How to identify the authenticity of Ru kiln and its outstanding characteristics?

Ru kiln is known as the first of the five famous kilns in Song Dynasty. It was first mentioned by Xu Jing, the envoy to North Korea in the fifth year of Xuanhe in the Northern Song Dynasty. He mentioned for the first time that "the rest of Yuezhou ancient secret colors are similar to Ruzhou new kiln". Ye in the Southern Song Dynasty wrote in Tan Zhai: "At present, Ruzhou is made into a blue kiln, and because Dingzhou white porcelain has awns, Tang, Deng and Yaozhou in Hebei know Ruyao is the first." It is worth mentioning that Zhou of the Southern Song Dynasty wrote a questionable record in Qingbo magazine. He said, "Burning is forbidden in Ruyao Palace, and agate is glazed in it, which can only be sold after being picked up by the imperial court, which is particularly rare recently." There seems to be a mistake in the sentence "Don't burn in the palace" in the book, or there was a mistake when people copied it at that time. If so, where did the Confucius kiln come from? So the word "burn" in this "don't burn" is probably the word "sell". In the era of feudal imperial power, if burning palaces was forbidden, who would dare to go against their will and risk killing all nine families? The correct original text should be "it is forbidden to sell in Ruyao Palace, and agate is glazed inside, which is only for imperial selection and return. It is sold in our company and is particularly rare recently". This is more fluent in arts and sciences and more in line with historical facts. In addition, the word "Yu" is not synonymous with the emperor. When reading ancient documents, we can't stick to literal explanations. How could the emperor condescend to do the work of picking porcelain? That's no joke! It is even more inconsistent with the feudal system. The ancient emperors were supreme emperors. How could they choose porcelain in this respect? This not only violated rationality, but also obeyed the feudal system, which was impossible in the Song Dynasty. But what does the word "empire" mean? Anyone who has browsed the history of Song Dynasty knows that the imperial court in the Northern Song Dynasty has the organizational system of the Palace Provincial Department, which consists of six major departments: Shangyi Bureau, Shanggong Bureau, Shangyi Bureau, Shangyao Bureau, Shangshi Bureau and Shangshui Bureau. They specialize in catering, tourism and hunting, sacrificial costumes, medical care, and daily work such as ancestral temple sacrifice, temple garden repair, palace furnishings, antique supply, and dining utensils. Among these numerous affairs, there is an official who is in charge of ceramic quality inspection. His professional title is "Dianyu". The word "Yu" mentioned in Qingbo magazine is the omission of "Yu". We can prove it from a passage in the tenth volume (Baijiayan topic) of Daoguang Xiuwu County Records. The record is as follows: "Zheng Yiwei (the author noted that in the fifth year of Zheng He in Song Huizong (AD 1 15), on July 25th, he ordered the imperial court to send a winemaker's car to Taiyuan, because he went to Ochekou to inspect pottery." Doesn't this just show that "Dianyu" is a full-time official used by the imperial court to test the quality of ceramics? The records in Daoguang Xiuwu County Records clearly defined the meaning of the word "Gong Yu" in Zhou Qingbo Magazine. Xiuwu County, formerly known as Huaizhou in the Northern Song Dynasty, is also the location of Dangyangyu Kiln in the Northern Song Dynasty. According to the broken records of Dangyangyu Village (Deying Monument)? There are hundreds in Leeds, and more than 10,000 people support them. "This is enough to show the prosperity of the porcelain industry in Dangyangyu kiln, so the court sent an imperial envoy from Taiyuan Wang Daochun to Dangyangyu kiln in Huaizhou to inspect the porcelain needed by the court. From the Daoguang Xiuwu County Records, we know that Dangyangyu Kiln also burned tribute porcelain for the Northern Song Dynasty in the Song Dynasty, which has never been seen in China's ancient porcelain books. This may be due to the novel product technology and innovative cymbal mounting technique of Dangyangyu kiln, which created a dual-purpose carving technique and a typical multi-color glaze carving method. In addition, strangulation and tricolor are quite stylish, so it is natural for the court to send an imperial official to check it. But the word "imperial code" has been ignored and misunderstood by porcelain scientists and connoisseurs for hundreds of years. The most typical is Li Rihua's Zitaoxuan Miscellaneous Notes in Ming Dynasty. He said, "There were very few agate powders used as glaze in Ru kilns, and it was only for imperial use at that time.". Agate powder is glazed, but agate is produced in Ruzhou. "History of Song Dynasty" recorded that "governing Jing Xi Pit and smelting Wang Jing", but he misunderstood the word "for the Forbidden City". He thought "for the imperial court" was for the emperor, but it was actually for the quality inspector to check its quality. He misunderstood. Li Rihua is a scholar in Wanli for twenty years. He is an official in Taibu Temple and a learned scholar. This misunderstanding still appeared, so the predecessors said that "no matter how smart a person is, he may worry that he will lose."

