My system is not decent

Chapter 1250 Brilliant Moment
The development of society and science and technology requires conditions, and more than one condition.

A stable social environment and an open business environment can lead to some technological progress.

The firing of porcelain is also inseparable from the improvement of the business environment.

For example, in the mid-Kangxi period, the sea ban began to be lifted, and the mass production of trade porcelain and domestic daily-use porcelain made Jingzhen's official kilns and private kilns unprecedentedly prosperous.

Moreover, the mutual promotion of official kilns and folk kilns has led to rapid technological improvement and continuous innovation in varieties.

Unique blue and white flowers, gorgeous multi-colored colors, authentic antique porcelain, as well as emerging pastels and enamel colors, all began to emerge slowly.

At this time, the clay of the porcelain body was refined very finely, the texture was hard and pure, and the amount of kaolin in the porcelain body was higher than that of the Ming Dynasty.

The calcium oxide content in the glaze is reduced, the selection and processing of raw materials are more particular than before, and the firing temperature has reached the modern hardness requirements.

The delicate and warm texture of the fetus makes the overglaze, underglaze and colored glazes of the Kangxi period look brilliant and colorful, and there are too many to list.

During the Kangxi period, following the Ming Dynasty, there was a new development in the production of export porcelain, with unprecedented shapes and quantities.

The common shapes of utensils include skimmer goblets, round and hexagonal pots, tube bottles, respect pots, military holders, soup plates, ear cups, etc.

Generally, large plates and bowls with folded edges are more common.

In terms of colored glaze, many varieties of colored glaze appeared during the Kangxi period.

Among them, the most valuable one is Langyaohong.

Langyaohong is actually an extremely successful imitation of Xuande Ruby Red in the Ming Dynasty during the Kangxi period.

Langyaohong is characterized by its deep and bright color, which is as scarlet as cow blood, so it is also called "ox blood red".

Ji red glaze is not as rich and translucent as Langyaohong!

It is a devitrified deep red with a uniform color and a glaze like orange peel.

Utensils include bottles, bowls, plates and so on.

Sapphire blue is a kind of porcelain comparable to ruby ​​red.

Of course, compared to ruby ​​red glazed porcelain, sapphire blue is a bit worse!

But it's not much different, not to mention the emerald blue porcelain that is a step further.

During the Kangxi period of the Qing Dynasty, the firing of blue-glazed porcelain went on a glorious road.

The blue-glazed porcelain at this time not only inherited the fine traditions of the Ming Dynasty, but also developed steadily.

There are many kinds of blue-glazed porcelain in the Qing Dynasty, such as the famous Ji blue glaze, sprinkle blue glaze, sky blue glaze, peacock blue glaze and so on.

After the end of Ming Dynasty, after nearly half a century of silence, blue-glazed porcelain began to shine again in the Kangxi period of the Qing Dynasty and went to glory.

Blue-glazed porcelain at this time mainly includes Jilan glaze, sprinkled blue glaze, sky blue glaze, peacock blue glaze and so on.

Sapphire blue is also called Ji blue and sacrificial blue.

Created and fired in the JDZ kiln of the Yuan Dynasty, it was listed as the top grade of color glazes at that time along with Jihong and Tianbai during the Xuande period of the Ming Dynasty.

Jilan, like Jihong, belongs to high temperature devitrification glaze.

This kind of glaze color uses cobalt oxide as the coloring agent, hangs the glaze on the green body, enters the kiln and is fired at a high temperature of 1200-1300°C once, and the color is stable.

The glaze surface of the sapphire blue glaze in the Kangxi period has orange peel brown eyes and air bubbles, which are relatively evenly distributed.

There are also glazed surfaces that appear vertical.

The Jilan glazes produced during the Kangxi and Yongzheng years were all imitated from Xuande in the Ming Dynasty, with plates and bowls as imitations.

The early Qianlong period was similar to that of Kang and Yong.

But in the later period, it was more delicate. In the late Qing Dynasty, Jilan was rare, and the glaze was not uniform enough.

