My system is not decent

Chapter 1241 The Ever-changing
To sum up, the peony pattern, or porcelain, has four historical periods with the best production effect, that is, Song, Yuan, Ming and Qing Dynasties.

If Chen Wenzhe wants to imitate, he must mainly imitate the works of these four periods.

The representative work of the Song Dynasty is the white-glazed peony pattern porcelain of Ding Kiln.

In the Yuan Dynasty, it was blue and white and underglaze red, and the best was blue and white underglaze red.

Before Chen Wenzhe made the peony-patterned wares of the Ding Kiln of the Northern Song Dynasty, now it is the turn of the blue and white wares of the Yuan Dynasty.

Of course, it is also necessary to make some peony-patterned porcelain with underglaze red by the way.

However, it is not easy to paint peonies well, especially when making antique porcelain.

Before Chen Wenzhe made Ding kiln porcelain, it was because he had just made a batch and naturally understood the style of the Song Dynasty.

Now to make Yuan blue and white porcelain and Yuan underglaze red peony pattern porcelain, it is necessary to have a certain understanding of the development of the peony pattern in the Yuan Dynasty.

In the Yuan Dynasty, in fact, the peony pattern was not only on the porcelain, but also in other aspects.

It is very important to realize this point.

Because the patterns on porcelain cannot be separated from the social environment at that time.

It should be known that in Yuan Dynasty textiles, plant themes played a very important role in decorative patterns.

This was mainly influenced by the prosperity and development of flower-and-bird paintings in the Song Dynasty, which laid the foundation for the development of flower and plant themes in textile decoration in the Yuan Dynasty.

The decorative patterns in the textiles of the Song Dynasty began to form some fixed combination patterns representing certain meanings.

The Yuan Dynasty continued to develop on this fixed combination of plant patterns, and there was an inevitable connection with the popular plant patterns in the Song Dynasty.

The peony pattern plays an important role in the textile patterns of the Yuan Dynasty, especially the entwined peony pattern, which is a common theme connecting different patterns.

Peony symbolizes wealth and is deeply loved by the people. According to literature statistics, there are 194 peony varieties planted in the Yuan Dynasty.

The flower types and colors are quite rich, and the flower types can be divided into single petals (single leaf), multiple petals (multiple leaves), and double petals (thousand leaves).

And the varieties have the most double petals and the least single petals.

For example, the pleated pleats mentioned earlier are layers of peonies stacked together.

This kind of craftsmanship, if every piece is hand-painted, it would be too troublesome.

Therefore, the printing process will prevail.

Prosperous peony, this term is not only used by us now, but also in ancient times.

Regardless of whether it was a prosperous age or not, the ruler at that time would think that he had brought a prosperous age.

Therefore, it is inevitable to make a large number of peony pattern wares.

In the Yuan Dynasty, it is needless to say whether it was at its peak or not.

Maybe we haven't ruled for a long time in China, and we don't care too much, but it's not like this abroad.

God's whip, spur the world, the unprecedented super empire in history, ruled the polar bear for more than [-] years!
These histories have left indelible impressions in North Asia, West Asia, South Asia, and Eastern Europe.

Therefore, people think that they have brought a super prosperous age, and a prosperous age naturally has a scene of a prosperous age.

At this time, the large blue and white flowers of the Yuan Dynasty appeared, and naturally, the peony patterns began to bloom infinitely.

Embodied in Yuan Dynasty textiles, it is the shape of peony flower heads from different angles, and most of them represent double-petalled peonies.

On the corrugated skeleton, the peony flowers blooming at different angles are rolled back and forth, forming a peony pattern with entwined branches.

Other flowers and auspicious combinations are interspersed to form decorative patterns with different auspicious meanings, which also shows people's infinite yearning for a better life at that time.

But it is really not easy to paint peonies well, especially the peonies of the Yuan Dynasty, after all, there are too many categories.

Of course, if you just imitate some peony pattern wares, you don't need to pay attention to these.

However, as long as you meet someone who is knowledgeable, you can recognize at a glance what period of peony you are painting.

This is like drawing a dragon. Dragons in different historical periods are also different.

On the peony, it is not as obvious as the dragon pattern, phoenix pattern, Taotie pattern, etc., but it is still as conspicuous as a bright light to a true connoisseur.

What Chen Wenzhe is doing is a high-quality imitation of the authentic collections, so he naturally pays attention to various details.

Therefore, he needs to thoroughly study the peony patterns in various historical periods.

For example, the important mature period of the peony pattern was in the Tang Dynasty. In the "Picture of Ladies with Hairpin Flowers" painted by the famous painter Zhou Fang in the late Tang Dynasty, the pattern of the ladies' clothing in the picture is a large peony flower.

Among the fabrics in the Kaiyuan period, the flower theme is mainly Baoxianghua, which combines the characteristics of various flowers.

Baoxianghua has the modeling elements of peony, camellia, pomegranate and other flowers.

In the late Tang Dynasty, the characteristics of peony flowers became more and more obvious.

The flower type at this time has developed from the patterned Baoxiang flower to the more realistic peony flower.

In the Song Dynasty, literati began to write monographs on peony.

In the Song Dynasty, peonies became more popular, and the realistic flower-and-bird paintings in Song Dynasty matured, which further promoted the popularity of peony patterns.

The peony pattern has also become one of the most common plant patterns in the decoration of crafts in the Song Dynasty.

Peony patterns in textiles, according to "Song History" records Xiangzhou tribute textiles have "dark flower peony yarn".

Natural-style perforated peonies were often used for mounting in the first year of Song Yuanyou.

Yuan Tao Zongyi's "Zi Geng Lu" records that among the famous colors of painting and calligraphy mounting in Song Dynasty, there are such patterns as "Peony Fangsheng" and "Daoxian Peony".

The Southern Song Dynasty Zhu Kerou Disi peony in the Shenshi Museum is in the style of fine brushwork and light color painting.

Peony patterns are not only decorated in fabrics, but also commonly seen in Song Dynasty porcelain, lacquerware, gold and silverware, and architectural decoration.

On the basis of the performance of peony flowers by the Song people, the research on peony in the Yuan Dynasty still had successors, and the patterns increased.

For example: Wang Yuan painted the "Peony Picture Scroll", and Yuan Fei wrote the "Shu Brocade Spectrum". According to the Northern Song Dynasty, the Chuan Provincial Transit Brocade Academy produced a "green Ruyi Peony Brocade", which was exchanged for war horses with ethnic minorities.

It is precisely because the peony is crowned as a symbol of wealth and honor, it is very popular among the people.

Compared with the Song Dynasty, the image of the peony pattern in the Yuan Dynasty is actually a bit special.

For example, the peony pattern and the cloud dragon pattern are combined with each other, and the large peony pot with the cloud dragon pattern is one of the representatives.

Therefore, the peony pattern in the Yuan Dynasty can not only be used as a decorative theme, but also often in the form of twined or folded flowers to form a background pattern that connects dragons, phoenixes, deer and other auspicious birds and beasts.

The peony flower head has both a patterned treatment and realistically flipped details.

The visual angle can be varied from top view, half side view, front side view, etc.

In Yuan Dynasty textiles, peonies were not often shaped from a bird's-eye view.

The flower head is a double-petal image, and the petals are naturally turned over, mainly appearing in the image of a peony with tangled branches.

There is also the half-side shape of the flower head, which has a different visual effect.

Among the semi-profile shapes in the works of the Yuan Dynasty, the peony flower has a completely symmetrical flower head from left to right, and also has the image of petals growing naturally.

(End of this chapter)