My system is not decent

Chapter 1249

Kangxi's emerald green blue and white flowers are not as crystal clear and gorgeous as Xuande blue and white flowers, and there are also differences from the exquisite and exquisite Chenghua blue and white flowers.

This kind of emerald blue is not like the novel shape of Qianlong blue and white, but has its unique bright green luster.

It is not without reason that emerald green blue-and-white porcelain has always been called the divine product of blue-and-white porcelain by praisers.

It is not only different from the magnificent hair color of Yongxuan Su material, but also different from the elegant and handsome hair color of Chenghua Pingping Qing material.

It is not as quiet and deep as the hair color of Jiajing Huiqing material, and it is also very different from the peaceful, stable, elegant and luxurious style of Qianlong blue and white.

Emerald blue presents a magical effect that is close to the rendering effect of ink on rice paper in Chinese paintings.

The blue color scale also forms multiple steps, which can even fully express the cracking method in painting.

What is the cracking method?This is one of the expressive techniques of Chinese painting.

What does it mean to be able to express the Cunfa method vividly?What kind of effect did it show?
If you want to know this, you must understand what is chapping!

Although this cracking method is one of the basic techniques of painting, it is not simple.

In the artistic practice of ancient painters, according to the different geological structures of various rocks and the surface state of trees, the expression formula created by summarizing is called the Cun method.

There are many types of Cunfa, and they are all named after their shapes.

The main method of expression in early landscape paintings was to outline the outline with lines and then apply color.

With the development of painting, in order to express the veins, lines, texture, yin and yang, bumps and backs of mountains, rocks and trees in mountains and rivers.

Later, the Cuncha brushwork was gradually formed, and the unique term "Cunfa" in Chinese painting was formed.

The basic method is to use various methods of brush operation to express the light and shade (convex and concave) of mountains, complex geological structures, and the shapes of different rocks, forming various stylized rubbing methods and names.

Cracking methods are generally divided into hammer-head cracking, mochi sticking, chaotic cracking, sesame cracking, big ax cracking, small ax cracking, rolling cloud cracking (cloud head cracking), raindrop cracking (rain and snow cracking), bombing vortex cracking, lotus leaf cracking Cracking and many other techniques.

If all of them were described, there would be many more, such as alum head, skeleton, ghost skin, solution, random fire, cow hair, horse teeth, wrong point, Douban, prickly pear (of Douban) Change), broken net, folded, nails pulled out of the mud, muddy and watery, gold and jade, boneless, straight, horizontal, etc.

Only from this, it should be seen that the expression of this technique is a bit complicated.

Zheng Ji of the Qing Dynasty listed it as the Sixteen Cunfa.

"Fantasy House Painting Concise Discussion": "The ancients wrote landscapes into sixteen schools. They are called Phi Ma, Yuntou, Sesame, Lump, Folded Belt, Horse Teeth, Axe, Raindrops, and Tan vortex, called skeleton, called alum head, called lotus leaf, called ox hair, called Jiesu, called ghost skin, called Luanchai, these sixteen schools of texturing methods, that is, the names of sixteen schools of rocks, are not fabricated."

In the Qing Dynasty, Wang Gai listed as many as fifteen kinds of chapping methods.

From the form of Cunfa, the basic elements of innovation can be summarized.

That is, point cracking, line cracking and surface cracking.

Dian Cun mainly includes Yudian Cun, Douban Cun, and Ding Tou Cun.

The lines mainly include long and short mochi, lotus leaf, jiesuo, folded belt, cirrus cloud and ox hair.

The main types of face chapping are chopping with ax and axe, chapping chaff, and chapping chaff.

Those that express the skin of the tree body include scales, ropes, and horizontal cracks.

Among the painting theories of the past dynasties, there are "Coral Net · Cracking Stone Method", "Painting Things Micro Talk · Cunfa", "Shi Tao Painting Quotations · Cunfa Chapter", "Mountain Quiet Dwelling on Painting" and so on.

In the landscape painting of Chinese painting, the appearance of the texture method marks the real maturity of the landscape painting.

With the continuous development of traditional Chinese painting, over the past thousands of years, Cunfa has evolved from a basic technique to an artistic language form with the spirit of life.

It not only has an independent aesthetic value, but also reflects the aesthetic characteristics of different eras with the development of the times.

Cunfa is the form of artistic language refined by the landscape painters of all dynasties in the practice of learning from nature.

In the continuous development, a complete system has been formed, which has a unique value status.

It is such a technique, but it can be expressed with a simple blue and white hair color.

From then on, one can imagine the joy after the emerald blue was accidentally fired.

Just using one color, through the hair color, can express the complex artistic conception of traditional Chinese painting, isn't this amazing?
With just a few strokes of color painting, it is possible to express the artistic conception of landscapes and characters in traditional Chinese painting, which is sure to surprise people.

But all of this must be inseparable from the coloring agent.

Can't show special color, blue and white is still the same blue and white, how can it become emerald blue?
Therefore, blue and white flowers are common, but blue and white flowers in emerald hair blue state are not common.

The coloring agent of emerald indigo must be hidden in the green material, and the production of emerald indigo is inseparable from the pearl material.

Now we all know that emerald blue is made from the finest Yunnan pearl material, carefully selected and refined.

The hair color of general pearl materials can stably present the color of sapphire blue.

But it really depends on luck whether you can burn emerald green.

It's just that there are some rules that have been summed up.

That is to say, on the basis of suitable pearl materials, through high temperature and burning, the satisfactory works can be obtained unexpectedly.

During this process, the firing of emerald blue is completely out of control.

All the kilns who specialize in firing emerald indigo know that emerald indigo is the result of "burning off" when the kiln temperature is high.

But the same temperature, repeated experiments, but can not get the same results as before.

Therefore, porcelain firing sometimes depends on luck.

But this kind of luck, after research by means of modern science, often becomes inevitable.

And if you want to burn emerald blue, you must first be able to burn sapphire blue.

Because the relationship between sapphire blue and emerald blue is so close and inherited, the two cannot be completely separated in the fired objects.

On some sapphire blue utensils, there will be emerald blue effect locally.

On the utensils that are recognized as emerald blue, there are also some places that are not burnt enough emerald blue, but appear to be sapphire blue.

So how to fire sapphire blue porcelain?
You know, if there is no unexpected emerald blue, even sapphire blue porcelain is a high-end porcelain, a well-deserved treasure.

Of course, to burn classic porcelain, there must be a stable environment, and during the Kangxi period, all conditions were met.

In the early Qing Dynasty, after experiencing the transition during the Shunzhi period, the central government had stabilized during the Kangxi period.

The social economy resumed development and gradually showed a comprehensive prosperity.

In order to appease the people, the Qing government introduced many new policies.

In particular, the "craftsman registration" system since the Ming Dynasty was abolished, which relatively eased the constraints on farmers and handicraft craftsmen.

This kind of loose social environment liberates the artisans, thus allowing the production and development of porcelain to have an explosive period!

(End of this chapter)