to accurately understand Mansheng's design intention, and specifically make it into a pot sample from the plan, and there are dozens of innovative styles, which shows that Peng Nian has a high perception. We can also imagine that Peng Nian would certainly put forward Suggestions for modification in the production to improve it, so the innovative shape of Mansheng pot is also attributed to Peng Nian. It should also be pointed out that Yang Pengnian cooperated not only with Chen Mansheng, but also with Qiao Zhongxi, CAI Xigong and other literati successively. Most of these literati were proficient in painting and calligraphy and appreciation, and made POTS for them. The approval of peng Nian also indicated that Peng Nian was really not an ordinary person. In particular, he worked with Zhu Jian. Zhu 'work appreciation, more clever thinking, sand tire tin bag is its first' (' Merlin this words '), Peng Nian and his cooperation, he can also set jade tin pot. Among the purple clay ware in the Palace Museum, there is a type of Yang Peng nian vase inlaid with jade and tin in Yixing kiln. The bottom bell 'Yang Peng Nian' and 'Peng Nian' Yang Wen seal are not found, but the seal of 'Zhu Jian' is not found, or is it made by Yang Peng Nian?

Yang Pengnian, with certain literary and historical knowledge and painting skills, is an artist with the temperament of literati. In the long-term cooperation and communication with the literati, Yang Pengnian 'kept close to the zhu, he would grow red', and his own cultural accomplishment also improved accordingly. It is said that he made POTS, but also good pottery carving, 'and good bamboo carving tin, also good.' (' Ploughing and inkstone Field Notes '). Yang Pengnian has a certain knowledge of literature and history, which can be proved by the following two works. First, he imitated the national Mountain tablet of yixing, made a bottle of purple sand, and engraved the bottle with the ancient characters on the tablet (the picture is now in The Nanjing Museum). Without certain knowledge of literature and history, how could he have this inspiration? Second, there is a 'quadrangle Angle poetry square plate' in the Palace Museum. This square disc is engraved with a cross grain and four edges to form a heluo pattern. Plate heart on both sides of the whole engraved inscription cloud 'the ancient Yellow Emperor dream of two dragons, is the attest of Heluo for it, long horse map, hence life Changjie word...... At my leisure I am still dripping with water. The plate of Si Zhuluo, the right seat, with the ambition of not forgetting the root ', after the office 'Daoguang Jiawu Yi Qiu Jia-Zi Shuo Shu in Yangxianyou Stone Mountain room Yang Peng system' : from this side of the plate and its inscription, we can glimpse The creation of Peng Nian thought, and prove that he is a profound knowledge of literature and history, with the temperament of the artist literati.

In the middle of the Qing Dynasty, Yang Pengnian restored shi Dabin's law of hand-made teapots, and cooperated with mansheng and a large number of other literati to produce a batch of scholar teapots with novel shapes and inscriptions. Moreover, he was good at carving and versatile, and together with Chen Mansheng and other literati, he made certain contributions to the revival and development of purple sand.

The intaglio is extremely difficult to handle, the perfect pot of writing, clear, fine this whole very neat, also produced on the surface of the wrapped slurry, is to open the door, this double sheep ear tank, roof benevolent for button, can double sheep ears, neck, dated at the bottom of the beautiful, the overall shape, without any thread, ke is missing, damaged, is a rare collection of collections, and Yang Pengnian culmination, extremely collection value.

The pa per. It is one of the five famous song porcelain kilns. All kilns have tang, Song, Jin, Yuan, Ming. Jun porcelain, like other porcelains, evolved from pottery and was the inheritance and continuation of pottery. According to archaeological findings and research on extant jun porcelains, the types of ancient Jun porcelains can be generally divided into two categories: one is household ware type, the other is furnishings type. Some experts believe that the bowl, dish, dish, stove, tripod and other civilian daily utensils commonly known as minjun. Corresponding to this, it is based on flowerpot, wash, zun, bottle and other modeling, commonly known as guan Jun. Guan Jun porcelain, elegant shape, wonderful kiln, jun porcelain is considered as the treasures. Official jun porcelain is very rare in the world. It is mainly collected in The Palace Museum in Beijing, the National Palace Museum in Taipei, freer Art Museum in the United States, Sackler Art Museum in Harvard University and other places. There are only a few hundred pieces of imperial and imperial porcelain in public and private collections around the world

The collection is introduced

Chinese name: Qing Jun Kiln deer head zun

Qing Dynasty kiln deer head zun

Category: Porcelain

Specification: one piece

Appearance: Beautiful

Deer head honour: a style of honour. The shape of the vessel is the same as that of the head of the ox, the mouth is gradually lowered, the belly is pendent, the foot is ringed, and there are symmetrical animal heads and ears on both sides of the shoulder. The whole body is painted with deer, hence the name. It was made in Jingdezhen kiln of Qianlong in the Qing Dynasty. It is also known as 'Lu Tou Zu ', which means' lu Tou Zu ', which means 'lu Tou Zu' or 'Niu Tou Zu'. First seen in The Qing Kangxi, qianlong dynasty prevailing. At that time, most of the pastels were painted with ten or one hundred deer running and walking through the green mountains, so they were also called 'One hundred deer Zun'.

Jun kiln is one of the five famous kilns of Song Dynasty in China. It not only has a dignified and composed shape, but also has a dignified and unsophisticated glaze that is unpredictable. In particular, various kiln glazes, such as rose purple, crabapple red, flame green, chicken blood red and parrotgreen, can't be compared with other kilns. Jun glaze has a high temperature firing, but also a second firing, the first plain firing, out of the kiln glaze color, second firing. Jun porcelain's glaze color is unique and changeable, with red, blue, green, white and purple blending into each other and glittering like clouds. This is because of the artistic effect caused by mixing copper oxide in the firing process, which is a great invention in Chinese porcelain making and is called 'kiln transformation'.

This one are kiln deer head open piece of nature, not revolute, split off phenomenon belong to dry in the shade for a long time, only time can have such a long drive, is real, no doubt, this variable blue glaze is very rare, variable place looks like a splash-ink landscape paintings, use a magnifying glass to see like the Milky Way of bright beautiful fascinating.

Jun porcelain of Yuzhou is called 'national treasure' and 'treasure'. Pa is one of the five ancient jun of song dynasty in China, and its main contribution is calcined into gorgeous ring of red glaze jun porcelain, thus created a precedent of copper red glaze, changed the former high temperature color glaze China only black glaze and blue glaze, opens up a new artistic realm, jun porcelain for bei song period had official kilns in near yuzhou city GuJun stations set up special fire named royal porcelain.

內(nèi)容來自懂車帝