My system is not decent

Chapter 1237
Learning is fun, and making porcelain makes Chen Wenzhe feel even more happy.

The most important thing is that he has no pressure, he can learn whatever he thinks of, and he can do whatever he thinks of.

With the experience of several seniors, Chen Wenzhe will be too easy to do Yuan Qinghua again.

If it weren't for these kilns, they would not directly sell the materials for making Yuan blue and white, and it would be easier for him to imitate and burn Yuan blue and white.

This is something that can't be helped, all the kilns and porcelain companies in Jingzhen are being stared at.

For example, Chen Wenzhe came into contact with the earliest Qianlong blue and white glaze before, which is definitely not available to ordinary people.

Because you bought this kind of glaze, you can directly imitate Qianlong blue and white porcelain.

If it weren't for this, the blue and white glazes and underglaze red glazes prepared by Chen Wenzhe would not be sold at high prices.

Even the blue and white materials from the third dynasties of the Qing Dynasty were not allowed to flow out easily in Jingzhen, not to mention the Su Mali green materials and hemp warehouse soil that can be imitated by the modern processing technology.

Just like Mr. Huang Lao said before: "I am responsible to the collectors and to my works."

He once said frankly that some people took his works as cultural relics and auctioned them off.

And this will cause the market to distrust him, and even Jingzhen as a whole.

Today, each of his works bears his own name.

When imitating the Yuan blue and white ghost valley downhill map jars, he made a total of 10, stamped his name and numbered them.

Nowadays, even though the value of each piece has increased by hundreds of thousands of yuan, the old man still sticks to his heart and no longer imitates.

Imitation is a kind of inheritance of ancient porcelain culture, but it must also be innovative while inheriting.

To the extent of Chen Wenzhe, he also wants to innovate, not simply imitate.

When I first started making antique porcelain, it must be to make money.

However, he is short of money now?

Since there is no shortage of money, why not have a little higher pursuit?

Cang Lin knows the etiquette in reality, and knows honor and disgrace when she has enough food and clothing.

There is no way, everyone in the world needs a good meal, and making antique porcelain is definitely the best shortcut for porcelain craftsmen.

Chen Wenzhe is now in a state of affairs, so his ideals are at the top.

He definitely wants to be able to discover some new technologies on the basis of imitation.

This path was pioneered by the predecessors. As long as he imitates the technology, he will always be able to innovate.

Because new technologies and new cultures are often evolved from ancient cultures.

The essence of antiquity, in addition to restoring ancient cultural relics, is also to use antiquity techniques to create new works.

As a teacher, as a craftsman, what you need to do is not only to improve your own skills, but also to improve your artistic ethics.

Both virtue and art, based on morality, rooted in technology and works, can create better works of art.

Instead of being arrogant and disrupting the market.

Just like Huang Lao, who has been engaged in ceramic art for more than [-] years, and has become the first person in my country's antique porcelain by himself.

His works are also sought after by people from all walks of life at home and abroad. After all, he is good at blue and white underglaze red, Song Yingqing carved flowers, Yuan blue and white, pastel and so on.

Its antique works are called "Yellow Kiln Porcelain", which is famous all over the world and is a veritable contemporary official kiln.

If he does not want to leave his name on his works, if these works flow into the market, the impact will be great.

"So, in the future, my works will also leave a name!"

After finishing a piece of porcelain and waiting for it to be fired in the kiln, Chen Wenzhe said somewhat complacently.

After several trial burns, Chen Wenzhe felt that this time it should be stable, so he was a little floating.

He has experimented several times based on the experience of those seniors.

Because he has a complete firing process of Yuan blue and white, so the number of experiments is not many, but the result is unexpectedly good.

It is also because of this that he is so confident.

This time he made a Guiguzi downhill picture jar, and all the previous ones were made of this kind of large jar.

It's just that it's not the Guiguzi downhill picture jar, but some peony jars, large jars with cloud and dragon patterns, and so on.

Now I feel that the Guiguzi downhill picture pot should be able to be fired successfully, and Chen Wenzhe doesn't want to continue making big pots.

Because, he doesn't want to continue to do this kind of imitation work, and he also needs a little innovation.

It's just that before innovating, he needs to find out what he is good at.

It was also when he was making large blue and white pots in the Yuan Dynasty that Chen Wenzhe suddenly realized that he had made quite a few works with peony patterns.

Among them are large pots with peony patterns, and some large red pots in glaze. He is quite good at painting peonies.

His small breakthrough before was also a breakthrough on the ornamentation.

It's just that it's a transformation of a wild goose, but this time, he directly made the type of decoration that he is best at and favorite, which is the peony pattern.

If it is innovation, naturally you don't have to pay too much attention to the habits of your predecessors.

However, before innovating, one must learn first.

Especially to make antique porcelain, it is necessary to understand the habits of the predecessors.

The peony pattern is a typical decorative pattern or brocade pattern on Han porcelain, with peony flowers as the theme.

Since the Tang Dynasty, peonies have been loved by the world and regarded as a symbol of prosperity, happiness and happiness.

In the Song Dynasty, it was called "the flower of wealth and honor", so it became a popular decoration on porcelain.

The peony patterns in the Yuan, Ming and Qing dynasties lasted for a long time, and they were mostly used as the main pattern, decorating the main parts of bottles, bowls, plates, cans and other utensils.

During the Ming and Qing Dynasties, the peony patterns on Jingzhen kiln porcelain were more colorful, such as peonies with broken branches and peonies with tangled branches.

The peony pattern with folded branches on the Xuande blue and white plate of Ming Dynasty and the peony pattern with entangled branches in the blue and white jade pot and spring bottle are exquisite in design and strong in decorative effect.

Ming Dynasty Jiajing Sauce Glazed Ewer with Gold Peacock and Peony Patterns, and the Peacock and Peony Patterns are pasted with gold in the peach-shaped consecration on the belly of the vessel, which is particularly rich and luxurious.

Qing Yongzheng famille rose peony vases and coral red famille rose peony vases with ear piercings are both meticulous and meticulous.

They vividly express the national beauty, natural fragrance, grace and luxury of peony flowers.

There are also many expressive techniques, the most familiar ones are engraving, printing, painting, etc.;

The forms include single branch, cross branch, folded branch, string branch, twine branch and so on.

The Yue Kiln of the Five Dynasties, the Ding Kiln of the Song Dynasty, and the Yaozhou Kiln produced products with engraved peony patterns, while the Cizhou Kiln produced products with white ground and black flowers.

For example, on Ding kiln wares, a single peony often appears.

On Yaozhou kiln porcelain, there are many flowers facing each other in pairs.

On the pillow surface of the Cizhou Kiln, there are also three peonies painted along the cloud-shaped curve.

After such research, Chen Wenzhe discovered that the peony pattern is really not simple.

There are various ways to paint peonies on porcelain.

For example, the way of composition, there are suitable, symmetrical, balanced and so on.

It can be said that every kiln mouth and works of every era have unique characteristics.

Like the celadon bowl of the Yaozhou kiln, a branch of peony is engraved on the inner wall. The flowers are in full bloom and the branches and leaves are luxuriant, covering the whole vessel, forming a suitable composition.

There is also a symmetrical composition depicting two peonies, intersecting flower branches and opposite flowers;

On the Yaozhou kiln celadon vase, the peony branches and stems are entangling, and the flowers and leaves are scattered, forming a balanced composition.

(End of this chapter)