Shiba kiln? 豆青艶�印花宝相華菊花紋大碗 Search:雨過天青、汝窯、柴窯
| Auction ends | 16 hours |
| Bids | no |
| Current price | ¥80,000,000 $553,649 |
| Start price | ¥80,000,000 $553,649 |
| Consumption tax | 0% included |
| Seller | antdisk1962 +104 |
| Condition | Used |
| Start time | 2024-04-24T13:50:37+09:00 |
| End time | 2024-04-27T13:50:24+09:00 |
| Auto-prolongation | Turned on |
| Lot number | n438900529 |
| Seller position | Saitama |
Shooting in the open air
The book "Shiba Kiln Thoughts", which examines the Shiba kiln in detail, has been completed.
We hope that you will find it helpful in order to deepen your understanding of this product.
( We set a high price because we want as many people as possible to see it.))
This product size: Diameter about 21.7 cm Weight about 280 g
We are planning to publish a book that examines this product in detail, "Shiba Kiln Thoughts: In Search of the Truth of Rainy Weather".
The manuscript has been completed and submitted to the publisher, but the publisher's work has been delayed.
2024Year3It is expected to be published around the month.
At the time of publication, if you are interested, we would appreciate it if you could read it.
The following is a small part of "Shiba Kiln: In Search of the Truth of Rainy Weather".
In thinking about Shiba kilns, we need to fundamentally change our narrow perspective that is bound by conventional stereotypes.
Please refer to it to re-examine your questions.
關於本作品, 將計畫出版詳細consideration的ブック『柴窯考 尋求雨過天青的真相』.
原稿已經完成,並已提交給出版社,但由於出版的進度延遲,預計將在2024Year3月左發行.
當本發行時,如果有興趣,請務必一讀.
The following is "Shiba Kiln 尋求雨過天青的真相』的一小部分.
在思考柴窯的過程中,請參考這本書,以打破過去的固有觀念,擁有更加寬廣的視.
Self-author: From Shiba Kiln
"The Shiba kiln is said to be a phantom kiln with the color of 'rain over-the-sky' color, but it is not celadon but blue gourd.
Celadon on the blue gourd(porcelain)and blue-glazed pottery(Low fire degree colored glazed ceramics)Both are included.
Based on past literature, the Shiba kiln is a Persian colored glazed pottery.(Persian Blue Glazed Ceramics)It can be inferred that it was a low-fire color glazed pottery of the same series as the Tang Sansai, which is closely related to.
High-fiery ash glaze that appeared during the Shang Dynasty in the 14th century BC(Ash glaze developed from natural glaze)This technique developed as a traditional Chinese pottery technique, and spread to Korea, Japan, East Asia, and even parts of Europe after the 16th century.
On the other hand, in West Asia, the technology of glassy, low-fire glaze was developed from beginning to end, and the pottery manufacturing technology spread to southern Europe from the Middle Ages onwards.
In the Great Tang Empire, which was a world empire, exchanges with West Asia were very active, and the Tang Sansai, which is a low-fire glazed ceramic similar to Persian pottery, was also greatly affected by trade and exchange with West Asia. And Persian blue-glazed pottery, which was very popular in West Asia, was introduced to China in the Tang Dynasty (9th~10th century Persian pottery with peacock indigo glaze on a rough base was excavated from Tangcheng, Yangzhou, China), and it is a vivid blue pottery suitable for "rainy blue blue". And the luster of the blue glaze is as if it has been oiled, and it also has a mirror-like luster.
However, it is presumed that even in the Later Zhou period of the Five Dynasties and Ten Kingdoms, the techniques and materials necessary for making Persian blue-glazed pottery had not been sufficiently introduced to China, and therefore it is thought that the materials available in China and the acquired pottery techniques were used and improved at that time to create a unique low-fire colored glazed pottery called "Shiba kiln", which is a symbol of "rainy blue weather".
In the Later Zhou period, porcelain firing was already possible. However, in the case of the Shiba kiln, the use of low-fire glaze is essential in order to create a vivid blue color like Persian blue, and it can be inferred that the Shiba kiln was created as a colored glazed pottery for this reason. At the same time, it is also assumed that it was inevitable that it was pottery because there was a circumstance that if the clay was too tightly baked, the glaze would not be applied well. Furthermore, it can be said that the fact that it was finished as thin as possible despite being a pottery led to the expression "paper-like".
