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Tortoiseshell Porcelain ——Coffee Cup 3
Tortoiseshell porcelain features a black glaze as its base, accompanied by amber-colored streaks. Its glaze surface shimmers faintly in dim tawny yellow hues, with patterns flowing naturally—resembling deep-sea seaweed or nighttime fireworks. Its dark, muted tones and thick, substantial texture are praised as "the beauty of 'sea gold'", making it a cherished treasure pursued by ancient literati and refined scholars. Due to the rich variations in its patterns, it exhibits a typical kiln transformation effect.
Tortoiseshell Porcelain ——Coffee Cup 4
Tortoiseshell porcelain features a black glaze as its base, accompanied by amber-colored streaks. Its glaze surface shimmers faintly in dim tawny yellow hues, with patterns flowing naturally—resembling deep-sea seaweed or nighttime fireworks. Its dark, muted tones and thick, substantial texture are praised as "the beauty of 'sea gold'", making it a cherished treasure pursued by ancient literati and refined scholars. Due to the rich variations in its patterns, it exhibits a typical kiln transformation effect.
Tortoiseshell Porcelain ——Cute leopard print coffee cup
Tortoiseshell porcelain features a black glaze as its base, accompanied by amber-colored streaks. Its glaze surface shimmers faintly in dim tawny yellow hues, with patterns flowing naturally—resembling deep-sea seaweed or nighttime fireworks. Its dark, muted tones and thick, substantial texture are praised as "the beauty of 'sea gold'", making it a cherished treasure pursued by ancient literati and refined scholars. Due to the rich variations in its patterns, it exhibits a typical kiln transformation effect.
Tortoiseshell Porcelain ——Cute small-sized Cola Cup
Tortoiseshell porcelain features a black glaze as its base, accompanied by amber-colored streaks. Its glaze surface shimmers faintly in dim tawny yellow hues, with patterns flowing naturally—resembling deep-sea seaweed or nighttime fireworks. Its dark, muted tones and thick, substantial texture are praised as "the beauty of 'sea gold'", making it a cherished treasure pursued by ancient literati and refined scholars. Due to the rich variations in its patterns, it exhibits a typical kiln transformation effect.
Tortoiseshell Porcelain ——Tiger-patterned coffee cup
Tortoiseshell porcelain features a black glaze as its base, accompanied by amber-colored streaks. Its glaze surface shimmers faintly in dim tawny yellow hues, with patterns flowing naturally—resembling deep-sea seaweed or nighttime fireworks. Its dark, muted tones and thick, substantial texture are praised as "the beauty of 'sea gold'", making it a cherished treasure pursued by ancient literati and refined scholars. Due to the rich variations in its patterns, it exhibits a typical kiln transformation effect.
Tortoiseshell Porcelain (Middle Size)——Teacup 1
Tortoiseshell porcelain features a black glaze as its base, accompanied by amber-colored streaks. Its glaze surface shimmers faintly in dim tawny yellow hues, with patterns flowing naturally—resembling deep-sea seaweed or nighttime fireworks. Its dark, muted tones and thick, substantial texture are praised as "the beauty of 'sea gold'", making it a cherished treasure pursued by ancient literati and refined scholars. Due to the rich variations in its patterns, it exhibits a typical kiln transformation effect.
Wood-Fired Pocelain— Coffee Cup 5
Wood-fired pottery is an ancient firing method, with wood as the primary fuel for the kiln. Initially, when firing pottery, it was necessary to cover the ceramic bodies to isolate wood ash from fire and avoid direct contact, ensuring the consistent glaze color of the products. In ancient China’s orthodox porcelain-making standards, any traces of ash on the glaze or fire marks on the ceramic bodies were not appreciated (when technically avoidable) and were regarded as flawed products.
Wood-Fired Porcelain — Coffee Cup
Wood-fired pottery is an ancient firing method, with wood as the primary fuel for the kiln. Initially, when firing pottery, it was necessary to cover the ceramic bodies to isolate wood ash from fire and avoid direct contact, ensuring the consistent glaze color of the products. In ancient China’s orthodox porcelain-making standards, any traces of ash on the glaze or fire marks on the ceramic bodies were not appreciated (when technically avoidable) and were regarded as flawed products.
Wood-Fired Porcelain — Coffee Cup 3
Wood-fired pottery is an ancient firing method, with wood as the primary fuel for the kiln. Initially, when firing pottery, it was necessary to cover the ceramic bodies to isolate wood ash from fire and avoid direct contact, ensuring the consistent glaze color of the products. In ancient China’s orthodox porcelain-making standards, any traces of ash on the glaze or fire marks on the ceramic bodies were not appreciated (when technically avoidable) and were regarded as flawed products.
Wood-Fired Porcelain — Coffee Cup 4
Wood-fired pottery is an ancient firing method, with wood as the primary fuel for the kiln. Initially, when firing pottery, it was necessary to cover the ceramic bodies to isolate wood ash from fire and avoid direct contact, ensuring the consistent glaze color of the products. In ancient China’s orthodox porcelain-making standards, any traces of ash on the glaze or fire marks on the ceramic bodies were not appreciated (when technically avoidable) and were regarded as flawed products.
Wood-Fired Porcelain — Coffee Cup 7
Wood-fired pottery is an ancient firing method, with wood as the primary fuel for the kiln. Initially, when firing pottery, it was necessary to cover the ceramic bodies to isolate wood ash from fire and avoid direct contact, ensuring the consistent glaze color of the products. In ancient China’s orthodox porcelain-making standards, any traces of ash on the glaze or fire marks on the ceramic bodies were not appreciated (when technically avoidable) and were regarded as flawed products.
Wood-Fired Porcelain — Coffee Cup 8
Wood-fired pottery is an ancient firing method, with wood as the primary fuel for the kiln. Initially, when firing pottery, it was necessary to cover the ceramic bodies to isolate wood ash from fire and avoid direct contact, ensuring the consistent glaze color of the products. In ancient China’s orthodox porcelain-making standards, any traces of ash on the glaze or fire marks on the ceramic bodies were not appreciated (when technically avoidable) and were regarded as flawed products.