Ceramic copper red glaze is one of the famous ceramic glazes in ancient China. It is the crystallization of the wisdom of the working people of our country. It is also known abroad as glaze ceramics that have been fired and exhibit various red hues. The ceramic copper red glaze has the characteristics of natural beauty, superb artistic appreciation and preciousness with its crystal clear and translucent, nourishing evenness, rich colors, rich and gorgeous, splendid, splendid, splendid, splendid, glorious, and so on. Collection value is loved by people. Ceramic copper red glaze has been developing for nearly a thousand years since the Song Dynasty in Henan in the Northern Song Dynasty. During the historical development of copper-red glaze, the process technology has been increasingly perfected and the varieties have been continuously enriched. The main varieties are: Blush. Sacrifice red, "Langyao red", "Red glaze", "Peach blossom piece", "Samyang Kaitai", "Kaihua change flower glaze", "Lang kiln flower glaze", "Rose violet", "flame red", etc. . The ceramic copper red glaze is a natural language that expresses its natural beauty with its own special language. It has its own aesthetic pursuit. The artistic beauty of ceramic copper red glaze is the main aspect of the natural beauty of copper red glaze. The beauty of life of ceramic copper red glaze determines the artistic beauty of the artist, thus constituting the basis for the natural beauty of ceramic copper-red glaze, and the scientific beauty of ceramic copper-red glaze. , to ensure the realization of the artistic beauty of ceramic copper red glaze, so as to achieve the materialization of the United States, and keep pace with the times. 2 The role of process conditions The process conditions are the material points in the entire production activity of the ceramic copper red glaze, which restricts the characteristics of the copper red glaze language and is an important part of the copper red glaze language. The natural beauty of ceramic copper red glaze is the natural beauty that is created through the use of scientific and technological means in the process of producing various technological conditions of ceramic copper red glaze. It can be embodied in the beauty of the fetus and the beauty of glaze, but it can also be embodied in the beauty of artistic conception, the beauty of porcelain, and the beauty of defects. The process conditions in the production process of ceramic copper red glaze are fundamental to the natural beauty of the formation of ceramic copper red glaze. The production of ceramic copper red glaze is a more complex manual operation process, each step is very important, ceramic copper red glaze from the identification of its raw materials, processing, molding, firing, decoration, glaze and glaze selection, processing All technological processes, such as combination and combination, must rely on superb science and technology and their skills. The preparation of ceramic copper red glaze glaze is a key procedure and must be operated carefully. The performance and quality of glaze raw materials and coloring raw materials should be identified one by one. After meeting the requirements, the equipment can be accurately weighed and formulated according to the formula. Guarantee the glaze quality of copper red glaze. Copper red glaze raw material selection, weighing, crushing, pulping and other processes are closely related to the natural beauty of ceramic copper red glaze. According to relevant data, the formulation of ceramic copper red glaze has evolved over thousands of years or hundreds of years of continuous exploration and development. From a scientific point of view, the use of copper-red glazes is a major leap in the history of the development of copper-red glazes. It laid a certain foundation for the natural beauty of ceramic copper red glaze. Glazing is also an important process in the copper red glaze manufacturing industry. Improper handling will affect the color rendering effect and product quality. Different types of copper red glaze and different blank tires should use different concentrations of glaze and different methods of glazing. Seek appropriate glaze thickness and desired color rendering. According to historical records: China's enamel kiln began to use in the reduction of red copper oxide as a coloring agent, the main enamel enamel glaze method is in the white glaze under the copper red glaze, under the thick moon white glaze below, firing When the red through the white glaze slightly exuded, showing a dream-like glazed glaze transferred to. If the copper red glaze sprinkled into the stream firing seat pottery dish is not worthless less effort end Hshi red glaze similar kind of sister grass mouth two. However, Yongle and Xuande red glaze's “bookmark2 glaze of the lamp will faintly show its wonderfulness compared with the white glaze. If it is painted on the porcelain body, it will be dyed with purple red, so as to achieve natural beauty. Interestingly, it reflects the traditional Chinese beauty of the deep thinking and advocating natural authenticity, insinuation and infatuation, and taking natural simplicity and mysterious beauty as the ideal beauty. In the traditional production of copper red glaze, the defects of styling and glaze have always been considered to be incomplete and unsatisfactory. However, ceramic technicians are good at seeking their inherent character, texture and external shape, color and texture from the complex phenomena. Be good at grasping and using what was considered to be a defect