On page 285 of the History of Chinese Ceramics, the argument about Ruyao said: "Ge Guyao's theory that those with crab claws are true, and those without crab claws are especially good." The two books "Eight Essentials of Respect for Life" and "Mi Qingcang" further extended, saying that "the brown eyes in the juice are hidden like crab claws." This makes it difficult to understand that brown eyes are defects in glaze. How can a small brown spot as big as brown hair cause crab claws? Gao Lian didn't understand Cao Zhao's original intention of writing crab claw patterns. So it is wrongly extended to make people fall into fog. "After reading this discussion, people can't help asking, how to understand the original intention of Cao Zhao's crab claw pattern? There are no regrets in the history of China ceramics. The author highly praised Gao Lian's moral article "Lohan comes out of the dust, and living on earth is the true fairy". He is knowledgeable and practical, and he is good at studying archaeological objects. Now I would like to sum up Gao Lian's exposition of Ru kiln: "The color of Ru kiln is white, and the juice is bright and thick, like a pile of fat. The brown eyes in the juice are hidden like crab claws, and there are sesame seeds at the bottom. "I will extract the original text of Cao Zhao's" Ge Gu Yao Lun "and write it below:" Ru kiln is out of Ruzhou, and it was light blue when it was burned in the Song Dynasty. It is true that there are crab claw patterns, especially those without patterns, and the soil veins are wet and thin. " The above is taken from the original words of Gao Lian and Cao Zhao. Gao Lian's original words were "hide like a crab's claw", but the history of Chinese ceramics has become "hide like a crab's claw", which are two different concepts. Gao Lian said "hidden lines" under the glaze, while the history of Chinese ceramics said "obvious lines" on the glaze, which misunderstood Gao Lian's original intention. No wonder.

The formation of brown eyes in Ru kiln is a defect of glaze. In order to spread the glaze evenly on the green body, it is necessary to have a high initial melting temperature in the kiln to ensure that the decomposition and oxidation of carbonate, sulfate and other base oxides in the green body can be discharged in time before melting. Otherwise, brown eyes will be formed and glaze shrinkage points will appear. The reason is that if the initial melting temperature in the furnace is low, the basic oxide in the tire cannot be decomposed and oxidized in time and discharged outside, but remains in the body. When fired at high temperature, it will be continuously decomposed and oxidized and discharged into the glaze, forming bubbles with different sizes to collide upwards, squeezing the molecules around the glaze, destroying the smoothness of the glaze, and forming brown eyes and glaze shrinkage points with different sizes. This is a situation. In addition, there is another reason: due to the insufficient stress of the tire mud, there are tiny gaps and moisture in the tire body, which continuously expand to the glaze surface after being vaporized at high temperature, leading to the appearance of the shrinkage point of the brown eye glaze, which is the mechanism of the formation of the shrinkage point of the brown eye glaze in Ruyao. Not long ago, China Cultural Relics Newspaper published a chapter on Biography of Ancient Porcelain of Song Ruyao, which wrote: "Its remarkable feature is that there are many points of glaze shrinkage, especially at the mouth of some utensils, fetal bones can often be seen, which is why the mouth of some royal utensils is often wrapped with metal utensils. Now most imitations can't see those very natural and interesting glaze shrinkage points of different sizes. " The Ruyao porcelain seen by Fan Jun accords with what Gao Lian called "brown eyes in juice". It is also consistent with the Ruyao three-legged raft shown in the figure. What is absolutely excellent is that the calligraphy of all the objects engraved with the titles of the imperial palace in Qianlong is absolutely excellent, and there is no handwriting that is immature due to lack of skill. Because the writers are masterpieces of court masters of calligraphy and painting, while enjoying them, they can't help but yearn for the profound