The porcelain at this time, no matter which period of the Qing Dynasty, the blue-glazed porcelain among them was mostly used for sacrifices in the Qing palace.

The color of Jilan glazed porcelain is very stable, and the glaze surface is closer to eggplant skin purple, but the fly in the ointment is that the glaze surface is not uniform.

For glaze colors such as ruby ​​red, or simply copper red glaze, as long as the kiln temperature is controlled, it will be fired.

Before that, Chen Wenzhe fired Langyaohong, Langyaolan, and other red, blue and green porcelains.

At this time, he has a solid grasp of these ordinary kiln-changing glazes.

However, since it is necessary to fire Ji blue glaze, that is, sapphire blue, it is logical to fire some other classic blues along the way.

What's more, the blue-glazed porcelain of the Kangxi period was really brilliant.

For example, firing was resumed during the Kangxi period, and blue-glazed porcelain was discontinued in the Ming Dynasty.

The production of official kilns in this period was more exquisite than that of the Ming Dynasty, and a certain number of firings were also made in private kilns.

In addition, during the Kangxi period, sky blue glazed porcelain was created and fired, and its color is as beautiful as the sky blue.

Sky blue glazed porcelain is deeply loved and sought after by the court and some upper-class nobles.

Then there is the peacock blue glazed porcelain, the production volume of which was not high during the Kangxi period, and most of them were works that imitated the official kilns of the Xuande period of the Ming Dynasty.

And the most brilliant one must be emerald blue, which is greener and more beautiful than other blue and white.

You know, in ancient times, sapphire blue porcelain belonged to the kiln-changing glaze, so it was difficult to fire, let alone emerald blue?

So now on the market, there are not many things that are recognized as emerald blue.

If the utensils of sapphire blue have the effect of emerald blue in part, it is also a very precious work.

Therefore, although emerald blue is based on blue and white flowers, it is more like the ink color of traditional Chinese painting on rice paper, which is full of magical colors.

Emerald indigo is known as the divine product in blue and white porcelain, which is not only praise for its color, but also an affirmation of the hard work of the emerald indigo firing craftsmen.

It is because of the green hair blue porcelain that the Kangxi period became a glorious moment in the development of blue and white porcelain.

The color of blue and white porcelain in this period has a sense of hierarchy, reaching five color levels, namely head thick, positive thick, second thick, positive light, and shadow light.

These layered colors are also displayed in the emerald blue.

It is a pity that after Kangxi, these crafts have been lost.

The Kangxi blue and white porcelain that people can see today is mostly sapphire blue fired from pearl materials.

Although this kind of blue and white porcelain is also considered a treasure, there is still a big gap compared with emerald blue.

Emerald blue and white porcelain has attracted more and more attention from collectors in recent years. There are not many such products in the market, and once they appear, they will disappear soon.

It is reported that a Kangxi blue-and-white dragon vase sold for 2252 million yuan, which shows the charm of Kangxi blue-and-white porcelain.

During the Kangxi period of the Qing Dynasty, many blue and white porcelains were handed down.

For example, Qing Kangxi blue-and-white pheasant peony pattern phoenix-tailed statue, Qing Kangxi blue-and-white sword and horse figure cover jar, blue-and-white seawater double-dragon pattern large bottle, Jiajing style blue-and-white Chibi Fu landscape flower pattern goblet, blue-and-white cloud dragon pattern stove, blue-and-white "Red Fu Biography" Figure mallet bottle and so on.

These are all collected by the Palace Museum, and they are all fine works.

However, compared with the emerald blue and blue flowers of the Kangxi period, it really lacks a lot of meaning.

In the same collection of the Palace Museum, there are also two emerald blue works, namely the emerald blue brush holder with landscape and figure patterns and the emerald blue and white landscape figure pattern cover jar of Kangxi Qing Dynasty.

The difference between the two, simply speaking, the understanding is not deep!

But when put together and compared, the difference is clear at a glance.

(End of this chapter)