in the past. After thinking backwards, he will serve the copper red glaze process innovation. According to some infrequent effects in the innovation process, he will correctly and purposefully change to an aesthetic form and give full play to the craft. The natural beauty left in the process, especially the bare material and the signs of texture, texture, color, and natural beauty inherent in the natural imagery of the kiln, continue to show a dignified and high-spirited atmosphere, with a concise language and deep aesthetic meaning. With brilliance. The ceramic copper red glaze has added endless inspiration and elegance to the innovation. This is exactly the value of the process condition that the ceramic copper red glaze has the aesthetic charm of a natural beauty. The ceramic copper red glaze has many kinds of processing methods such as plastic, scraping, cutting, and engraving on the porcelain of the porcelain, so that the porcelain surface can produce many texture effects and is extremely expressive. Although the process conditions can control the products and use them properly, it can also give inspiration to the production, increase the vigor of the copper red glaze products, and use new techniques and new materials to further expand and deepen the process of expression and theme, and further achieve the natural beauty of copper red glaze. The highest realm. 3 Art of fire (kiln change) In the past 100 years, according to domestic and foreign scholars' research on Chinese traditional copper-red glazes, it is indicated that the most desirable color of copper-red glazes should be given in addition to proper composition of glazes. One aspect of this is whether the firing is appropriate. Although the conclusions reached by the individuals are not the same, the same view is: The copper red glaze must be burned in an appropriate reduction flame. Chinese ancient ceramic artists used “copper†as a coloring agent and a special firing process to create many valuable ceramic red-copper glaze works with natural beauty. At the same time, they also keenly discovered that a well-baked ceramic copper red glaze works not only requires an appropriate reducing atmosphere, but also requires the presence of trace amounts of free oxygen in the high temperature stage to ensure the formation of a bright red color. The use of copper as a colorant began in the Han Dynasty lead green glaze. But at that time, copper appeared green in the low-temperature lead glaze and oxidizing atmosphere. Later found that copper can also make high-temperature lime glaze into a beautiful red glaze in a reducing atmosphere. However, the firing of copper-red glaze is technically very difficult. The normal copper coloration is not only related to the content of copper and the composition of the base glaze, but also very sensitive to changes in the temperature and atmosphere of the kiln, often due to slight variations in the formula and firing conditions, which can cause hue variations. Sometimes even the same formula, under the same firing conditions, will appear in different shades. In order to find a variety of color glaze suitable in the same kiln now, according to different parts of the temperature and atmosphere, and different devices, will produce a variety of natural and beautiful glaze. The Song Dynasty kiln potters, who first produced copper-red glazes in China, had not yet precisely controlled the parameters of the firing process, and it was difficult to burn out the red enamels. Phosphorus phosphor and phosphorus, multi-colored osmotic, like flowing clouds, blue sky pink glow like red glaze. The copper red glaze that developed from the Song Dynasty red stone reached a qualitative leap in the Ming and Qing dynasties. Chinese ceramic artists not only learned that copper generally has the property of volatilization when burned above 800 degrees Celsius, but also Practice has mastered the firing process of copper volatilization. The so-called "copper volatilization" is the use of glazes of different properties, which are hung on two or three layers. In the bottom is a specially selected refractory glaze that contains copper. The surface is hung with a relatively friable glaze. A small amount of copper-reducing substances (20% or less), such as tin or iron, are mixed in, and then heated to about 1200 degrees Celsius. The lower copper volatilizes and penetrates into the upper layer and is reduced. Secondly, it was oxidized and attacked. Because of the strength of the atmosphere, the density of copper, and the amount of ferro-tin, it was oxidized or crushed into various sizes scattered in the glaze to reveal its complex subtle green or pink. When firing a copper red glaze, complex copper distribution is first performed, and the reduction flame is used for calcination. Then oxygen-rich air is put in. This air is only put in a little, and the amount of oxygen must be finely adjusted before Keep the very easily changing copper color beautiful red. The ceramic artist of the Ming and Qing Dynasties had mastered the firing techniques of the copper-red glaze, so he created a variety of precious glazes of natural beauty, such as bright red, red, red lang, beautiful drunk, Sanyang Kaitai, and Song dynasty glaze. The bright red glaze fired during the Ming Dynasty in Yongle was bright and shiny. As originally condensing chicken blood, ceramic artists intentionally pursued the beauty of nature by deliberately riming the bright red glaze, resulting in a neat and natural light blue glaze (some For the green glaze) wide line, commonly known as "lamp grass mouth." The light green glaze (or blue-green glaze) of the rim of the mouth and the red glaze of the golden wares are engraved. In the period of Xuande, ceramic artists pushed the firing of high-temperature copper red glaze to a new peak. Xuande red glaze, glaze juice does not flow, glazed no crack texture, as a mirror, run like jade, dark and stable color, solemn and solemn, just like the sunrise under the jellyfish shower, but also like a treasure overflowing ruby. In the same way, they came from the pursuit of the beauty of nature and still retained the red-glazed white glaze during the Yongle period, resembling a white enamel band on a red enamel device. The copper-red glaze that was burned by Jingdezhen during the Qing Dynasty Kangxi period was originally used to imitate the gems and glazes of the Ming dynasty. However, due to improper control of the glaze mix and the conditions for the firing of the process, defects were caused, and the glaze was colored in different shades and had large cracks. However, ceramic artists are surprisingly successful and clever use of this technical shortcoming to launch a unique new copper red glaze Yilang Kiln Red. This red glaze, due to the natural flow of glaze during the firing process, the more the gold device goes down, the more intense the red color is, and its glaze tone has a brilliant red glass. The rims and feet of Langyao red glaze also have white mouths formed with nature, Yongle and Xuande grass mouths. The mouth and feet of Kangxi Langyao red glaze in the Qing Dynasty were artificially applied. The thick layer contains powdery white glaze or sauce white glaze.At the same time, the mouth glaze and sole glaze of the utensils are not consistent with the red glaze of the body, and some are white glazes with small fine grain patterns, and some are pale Apple blue, and some yellow rice color.Some utensils for the apple blue utensils, the foot is apple green or blue and white, revealing the halo of red glaze, and showing a natural changing taste. Jingdezhen ceramic artist's “Beauty Lady†is the most valuable and hardest-to-burn variety in copper red glazes. Its coloration is also ever-changing, and some of them are densely colored, such as dark red, in pink. The jellyfish were drunk; some were dark red, gradually fainting into light red tones, such as peach blossoms; some were slightly yellowish or light green at a lighter part of the deep red; some were red and green. , In the pink glaze color, interspersed with light green moss, its natural changes in the wonderful, non-human skill can match. Kangxi ceramic artists in the Qing Dynasty also combined their own invented Wujin glaze and copper red glaze firing technology to create a famous Chinese and foreign “Sanyang Kaitai†high-temperature color glaze. This colored glaze is based on the dark shiny black gold glaze, supplemented by the radiant Lang Kiln red, decorated on a light and exquisite flat bottle. A circle of kiln red enamel was painted on the blank's mouth of the blank, and three suns were painted with copper-red glaze in the middle of the vase. The rest were painted with gold. Since the copper red glaze and the black gold glaze used are high-temperature colored glazes with high fluidity, the glaze naturally flows and melts under a certain firing temperature and firing atmosphere. After firing, the mouth of the device presents a ruddy reddish tone, with three brilliant reds on the glazed surface of the belly of the device. The glaze is spread out from the red, and gradually fades into a light sea color, and then it turns into green. Among them, there are three black pigments, mainly black, followed by variegated colors, like a dark night sky, and the red sun sprays out. The sun is surrounded by light, yellowish, green, changing colors, forming a red and black, In order to simulate Zhouyi, the first month is too ambiguous, three yang are lower, and winter should be spring to come, Yin Xiao Yang Chang's implication of all things Kaitai. The ceramic copper red glaze is the art of fire. The mystery and change of the fire brings to the creation of the copper red glaze a natural twist that cannot be achieved by any artistic creation. Although people are constantly summing up, mastering, and using, they still have It is unpredictable and full of naturalness. (The more traditional the kiln, the stronger the naturalness, the more varied.) Because ceramics have to undergo changes in firing, such as shrinkage, deformation, material texture, texture, and texture. Jingdezhen ceramics artists often say before the kiln: “It's good to see a fire,†“Good is a treasure, not a good thing is a grass.†The fire makes ceramic artists in the copper red glaze art activities forever. Mysterious nature. 4 The artistic expression of natural beauty Different arts have different forms of expression. The artistic expression of the natural beauty of ceramic bronze red glaze relies on the artist's rational use and creation of raw materials, with its abstract natural beauty, natural beauty of artistic conception and expression of comprehensive natural beauty. . Give people inspiring beauty and enjoying beauty. 