Low-temperature color belongs to ceramic glaze decoration color, mainly composed of colorant and flux. Its melting temperature is relatively low, generally between 750°C and 850°C. The colorants include colored metal oxides, colored silicates, sodium salts, aluminates, chromates, ferrites, and the like. They form a solid solution or suspension in the pigment. The flux is a glass body with a low melting temperature and is an alkali silicate glass, borate, aluminosilicate glass, or lead silicate glass. The colorants and synthetic colored minerals have higher melting temperatures and do not melt at low temperatures. It is necessary to add a low-temperature flux as a medium to lower the melting temperature of the pigments and firmly adhere to the porcelain surfaces. Because of the lower firing temperature of glaze painting, many ceramic pigments can be used, so the colors painted on the glaze are extremely rich.
1. Gu Cai China's oldest low-temperature glaze color decorative paint is ancient color. Judging from the current archaeological data, the colorful porcelain that was drawn with it first appeared in the Central Plains area nearly a thousand years ago. Like the glazed glazes of ancient times, it was very likely to be imported at first. It was a glazed pottery painting technique in West Asia and was introduced to China through the Silk Road. Of course, most scholars believe that ancient color pigments and low-temperature glazes were independently invented by the Chinese people.
Jin Caijin, a precious metal, has been extremely noble in people's minds since ancient times. Naturally, it cannot be used to decorate porcelain. The gold color decoration process on ceramics is mainly divided into three stages of development. First, the gold foil decoration stage. Second, the principal decoration stage. Third, foreign gold decoration stage. Under normal circumstances, we can roughly determine the production age range based on the gold color characteristics of the artifacts.
Both the Ming Dynasty and the Ming Dynasty used gold foil decoration technology. At present, we know that the earliest artifacts decorated with gold color are the Tang Dynasty painted pottery figurines, and the number is very small. The number of porcelains decorated with gold color after the Song Dynasty gradually increased, but overall it was still small. The reason is that it is likely that the gold-colored processing technology at this time does not belong to the scope of the ceramic processing technology. It should be the gold shop responsible for processing at that time, and it belongs to another business. Because we rarely find gold-colored tiles in ancient kiln sites, we find them in ancient tombs, ancient kiln burials, and ancient cultural relics.
Gold is a very ductile metal material. The ancients made use of this feature of gold and first processed it into gold foil. The method is to first beat the gold cricket into a gold leaf 1 mm thick, commonly known as "open sliver." Then they are separated by gold paper between each gold leaf. Each forty gold leaves is a bundle and tied into bags. Then hit the stone with a golden hammer and beat it to a thickness of only 1/3 bamboo paper.
At present, we have found that there are two methods for decorating porcelain with gold foil. One is gold, a kind of gold. The former uses a brush to write or draw patterns directly on the porcelain surface. When the glue is half dry, the gold foil is affixed and compacted. After the glue is dry, the gold foil outside the pattern is brushed off with a stiff brush. Only Leave a gold color pattern at the glue. The latter is to use a hard tool to engrave in the glaze, and then in the engraved groove filled with plastic, gold, to be dry glue and then remove the gold foil outside the groove. Whether the former is the latter or the latter, the ancients are inseparable from sticking gold foil with glue. What glue they use in the end is very different. There are different opinions about using garlic juice and lacquer. It is still an unsolved mystery. . I believe that the possibility of using lacquer is even greater. Since the glue used for gold foils is organic, it has been solved most of the time after hundreds of years, and the coating is very thin, leaving few people behind, and it cannot be cracked without high-tech means. At this time, the golden color is not strong enough, and most of the people preserved so far have been evaporated, leaving only traces. It can be seen that because of the high cost and poor practicality of the gold foil decoration process, the number of adopters in the year is very small, and few are preserved. They are all national treasures. Strictly speaking, at this time, the gold color processing technology does not belong to the ceramic burning process, it is similar to the gold lacquer inlay, and is subordinate to the deep processing beyond the ceramic production.
1. Gu Cai China's oldest low-temperature glaze color decorative paint is ancient color. Judging from the current archaeological data, the colorful porcelain that was drawn with it first appeared in the Central Plains area nearly a thousand years ago. Like the glazed glazes of ancient times, it was very likely to be imported at first. It was a glazed pottery painting technique in West Asia and was introduced to China through the Silk Road. Of course, most scholars believe that ancient color pigments and low-temperature glazes were independently invented by the Chinese people.
Jin Caijin, a precious metal, has been extremely noble in people's minds since ancient times. Naturally, it cannot be used to decorate porcelain. The gold color decoration process on ceramics is mainly divided into three stages of development. First, the gold foil decoration stage. Second, the principal decoration stage. Third, foreign gold decoration stage. Under normal circumstances, we can roughly determine the production age range based on the gold color characteristics of the artifacts.
Both the Ming Dynasty and the Ming Dynasty used gold foil decoration technology. At present, we know that the earliest artifacts decorated with gold color are the Tang Dynasty painted pottery figurines, and the number is very small. The number of porcelains decorated with gold color after the Song Dynasty gradually increased, but overall it was still small. The reason is that it is likely that the gold-colored processing technology at this time does not belong to the scope of the ceramic processing technology. It should be the gold shop responsible for processing at that time, and it belongs to another business. Because we rarely find gold-colored tiles in ancient kiln sites, we find them in ancient tombs, ancient kiln burials, and ancient cultural relics.
Gold is a very ductile metal material. The ancients made use of this feature of gold and first processed it into gold foil. The method is to first beat the gold cricket into a gold leaf 1 mm thick, commonly known as "open sliver." Then they are separated by gold paper between each gold leaf. Each forty gold leaves is a bundle and tied into bags. Then hit the stone with a golden hammer and beat it to a thickness of only 1/3 bamboo paper.
At present, we have found that there are two methods for decorating porcelain with gold foil. One is gold, a kind of gold. The former uses a brush to write or draw patterns directly on the porcelain surface. When the glue is half dry, the gold foil is affixed and compacted. After the glue is dry, the gold foil outside the pattern is brushed off with a stiff brush. Only Leave a gold color pattern at the glue. The latter is to use a hard tool to engrave in the glaze, and then in the engraved groove filled with plastic, gold, to be dry glue and then remove the gold foil outside the groove. Whether the former is the latter or the latter, the ancients are inseparable from sticking gold foil with glue. What glue they use in the end is very different. There are different opinions about using garlic juice and lacquer. It is still an unsolved mystery. . I believe that the possibility of using lacquer is even greater. Since the glue used for gold foils is organic, it has been solved most of the time after hundreds of years, and the coating is very thin, leaving few people behind, and it cannot be cracked without high-tech means. At this time, the golden color is not strong enough, and most of the people preserved so far have been evaporated, leaving only traces. It can be seen that because of the high cost and poor practicality of the gold foil decoration process, the number of adopters in the year is very small, and few are preserved. They are all national treasures. Strictly speaking, at this time, the gold color processing technology does not belong to the ceramic burning process, it is similar to the gold lacquer inlay, and is subordinate to the deep processing beyond the ceramic production.
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