1. The forming process of the disc of Pinghe kiln is characterized by firstly rotating and digging the circle foot, and then applying the outer wall glaze. At the end of the Ming Dynasty, Jingdezhen porcelain was glazed first, and then circled, and the molding process was just the opposite. Therefore, the end face and foot end of Pinghe kiln plate are often splashed with glaze juice (outer glaze splashing), while the end face of Jingdezhen porcelain is unglazed, and the foot end is glazed or completely unglazed. After the fine porcelain tire feet are filled with glaze, a little glaze slurry is injected into the tire feet, and the tire feet are gently and evenly filled with glaze juice, and the excess glaze is poured out. Jingdezhen Green House calls this process "promoting glaze". Pinghe kiln has no "glaze-promoting" equipment.
2. The method of glazing outside the bowls and plates of Pinghe kiln is to splash or pour glaze, that is, while pouring glaze slurry, the blank with upward outer wall rotates back and forth quickly, so that the glaze slurry is evenly distributed and absorbed. Interestingly, in Jingdezhen, only the knife-maker's house that produces bottles and cans adopts this method of canning, and the operators are almost all potters from Fuzhou or Fengcheng. As for the process of glazing bowls and plates in Jingdezhen in the late Ming Dynasty, the illustration of "Yan Tao" in the Song Dynasty's "Tiangong" is very detailed: the Potter holds the blank with a slender rod with an oblique hook, and presses the center of the bowl (plate) with the other hand, so he sinks into the glaze boy. When sinking, it is required that the glaze slurry just soaks to the edge, but the glaze juice cannot flow into the bowl (plate). By applying external glaze in this way, the glaze layer on the outer wall of the object is not only uniform, but also has no splash marks.
3. After the outer glaze of Jingdezhen bowls and plates is turned to edge excavation, there is also a process of turning the outer edge of the edge into a narrow and unglazed hypotenuse, commonly known as "chamfering". In this way, even if the vegetables are directly burned on the sand residue, it is not easy to stick too much sand on the outer edge of the feet. As for exquisite porcelain, the end face of the circle foot is "inverted" into a loach back, and then baked on the porcelain clay cushion cake, and the sand residue is laid under the cushion cake without touching the porcelain blank. However, there was no "chamfering" process when Fujian late Ming porcelain was fully rotated. Because the feet are splashed with glaze juice, it will stick to the cake at high temperature, so you can't bake the cake with porcelain clay.
4. In Jingdezhen Kiln, in order to make the dishes stick to sand as little as possible and increase the packing density in the kiln, a section of convex profile was used when packing.
This kind of porcelain tool, called "slag roller", uses a round porcelain cake with a handle to grind the sand slag at the bottom of the box into a flat layer before loading. The product is fired directly on the flat and dense slag pad, and at most only a little fine sand will stick to the outer edge of the circle foot, and it is impossible for sand particles to stick to the inner glaze surface of the foot. Because the imitation porcelain kiln in Fujian Province in the late Ming Dynasty didn't use the "slag rolling" tool, the potter first put a pinch of sand in the box, and then put the bowl and dish blank directly on the uneven sand slag. Of course, the sand particles will stick to the place where the glaze juice splashes under his feet. Not only does it affect the appearance, but it also makes you feel uncomfortable when holding it. The use of "Slag Luo" as a tool for loading blanks in Jingdezhen Kiln is also related to the use of porcelain clay thin pad cakes to burn porcelain blanks and reduce the deformation rate of porcelain. Because if the sand slag is uneven, the porcelain blank is easy to crush the porcelain clay thin pad cake when it is packed, and the porcelain blank will shrink when it is baked, and it is easy to tilt and deform, and even stick to the box to cause waste.
5. Fujian imitation of late Ming porcelain, fetal bone loose yellow, or dense gray. Its looseness and yellowing indicate that the raw material has high iron content (about above l%) and is fired by oxidation flame. Its compactness and ash spreading indicate that it is fired in reducing flame, but the titanium content in raw materials is higher than that in Jingdezhen. Because its raw materials contain high impurities such as iron and titanium, whether it is oxidized flame or reducing flame firing, its porcelain tire is not as good as the middle-grade porcelain of Jingdezhen kiln. Jiajing/kloc was drowned in the floating beam in 0/9 and starved to death at the age of 20. The owner of Jingdezhen workshop took the opportunity not to pay Tao Gongde of Leping, which led to a fight and finally "sent away". Music potters "rob" to survive (Lu). Hutian kiln is the closest to Leping and bears the brunt. This event accelerated the decline of Hutian Kiln, and also promoted the process of Jingdezhen porcelain industry to concentrate in the urban area for the needs of the development of workshop handicraft industry. There are too many potters returning to Leping County, and they have no source of livelihood, which is a factor of social instability. The superior official in charge of handling this incident decided to set up Yongjing and Jiaxing towns in Leping to burn porcelain. Although its production process is copied from Jingdezhen, due to the lack of high-quality kaolin in Leping, its products can only reach the middle and low-grade or even low-grade level of Kyocera. The chapter "City" in Leping County Records also records: "Yongjing Town, Jiaxing Town and the two towns above the government records were built by superiors because of the disturbance of the floating beam of Jiajing Gengzi (1540) in the Ming Dynasty. But the soil and water are not good, Jiaxing is looking for waste. Although Yongjing has it, porcelain is coarse and evil, and it is gradually replaced by years old. " The investigation by Jiangxi Provincial Museum on the site of blue-and-white kilns in Leping, Jiangxi Province in the Ming Dynasty tells us that Huajia kilns are the most abundant, and the products have inscriptions such as "Made in the next year", "Wanfu Youtong", "Richness", "Longevity" and "Longevity". Its products are plates, saucers, cups and cups decorated with figures, horses, gossip, broken branches, tangled flowers, deformed Sanskrit, fish, crabs, rabbits, chrysanthemums and orchids. Xiachang Kiln and Zhangjiaqiao Kiln (Jiaxing Town) near it are not as large as Huajia Kiln, but the products are roughly the same. The inferior products of Huajia and other kilns only took away part of Jingdezhen's domestic market and had no effect on its export. In the competition with Jingdezhen kiln, it is bound to decline. During the Wanli period, Jingdezhen porcelain industry entered the handicraft workshop period, which required a lot of labor, especially skilled pottery workers. "There are tens of thousands of helpers in the town every day" (Wang Shimao's You 'er Tan Wei), and the struggle during Jiajing period has long been forgotten. By the end of Wanli, Huajiayao could not persist, and its potters could only survive if they returned to Jingdezhen.