1 The artist uses and creates the natural beauty form material to create the product of its creation, its development, its aesthetic interest, its artistic value, in the artist's use of raw material creativity, not in the tradition of ceramic copper red glaze raw materials. How deep is the foundation and how high social status is. The reproduction of life in art is not a simple repetition of life. The raw material from life is not a work of art. For example, in the collection of the “Pine, Bamboo, and Plum†vases of the Yongzheng Blue and White Plum Blossoms in the National Palace Museum, the picture of the bottle body is based on the artistic level of the works, considering that it depends not only on how close its image and life are, but also on how it looks. What is the difference between the image and life, but also notice the natural beauty of copper red glaze in the works. The artist also believes that the superficial record of the phenomenon of life can neither enhance people's understanding of life nor meet people's aesthetic needs. Therefore, in this work, in order to highlight the artistic effect of the texture of the picture and at the same time distinguish it from life, the sun, plum, and trunk are painted in glaze red, bamboo leaves, rocks, and branches are painted with blue flowers to show sunlight. Shine, bamboo, and plum blossoms. To make the whole work original to life, but higher than life, resulting in the peculiar, blurred trend of the picture, highlighting the entire theme of the theme of implication, give full play to the natural beauty of copper red glaze in the works, making "pine, bamboo, plum The symbolic character of naturalization is more vividly presented to people. 42 Copper Red Glaze abstract natural beauty form 1 ceramic copper red glaze glaze is the reproduction of the original view of the ceramic artist in our country, n is the natural beauty of extracting e image and self-recognizing h and therefore bookmark3 ceramic copper red glaze, it is spiritual Creation, at the same time, is also a means of creating the soul. She demands that, under the guidance of certain aesthetic principles, all possibilities and arbitrariness should be tried. The purpose is not to imitate life's reality and nature, nor is it to imitate the surface of other art forms. It pays more attention to its own laws. The emotions it expresses are “not the direct feelings of human beings to the objective worldâ€. Instead, they create abstract images through natural textures and colors. They show the beauty that can touch people’s hearts and have a unique artistic appeal. Abstract natural beauty. The kiln-changing flower glaze in the ceramic copper red glaze is formed by the high-temperature kiln fire and the natural flow of the glaze. The glaze color is not a pure red, but it is reproduced on the red base glaze. The colored silks are of various shapes and intriguing thoughts, like the various abstract forms in the natural world: some like the willows dancing in the spring; some like the wave of wrestling waves; some like the fireworks in the festival, etc., varied and varied . Give people a feeling of abstract natural beauty. Another example is: The ceramic work “Flame†created by us is a copper-red glaze that expresses the flame momentum through texture and color. The whole work reflects the abstract natural beauty. On the form, the blank is first drawn into a waist drum shape, making full use of the softness of the porcelain clay to create a symbolic body that resembles a flame, making use of the original hand pattern to make a dense transition from bottom to top. In order to express the metaphor of the annual rings, the blank tires are dug up and rewound at the moment of coarse and fine rotation texture. The artificial, natural and original textures are combined with each other, and then the copper red glaze is sprayed from the bottom up and fired at a high temperature to produce a natural and deep transitional color. In addition, the copper red glaze is exposed to a pale red The texture of the natural texture, the body in the decoration of the copper red glaze more show the natural style of abstract fire "flame" art, it is expressed in the "flame" is not a good desire for people to make works "flame" The vivid color of the copper-red glaze (brown-red) texture is expressed to achieve a natural, abstract and mysterious beauty. 3 Copper Red Glaze Artistic Natural Beauty Form Ceramic Copper Red Glaze Pursuit Artistic Conception Natural beauty is the soul of the work and is the core of artistic appeal. It can give people a beautiful enjoyment. Like the National Palace Museum's collection of red glaze discs. The author applied the red glaze to the surface of the disk, because the glaze red glaze often flows naturally during firing, and then the leaves are pasted with a white-white glaze, added to the unburnt blusher glaze pan, and then burned into the kiln at high temperatures to burn the blush. The glaze is burned by high temperature and becomes like sunset water, but the leaf-shaped white-white glaze remains as it is, so that the glazed picture of the plate appears as a psychedelic scene of “full plate of sea water, leafy leaves, and evening sun shining on the fishing boatâ€. Another example is the two-piece blue-and-white enamel bottle created by us. This is a piece of art made of copper-red glaze, which is highly decorative and metaphorical. It looks like a background of green and white porcelain. Water, like heaven, makes full use of the surreal, exaggerated colors of copper-red glaze to express the reeds, pool embankments and endless horizons, to show people in front of the vast lakeside under the setting sun, and to open their own hearts and minds. Waiting and looking forward to (Hong Kong's return to the mother's arms), the work itself has a decorative language of unique art, giving people inspiration, association, and thinking, facing the work, a kind of natural beauty that is like being in the environment, Coupled with the use of blue flowers dotted a few wild geese, it is more dynamic, an enticing natural beauty scene adds to the persuasiveness of artistic life, resulting in a graceful and graceful charm. 