My system is not decent

Chapter 1000 Every piece is a classic

What people don't know is that as early as the first half of the 20th century, it had already crossed the ocean and drifted overseas.

For decades, "Aquarius" has been used as a lamp base for a desk lamp without any protection.

It is a miracle in itself that it has been preserved intact without damage.

How did this piece of national treasure porcelain, which has experienced a hundred years of wind and rain in a foreign country, reappear in the world?

This famille rose vase was originally collected by the Ogden Reed family, former chairman of the Council of Foreign Ambassadors of the Beautiful Country.

In the living room of his mother's house, it has been used as a lamp holder for a long time.

In order to strengthen the stability of the utensils, they also put the mud and sand in the back garden with dog manure in the bottle.

As for the origin of the vase, Reid could not tell clearly, but said that it belonged to his family around 1920.

At that time, when his grandparents were in England, they often had contacts with Chinese people. It is not ruled out that the vase was brought back from England by his grandmother.

It is also speculated that this rare treasure may be a cultural relic stolen from China by the Eight-Power Allied Forces.

For many years, this treasure has been regarded as an ordinary decoration, and no one knows the value of its existence.

Later, when the family planned to sell a batch of antiques left by their grandfather and father, experts from the auction house accidentally discovered this dusty rare treasure.

And why did Chen Wenzhe know about this treasure?It's all because it is now hidden in the Dahai City Museum.

There is no one Chen Wenzhe does not know about the authentic collections in the Dahai City Museum.

So, this time when he was making the bean green glaze olive bottle, he thought of this legendary pastel olive bottle.

This beautiful famille rose vase has an olive-shaped body, with very graceful lines. Once when he went to the Dahai City Museum, he immediately fell in love with this Qing Yongzheng famille rose olive vase with bat and peach patterns.

It's a pity that the things in the museum, just look at them, and forget it after your eyes are addicted.

Also, at that time he was unable to imitate the porcelain of the Three Dynasties of the Qing Dynasty, because he did not have the craftsmanship of the Three Dynasties of the Qing Dynasty, nor did he have the porcelain stones and glazes needed to imitate the porcelain of the Three Dynasties of the Qing Dynasty.

It is different now, after such a long time of study, he has the confidence to imitate it, and he will definitely be able to imitate it very well.

Sure enough, Chen Wenzhe was very satisfied with the effect after it was really imitated and made old.

Even if he kept comparing it with the genuine treasure bottle in his mind, he couldn't find any defects.

Of course, he wasn't stupid, he completely copied the vase in the Haihai City Museum to imitate it.

Therefore, although the workmanship and decoration of this pastel olive bottle with bat and peach pattern are the same as the one in the museum, the subtleties are absolutely different.

Especially the decorations, although they are all pastel bat and peach patterns, but the drawing techniques and layouts are obviously different.

This shows that there are no two pieces of porcelain that are exactly the same in this world!

As early as the Kangxi period, the art of pastel painting on porcelain glazes began to appear. By the Yongzheng period, it had matured and formed a unique style of pastel decoration.

The artistic effect of famille rose is characterized by its beauty and elegance, softness and softness. Its porcelain is white and exquisite, and the porcelain paintings are organically combined to set off each other and form an interesting contrast.

Fen Cai was first created in Kangxi, from five colors, and its production is relatively rough. Only the flowers of safflower are dyed with pastels, and other decorations are still made of five colors.

At present, there are mainly two varieties found: one is pastel ware on white ground; the other is green, yellow and purple three-color porcelain with carmine (golden red) color added.

In the Yongzheng Dynasty, famille rose porcelain achieved unprecedented development in terms of shape, glaze and color painting.

Pastel is one of the most famous varieties of Yongzheng colored porcelain. Yongzheng colored materials are finer than those of Kangxi Dynasty, with soft colors and more layers of textured dyeing.

Most of them are painted on white ground, and a few are painted on colored ground.

The homophonic "bat" (blessing) and "peach" (shou) patterns in Yongzheng pastel porcelain are very common.

What stood out at that time was the so-called "over-branch" technique.

In the early days of Yongzheng, there was the Kangxi five-color style. The famille rose decorations mostly painted group flowers, group butterflies, eight peaches, bats (meaning good fortune and longevity), past branches of flowers, narcissus ganoderma, ladies, Magu's birthday, baby plays, etc.

The decoration is obviously sparse and regular.

Among them, eight peach bats are mostly seen on porcelain plates, but they are very rare as the theme pattern of olive vases.

Among the works handed down from generation to generation, only one "Yongzheng famille rose olive vase with bat and peach pattern" has been seen.

Perhaps because of Yongzheng's longing for longevity, the bat-peach pattern, an artistic theme that expresses longevity and well-being in a clear and elegant manner, led the fashion of the year.

The bat symbolizes good fortune; the peach symbolizes longevity; the flying red bat symbolizes prosperity and prosperity; the combination of bats and peaches symbolizes good luck and longevity—the auspicious meaning of the pattern of bats and peaches cannot be more obvious.

Looking at the three bottles with satisfaction, each one is a classic.

Even for Chen Wenzhe himself, if he is not serious about bottles with this kind of appearance and state, he can't guarantee that he will be able to make another work comparable to them.

He didn't make porcelain for several months, but suddenly made a batch, he really put his heart into it.

Of course, this time he must have made more than just three bottles.

This time, the porcelains that were carefully fired were considered high-quality goods, while most of the other high-quality goods were plates, and they were all large plates.

Of course, these plates are definitely not foreign trade porcelain, let alone European custom-made porcelain, but typical Qianlong porcelain.

For example, the Qianlong pastel dish with twining branches and treasures, this kind of large dish has a slanted mouth, a curved belly, a circle foot, and a six-character three-line vertical blue-and-white seal script inscription "Qianlong Years of the Qing Dynasty" on the bottom.

The transparent glaze is white, and the blue and white string patterns in the plate separate the main patterns into three layers.

Blue and white flowers outline the edges of the flowers and leaves, and Baoxiang flowers are decorated in a perfect circle.

The leaves on the outer side of the disc have distinct roots and prominent meridians.

Baoxiang flowers are competing for beauty, the branches and stems are intertwined, and the yellow and blue flowers are spaced apart, light and agile.

The outer blue and white are painted with bat melons, fruits and lotus leaves, implying auspiciousness.

The outer edge of the plate is decorated with double strings, and the blue and white lotus petals are decorated near the feet.

Overall, the shape is generous, the color contrasts with each other, and the color skills are skillful, showing the style of Qianlong colored porcelain.

Then there is the Qianlong blue and white plate with intertwined branches and lotus patterns. This plate has a regular shape, an open ring foot, a curved shallow abdomen, a fine and firm carcass, and a moist and white enamel.

The center and outer wall of the plate use blue and white to depict the winding branches, and blue and white to describe the branches and leaves, the blooming lotus, and fill the stamens.

The layout of the decoration is symmetrical, the painting is neat and delicate, and the color is strong and gorgeous.

Every stroke on it reflects Qianlong's meticulous craftsmanship in porcelain making.

No matter how you look at it, this is a fine piece of imperial porcelain from the Qianlong Dynasty, which is extremely rare!

"This is too perfect, and there are also bad places."

Chen Wenzhe sighed proudly, which is also the trouble of happiness.

Looking at them piece by piece, these porcelains all have a common feature, which is gorgeousness, and if there is another common feature, it is simplicity.

They all have a sense of vicissitudes of history, which is now Chen Wenzhe's old-fashioned craftsmanship.

After several months of not doing anything, Chen Wenzhe's craftsmanship not only did not decline, but became even better.

(End of this chapter)