Chapter 10
附录
Appendix
651
of 659

English Translation
Physical artifacts and written records can only be traced back to the Qianlong period of the Qing Dynasty, with works by Wang Nanlin, Yang Youlan, and Shao Jizu. *The Yangxian Minghu Xike Tu Kao* records "original colors with added five-color floral decorations, extremely refined and skillful." This was because during the Kangxi, Yongzheng, and Qianlong periods of the Qing Dynasty, the painted porcelain of Jingdezhen reached its peak. Purple clay colored glazes were actually a conscious imitation of porcelain's famille rose decoration, leading purple clay and porcelain decorative styles down a path of achieving the same effect through different means.
## Glazing Technique
The nature of the glaze belongs to sodium-containing fusible glazes (also used as decorative painting materials). The preparation process involves first firing the glaze materials into frit, then mixing and finely grinding before use.
The glaze layer or painted decoration is applied to already biscuit-fired products, placed inside saggars for firing, with a firing temperature of 800°C to 900°C. The sodium-containing fusible glaze used for purple clay differs from lead-containing fusible glazes because the raw materials used are different. The base materials are locally sourced, and the glaze has good covering properties. Because the purple-red color itself is quite dark, it requires both good coverage and a bright glaze surface. For fully glazed products, due to slight differences in the expansion coefficients between the clay body and glaze surface, a network of crackle patterns forms after removal from the kiln. Therefore, general descriptions state that Yixing purple clay's "furnace Jun" glaze imitates the crackle glaze of Song Dynasty Ge ware. As a type of ceramic decorative glaze for identification purposes, it indeed possesses an antique charm, forming its own distinctive style.
---
*(Published in 1991, Yixing Purple Clay)*
Chapter 10
附录
Appendix
Pages 526-651
View Chapter →
English Translation
Physical artifacts and written records can only be traced back to the Qianlong period of the Qing Dynasty, with works by Wang Nanlin, Yang Youlan, and Shao Jizu. *The Yangxian Minghu Xike Tu Kao* records "original colors with added five-color floral decorations, extremely refined and skillful." This was because during the Kangxi, Yongzheng, and Qianlong periods of the Qing Dynasty, the painted porcelain of Jingdezhen reached its peak. Purple clay colored glazes were actually a conscious imitation of porcelain's famille rose decoration, leading purple clay and porcelain decorative styles down a path of achieving the same effect through different means.
## Glazing Technique
The nature of the glaze belongs to sodium-containing fusible glazes (also used as decorative painting materials). The preparation process involves first firing the glaze materials into frit, then mixing and finely grinding before use.
The glaze layer or painted decoration is applied to already biscuit-fired products, placed inside saggars for firing, with a firing temperature of 800°C to 900°C. The sodium-containing fusible glaze used for purple clay differs from lead-containing fusible glazes because the raw materials used are different. The base materials are locally sourced, and the glaze has good covering properties. Because the purple-red color itself is quite dark, it requires both good coverage and a bright glaze surface. For fully glazed products, due to slight differences in the expansion coefficients between the clay body and glaze surface, a network of crackle patterns forms after removal from the kiln. Therefore, general descriptions state that Yixing purple clay's "furnace Jun" glaze imitates the crackle glaze of Song Dynasty Ge ware. As a type of ceramic decorative glaze for identification purposes, it indeed possesses an antique charm, forming its own distinctive style.
---
*(Published in 1991, Yixing Purple Clay)*
章节导航 Chapter Navigation
Chapter 1
序文
Pages 6-6
Chapter 2
引言
Pages 28-31
Chapter 3
达变
Pages 32-133
Chapter 3
开宗立派
Pages 46-66
Chapter 3
传道授业
Pages 67-98
Chapter 3
大师淳友
Pages 99-120
Chapter 3
学艺谋生
Pages 121-133
Chapter 4
化神
Pages 134-141
Chapter 5
独妙
Pages 142-405
Chapter 5
匠心独运 不苟丝毫
Pages 142-179
Chapter 5
器利善事 物尽其用
Pages 180-199
Chapter 5
紫泥春华 研精究微
Pages 200-405
Chapter 6
驾简
Pages 406-427
Chapter 6
精雕细刻 文质合一
Pages 406-410
Chapter 6
师法自然 妙趣横生
Pages 411-415
Chapter 6
丝来线去 曲尽其妙
Pages 416-427
Chapter 7
明志
Pages 463-485
Chapter 7
高山仰止 淡泊明志
Pages 463-472
Chapter 7
啜墨看茶 气定神闲
Pages 473-478
Chapter 7
齿少心锐 怡志抒情
Pages 479-485
Chapter 8
存真
Pages 428-462
Chapter 8
规圆矩方 弃伪存真
Pages 428-436
Chapter 8
有物有则 钻尖仰高
Pages 437-462
Chapter 9
心营
Pages 506-525
Chapter 9
坚守传统 艺立潮头
Pages 506-513
Chapter 9
新型师承 桃李满园
Pages 514-525
Chapter 10
附录
Pages 526-651
Chapter 10
顾景舟紫艺论文
Pages 526-535
Chapter 10
技术课备课笔记
Pages 536-543
Chapter 10
顾景舟艺术年表
Pages 544-651
Chapter 11
参考文献
Pages 652-657
Chapter 12
鸣谢
Pages 658-659