attainments of calligraphers enshrined in the court at that time, which is awe-inspiring. This special cultural and historical heritage escaped the catastrophe of the Cultural Revolution, inherited the context, embodied the context, and continued forever. It was not destroyed by the fire of the Cultural Revolution, but it was reduced to ashes on the echo wall of many years. It has the eternal charm of China culture and art and can never be reproduced. This is a lucky star. Very unique. There is also a passage in the model essay describing the largest Ru kiln: "The largest is the oval narcissus basin in the Palace Museum in Taiwan, with a height of 6.3 cm, a diameter of 18.5×26.4 cm and a bottom diameter of 15×22.6 cm, and a poem inscribed with Qianlong Imperial Inscription is engraved on the bottom of the basin." If I remember correctly, I remember this oval narcissus basin, which was recorded in the Tao Cheng Monument. This basin is called "annual eating basin", but it is the pinnacle of Ru kiln. During the Yongzheng period, the imperial government sent it to the imperial kiln in Jingdezhen, and Tang Ying was ordered to re-fire it according to this glaze color. This is the ironclad proof that Yongzheng imitated Ru kiln. But it was named the official kiln by Qianlong Yu. The poem said: "The official kiln can't tell the Song and Tang Dynasties apart. If there is no light in anger, it is a false alarm of the food container, but it is a reward. " "borneol is fragrant, Huaqing has no food. Who knows the urgency of Saburo? " In these two poems, Qianlong quoted a story of Xuanzong in the Tang Dynasty. Ming Taizu played a game with the guest, and the defeat was decided. In desperation, the imperial concubine put Guo Kang's son in a chess game to destroy the encirclement of the emperor. This classic comes from Youyang Miscellanies in the Tang Dynasty. In addition, Wang Ya, a poet in the Tang Dynasty, famously said that "a girl in white walks on the ground, but never sleeps on the red carpet", which proves that Duan Youyang Miscellanies is true, and "Huaqingchi is comfortable without food", saying that Yang Guifei's raising puppies in Huaqingchi is just right, and the painter of the Tang Dynasty is from Japan. The name of this so-called "food bowl" was originally decided by Yongzheng, but when Qianlong wrote the imperial book, he knew that it was not a "food bowl", so it was a "myth", and Qianlong was worthy of being a learned master. Crab claw pattern formation

The chemical composition of the glaze of any piece of porcelain belongs to aluminosilicate, in which the microstructure is a multiphase system composed of crystal phase, glass phase and pores, and this crystal phase gathers together in the form of polycrystal. During the firing process of porcelain, after the drying process, the glaze of the ware before firing in the kiln is solid, and it begins to transform from solid phase to liquid phase through thermal movement. In other words, the glaze layer is made by melting glaze, which is a very complicated process; It must undergo complex physical and chemical reactions such as decomposition, combination, sintering, melting and crystallization in the kiln to form the glaze layer. Whether it is high temperature, medium temperature, low temperature or various glazes such as lime, feldspar, lead, boron, etc. As long as it adheres to the surface of the substrate to form a thin continuous-phase glass layer, it must go through five physical and chemical reaction processes to obtain a smooth and bright glaze with strong hardness, impermeability and corrosion resistance to organic chemicals such as acid and alkali. Your glaze is no exception. The difference is that your glaze is made of agate powder. Although agate and Yingshi are both composed of silicon dioxide (SiO2), their crystal structures are different, so cotton-wool crystals are formed in the physical and chemical reaction of cooling crystallization and covered in glaze. This kind of hair crystal is like the hair image on the crab claw, so it is called crab claw pattern. As long as it is real Ru kiln porcelain, there is almost no exception, which is also a feature of Ru kiln porcelain, and it is also different from celadon produced by all kilns in the northern and southern celadon system in the Song Dynasty.