Chinese Porcelains Copper Red Peachbloom Glazes
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- เผยแพร่เมื่อ 26 ม.ค. 2016
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Regular weekly and bi-weekly videos from Peter Combs and Bidamount about Asian art and the auction market. With an emphasis on fine art, auction news, and art news from numerous auction houses and online auction venues. These videos focus extensively on the Chinese art market and the Japanese art market. Other videos cover the topics of understanding and identifying authentic Chinese porcelain, Chinese bronze as well as information about the history of Chinese and Asian art. Visit Bidamount.com to learn more, join the ASIAN ART Forum and take advantage of the reference library filled with hundreds of auction catalogs and reference books on Fine Art, current art value by category, and links to museum collections. Origins of Copper Red Glazes in Chinese Porcelains, closeup examples from the Metropolitan Museum Collection of Peachbloom wares of the Kangxi Period.
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Watching this video you posted 7 years ago, knowledgeable is the power! Thank you, Peter, Happy Holidays!
The "coups" have been called "beehive water pots" by the National Gallery in DC. I kinda like the ring to it as well. Nice work. I enjoy your work immensely thank you
Thank you Peter! Good to see a new video! Great job!
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Informative video with nice extended closeup views. A bit about your friend's "peach blow" description of the pieces. Since "peach bloom" is a Western term likely derived from a mis-translation, "peach blow" is a more accurate description derived from the mid-glaze process where the copper oxide is applied by blowing it through a fine silk filter fixed into the end of a hollow bamboo stick. Unfortunately, though "peach bloom" is a far more attractive term, it wrongly implies a "spring" motif instead of the more autumnal brown-mottled pinks and reds of well-ripened fruit which was considered the ideal colors.
A powder blue video would be nice :)
Hi can you tell me why some vases have 8 Chinese characters on the bottom and others have only six. I have a vase that has eight characters it is blue and white but I don't know what the meaning is behind having 6 compared to 8. Is there a time. Involved? For example was eight characters in the 1900s or the 1700s? The characters are blue. If that makes any difference I don't know.
Hello Peter. I enjoyed your presentation. A bit of information that may help you talk about copper glazes in the future is that the red colour comes from the carbon in the kiln. the white to green are areas where the chemical reaction did not take place because they were in a place in the kiln where the carbon did not get to react with the copper. The terms are REDUCTION and NUTRAL. firing. The heavy green dots are due to copper that was not refined well. The grain size of the mix was large compared to where the glaze is smooth green or blue. A point to make for to reason the variations is that the kilns were fired with wood. So they were go in and out of reduction during the firing. This would happen when wood was added and then the burn down before the next feeding of the dragon. Food for though.Terry.
Hello Terry, thanks for the useful message. You are correct on that. At the time we did the video we had thought perhaps about doing another more along the lines of the detail Nigel Woods presented in his past books on the topic. "Chinese Glazes" etc. However we dropped the ball on it as we were trying to think of way to do it without making it seem like a chemistry class..and as a result putting folks to sleep. LOL.. It's a very interesting topic none the less. You're right though 100%, it is GOOD for for thought..thank you Peter
Hello Peter; Please, do not think that you guys have dropped the ball. Your presentation was for everyone. It is difficult to try to cover all the aspects of the firing. I just mentioned it because you will most likely do more videos. I just wanted to give you more subject matter that may be of interest. I have been in the ceramic pottery profession for the last 30 years and I still don`t understand all the ins and outs of glazing.
I have been to Jingdezhen five time working with Chinese ceramic artists and I have seen many of the old kilns that were used to make the masterpieces.
All in all. Keep it coming.
Thank you, we do our best. Your suggestions are most welcome! as you know in the world of ceramics, there virtually endless possibilities about things to talk about and share with folks. Thanks again, Peter
I was looking for this comment, being an ex-potter who used to mix my own glazes and have built and used very different style kilns, and have always had a fascination of Asian porcelain, and history of ceramics. Another fact of interest to add is that crackle comes about during the cooling process, rather than the actual acelleration of heat. The glaze coefficiant’s relation to the clay body ie, the shrinkage of the pot vs the glaze isn’t the same, so especially areas with curvature will show these, and in glazes like this, the artists never know for sure if and how the crackling will show.
Both historically and today there are recepies that are specifically composed to be crackle glazes, and that applies to crackles all over the piece as I’m sure you’ve covered in other videos.
Also I was wondering, did they not commonly use wax-resist around the foot of these amphoras for that perfect halt of the runny glaze? It seems pretty unlikely they would as the wood fired kilns involve such tremendous variation of heat depending on exact placement of every piece.
It’s simply a fast brushstroke of wax around the foot that melts away in the kiln but initially provides that underlying area of clay with protection from any glaze adhering to it and sintering the term we use for the melting into one solid material in high temperature firing.
I’d be interested in knowing as I’ve not seen this at all mentioned in the more detailed documentaries and videos on the manufacturing process.
Last Question: the term Oxblood or Sangue de Boef, is it not used in English for the deeper reds of Chinese reduction glaze?
It’s common in Scandinavia.
Besides the Peach bloom for the paler glazes.
@@gnarbeljo8980
I have travelled many times to China and to Jingdezhen. I have never seen the use of wax on the bottoms of the pots. One important point about Chinese porcelain techniques is that they single fire. I have seen that, after the glazing process, the pot was then returned to the wheel, and the excess glaze around the foot was trimmed off. I also saw many fired pots that has heavy glaze around the foot. These pots were ground clean using a diamond buffing pad on a fast-turning wheel. What I have seen is the use of ceramic disks, close in size to the foot of the pots being fired being used as setters. I have put up a link that will show you what they do with the used disk.
Cut and paste this link; 1drv.ms/u/s!AvrvirYIvMPSkmX3pZzhPzXVC8FQ?e=vDXplP
In the old days when they kilns were fired with wood and coal, the pots were placed in a clay saggers. This protected the pot from fly ash, as well as the fluid movement of heat in the kiln. This fluid movement washes away the copper red causing the glaze to turn clear.
Cut and paste this link: 1drv.ms/u/s!AvrvirYIvMPSk1D3AiuwSpArNoiv?e=sSewjk
Copper glazes, when fired in oxidation, electric, can give a very beautiful blue to blue green colour. I use a copper glaze that is called Jeff’s Red on a cone nine porcelaneous body and I under fire it to give me a crackle effect.
Cut and paste this link: 1drv.ms/v/s!AvrvirYIvMPSgspT0ibOrGVyg8oung?e=hIYYB4
The thicker the glaze the deeper the colour.
Cut and paste this link: 1drv.ms/u/s!AvrvirYIvMPSgsU9Oxi4qxHywo1LKQ?e=7sd4Re
Take care
I have one