My system is not decent

Chapter 1173
If we really want to count, the Xianfeng period, in addition to the special period due to historical events, is also a major turning point in its porcelain production.

It is because of this that Xianfeng porcelain is so precious.

In the article "Xianfeng Official Kiln, there is fineness in roughness", there is a description of Xianfeng porcelain, especially some changes.

For example, take the blue-and-white alum red dragon pattern cup as an example. Before Xianfeng, the string pattern on the rim was made of underglaze blue and white, and it was changed to alum red color pigment in the Tongzhi and Guangxu periods.

Therefore, the porcelain of the Xianfeng period is also special, and the most important thing is that there are not many of them.

Even in the Palace Museum, the number of artifacts from the Xianfeng Dynasty in the collection is quite different from that of other dynasties.

According to previous statistics, a total of more than 31 pieces of porcelain remained in the Qing Palace.

Among such a huge number, there were only more than 560 pieces in the Xianfeng Dynasty.

The comparison of this data just shows the scarcity of Xianfeng porcelain.

At first glance, more than five hundred and sixty pieces seem to be a lot, but they are kept by the Qing Palace!
That's all that was left in the Qing palace, so how much folklore is there?
It is said that there are 35 pieces of ceramics in the Forbidden City, including more than 1100 pieces of first-class products and about 5.6 pieces of second-class products.

In addition, more than 200 pieces of ceramic specimens were collected from more than 3.6 kilns across the country.

The collection is also very complete, especially in ceramics from the Three Kingdoms to Tang and Five Dynasties, Yuan porcelain, imperial kiln in the middle and late Qing Dynasty, and palace furnishings porcelain.

Among them are purple clay ware, multi-glazed large-scale porcelain, production materials of Qing imperial kiln, past dynasties folk kiln porcelain and archaeological excavation materials.

With so many porcelains, there were more than [-] pieces in Xianfeng Dynasty, which is definitely not many.

If you are not impressed by this comparison, then compare some recorded quantities of fired porcelain.

For example, in the eighth year of Xuande in the Ming Dynasty, [-] pieces of various porcelains were fired at one time in response to the needs of Shangshan Supervisor, an institution specializing in imperial cuisine.

In addition, from the sixth to the thirteenth year of Yongzheng in the Qing Dynasty, "the billing funds were tens of thousands, and no less than [-] to [-] pieces of round cut and other utensils were made."

So many were fired, and by the end of the Qing Dynasty, there were hundreds of thousands of ceramics preserved in the palace.

Among so many porcelains, there are less than [-] pieces of Xianfeng porcelain.

One of the reasons for this rarity is the short reign time, and the other is the influence of the Taiping Heavenly Kingdom.

Of course, excluding the influence of the Taiping Heavenly Kingdom, in the last years of Xianfeng, when the British and French allied forces burned and robbed the Old Summer Palace, Xianfeng official kiln wares suffered another bad luck.

This can be described as making matters worse, so very few of them survive to this day.

If there are few, it is naturally worthy of special protection, and the same is true for folk kiln products.

In terms of the auction market, Xianfeng official kilns are rarely seen in the collection market due to their rarity, and their prices are higher than those of Xuantong.

For example, a Qing Xianfeng imitation official glaze pierced ear square bottle, its accurate and regular shape and the luster and elegance of the glaze water, has the character of the prosperous Qianlong period, so it was sold at a high price in 2011.

This Xianfeng imitation official glaze pierced ear square vase was sold at 2011 million yuan in the spring auction of Shendu Poly in 207.

Why can it be sold so expensive?In fact, the Xianfeng period was a critical period of turning point.

Afterwards, with the collapse of the kiln factory, the destruction of the porcelain samples in stock, and the migration of kiln workers, it had a profound impact on the development of the porcelain industry in Jingzhen and even the whole country.

It can also be said that since then, the quality of official kiln wares has not been guaranteed.

Therefore, some official kiln wares of the Xuantong period that were well-regulated and definitely not high-quality goods are particularly rare.

The end of the Qing Dynasty was a special period, and Xianfeng Xuantong surpassed Qianlong, so this time, Chen Wenzhe did not deliberately imitate the vases of the three dynasties of the Qing Dynasty, but imitated some works of Wan Qing.

One of them must be a Tongzhi dragon vase. Naturally, it is not only blue and white porcelain, but he can also freely use it to make some gold, pastel, and Chinese red colors.

Anyway, Chen Wenzhe is not selling it to anyone now, he just wants to imitate a batch of porcelain with Wanqing style.

Whether there is inheritance, whether the inheritance is orderly, these are not important.

Because he didn't expect to make high imitations into the society, he just wanted to appreciate and collect them.

Of course, if you really want to look for some high-quality goods with various craftsmanship, you can find them.

For example, the Xuantong famille rose vase with golden cloud and bat pattern is a rare classic vase combining gold and famille rose.

Appreciation vases are easy to make, but famille rose vases with golden clouds and bat patterns were not easy for Chen Wenzhe.

Not to mention anything else, just the two crafts of opening the door, which he couldn't do before.

He can make pastels, but he can't make Xuantong pastels.

Of course, there is no such problem now. If you want to make Xuantong famille rose, you only need to search inside Suihou Zhizhu to get the recipe.

In this way, it became too convenient for him to imitate all kinds of porcelain.

With the glaze formula, there is the gold painting technique, which is also a technique that he has only recently mastered.

Only when all these basic skills are full, can he easily make a piece of Qing Dynasty court porcelain.

Therefore, even if it is an object used by the imperial court in the late Qing Dynasty, it is sometimes difficult to move it for the folk porcelain craftsmen.

This is also the reason why he imitated the top ten classic bottle types. It turned out that he really did not have the confidence to imitate some high-quality products.

It's different now, he can make it very easily.

It's just that after letting himself go for a while and imitating the works of the Qing Palace, Chen Wenzhe returned to the right track and continued to make the top ten classic porcelain vases.

It's just that here, he still played freely and made a Chinese red reward bottle.

There is no way, this kind of bottle is so beautiful, as long as Chen Wenzhe sees it, he can't help imitating one.

Besides, there are some new techniques in this bottle.

Because Chen Wenzhe made this vase, the accurate official scientific name should be: Red Porcelain Wheat Straw Painting Appreciation Vase.

Straw-painted vases are a new favorite in the red porcelain market in recent years.

It combines China's latest pottery technology and innovates on the original basis.

It is to make a breakthrough in the overall aesthetics of red porcelain, transforming the original dark and dull old and dim into exquisite and bright colors!
Appreciation bottle, as a beautiful and elegant representative of red porcelain, has received high attention and praise, making it quickly become popular and become a star in the gift industry!
Such a kind of porcelain, and Chen Wenzhe happened to know how to make Chinese red, so he would not let it go.

And after making it, the effect is even better. Originally, the bright red glaze color is gorgeous enough, coupled with its exquisite and clear bottle body, it makes this kind of ci utensil extremely glamorous.

After making this bottle, Chen Wenzhe feels that his various crafts have been perfectly integrated.

This allows him to make all kinds of classic porcelain as he likes, and he can also control various crafts as he likes, let them blend together, and finally make the works more brilliant.

The last of the top ten classic porcelain vases is the lantern vase. He has never made this kind of porcelain vase before, and now he uses it for the final touch.

(End of this chapter)