4 The comprehensive use of the natural beauty of copper-red glaze The ceramic copper-red glaze has its unique artistic charm but it also has limitations of its own artistic language. Therefore, while perfecting its artistic style, it also complements other artistic essences to complement each other. The red glaze has a more natural beauty. For example, in the creation of the work “Huiâ€, the author first takes a natural attitude toward the intended goal and mood. Make full use of and give full play to the unique natural beauty of ceramic copper red glaze. With the help of other artistic expressions, apply a transparent cyan glaze to the porcelain of the hand, knife, anti-shun, and contrasting textured grain. Then use the red glaze, randomly sprayed from top to bottom, thin, thick, light, and thick. After firing in a high-temperature reducing atmosphere, light blue is naturally exposed at the thin and light areas, while the glaze and glaze are naturally glazed. At the transitional area, natural textures are created, transitional colors are blended, and gradients are produced from top to bottom; levels of light red, red, dark red, purple, purple, purple, and black are different, presenting a rich natural beauty unique to copper-red glazes. , to further express the sense. Has a unique artistic conception of returning to nature. The atmosphere of "Hui" was created and natural beauty was presented. In order to further enhance the ability of ceramic copper and red glaze to express it more abstractly, artistically and naturally, the author adopted a combination of integrated arts, and carried out the principle of “adding color to the class†to the works, in an appropriate manner. The location is decorated with pastels, new colors, humans, cows, and birds, vividly depicting a thick natural taste. The unity and coordination of the overall works are extraordinarily natural, lively, and harmonious without any feeling of swaying. The overall artistic effect is rich, full of rich flavor of pastoral life, giving people another example, Phoenix glaze. This kind of glaze is made by combining the use of flower glaze, crystal glaze and copper red glaze. It combines traditional copper-red glaze with crystal clear, brilliant, brilliant and distinctive features, and traditional copper-red glaze does not have The new characteristics of the flowers in the glaze. This is because the crystallization material contained in the glaze is not destroyed, eroded, or rushed by the base glaze during high-temperature calcination, but penetrates into the base glaze to form various colored patterns. Some are blue-blue, surrounded by natural entrapment in the glaze, like a peacock; some are colorful, a trace of stretch, like the beauty of the natural landscape, in the light, the glaze These patterns are even more colorful and beautiful. They seem to be natural things like the sun and the moon, landscapes and flowers, gardens and fields. They are very interesting. The natural beauty of this synthetic art of ceramic, copper, red and glaze is the same as the thought expressed many times by the famous philosopher Chuang Tzu in the pre-Qin period: Heaven and earth have great beauty "," the sage is willing to heaven and earth to achieve the beauty of all things "; Both ambiguous, reverted to Park." From the point of view of aesthetic value, Zhuang Zi’s natural beauty, which extols nature without exception, is the artistic charm of ceramic copper red glaze. The ceramic copper red glaze cuts into the art with its natural beauty, grasps the foundation of the ideal of the world as a manifestation of nature, and values ​​and explores the internal characteristics and development of natural beauty and art itself. It is because of the ceramic copper red glaze art to create the natural beauty of meaning, so it is like a deep sympathetic symphony of philosophy, leaving a generous space, guiding people to memorize life, facing reality, imagining the future, giving people unlimited The association and the enjoyment of a noble aesthetic. 5 Conclusion The natural beauty of ceramic copper red glaze depends on raw materials, technological processes, kiln fire, and the wisdom of ceramic artists. They are the organic combination of the whole, is the comprehensive product of the material and spiritual (goods) complement each other, and the differences are all missing. Its unique, multifaceted and complex production technologies determine its unique properties. It is not only a science and technology category, but also an art creation. In addition to its aesthetic value, it also has economic value, practical functions, and is the materialization of beauty. The reason why the natural beauty of ceramic copper red glaze has today's glory is the inevitable result of ceramic artists of all ages who have actively exerted the full use of ceramic copper red glaze material, process flow, and kiln fire characteristics. Art creates a new artistic masterpiece in a broader spiritual realm. Ceramic artists must create a natural world of ceramic copper-red glaze with a new era of inherited traditional arts. This will allow us to identify the ancients, discover the future, and develop, use, and push the ceramic glazes. To a new peak, let the natural beauty of ceramic copper red glaze shine even more.
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