In addition, the Shiba kiln has the characteristic of "making a sound like the kaoru of an ancient musical instrument when struck", but since the kaoru is an instrument that is struck with a stick from a stone suspended with a certain thickness, the tone produced by the kaoru is not a high tone like porcelain, but rather a slightly lower and warmer sound. In other words, because it is pottery rather than porcelain, it produces a sound close to the tone of such a kaoru. (The fact that there is a general belief that the sound produced by the kaoru is a "high-pitched sound" like porcelain also seems to be a major hindrance to understanding the truth of the Shiba kiln. )
Broadly speaking, the Shiba kiln is said to have the above characteristics, but this time, I will introduce the azure bowl in this book(Low fire degree colored glazed pottery)has all of these characteristics.
Next, considering the reason why the Shiba kiln has not been discovered to date, the following two factors seem to be related.
The first is Zhengzhou, where the kiln is said to have existed(Or open)is an area that is often flooded by the flooding of the Yellow River.. (It is said that the Yellow River, which contains a large amount of mud, flooded twice every three years on average during the 2,000 years for which written records are kept.)
Second, when firing low-fire glaze pottery, it is necessary to use a small kiln to obtain a beautiful glaze color, and to strictly adjust and control the temperature inside the kiln, so it can be assumed that the Shiba kiln was a very small kiln.
Considering these two factors, it is very likely that the very small kiln of the Shiba kiln was destroyed and buried by the frequent flooding of the Yellow River in the past.
If this is the case, it can be inferred that the discovery of the Shiba kiln site is now almost impossible.
柴窯雖然被視為「雨過天青」顏色的幻影般的陶器,但它不是青磁而是青瓷.
青瓷包含了celadon(Gourdware)Japanese blue glazed pottery(Low color glaze ceramics)兩種.
根據過去的文獻考察,柴窯可以推是與波斯彩釉陶(Wave Blue Glaze Pottery)密切相關的唐三彩同系列的低彩釉陶.
在公元前一四世紀殷代出現的利用高灰釉(從自然釉發展而來的灰釉)的技術,作為中國傳統陶藝技術發展起來,傳播到Korean・Japan・東亞,甚至是一六century後的歐洲部分地區.
相比之下,在西亞地區,始終發展玻璃質低彩釉的技術,這項陶藝技術從中century以後,一直傳播到南歐.
曾經是世界帝國的唐朝,與西亞地區的交流非常活動,與波斯陶器同類的低彩釉陶瓷的唐三彩也因為與西亞地區的貿易・交流受到了重大影響.而在西亞地區非常受歡迎的波斯青釉陶瓷,它在唐代傳入中國(從中國yang州出土粗胚土施有peacock藍釉薬的9~10century的波斯陶器),這種陶正如「雨過天青」色彩鮮的藍色陶器. 此外,青釉的光澤就像是彩了油一樣,又像是鏡子一樣的光澤.
然而,即使在五代十國・後周期,據guess中國仍然未完全獲得製造波斯青釉陶瓷所需的技術和原料. 因此,guess當時的中國是利用・改良可以取得的材料以及既有的陶藝技術,創造了象著「雨過天青」,稱為「柴窯」的中國獨創的低彩釉陶瓷.
在後周時代,已經能Phosphorus
然而,在柴窯這種陶瓷中,為了創造出類似波斯藍色的鮮青,必須使用低彩釉,因此guess柴窯是作為彩釉陶瓷而創造出來的. 同時,過度燒製胚土會使釉料附著不良,因此這也必須是陶器的原因. 此外,儘管是陶器,將其製成極薄,正是「如同紙張」的表現.
此外,柴窯具有「敲打時會發出像古代樂器馨一樣的聲音」的特點,馨是懸掛著一定厚度的石頭並用棍子敲的樂器,所以馨發出的音色並不像瓷器那樣清脆的高音,而是帶有些許低音的暖聲音. 換句話,正因為不是瓷器而是陶器,才能發出接近馨音色的聲音.(一般對於馨發出得聲音,會誤認為是像瓷器那樣的「高音」,這也是對於要理解柴窯的真相造成很大的障礙.)
柴窯大致上具有以上特. 這次在這本書中介紹的碧藍色的低彩釉陶器備了所有這些特.
此外,思考為何柴窯至今仍未被發現,我認為以下兩個因素可能相關.
首先,被認為是柴窯存在的鄭州,這個地區常常受到河flood的侵襲.(河含有大量泥沙,在保有文獻記的兩千多年,平均三年就發生兩次洪水.)
其次,燒製低釉陶的時候,為了獲得美麗的釉色,需要在小型的窯爐嚴格控制和調整度,因此guess柴窯是一個非常小型的窯爐.
考量這兩個因素,由於過去頻繁發生的河flood,柴窯這種小型窯爐很有可能被破壞,掩埋於泥漿.
若是如此,可以guess現今要發現柴窯址是幾乎不可能的.
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