My system is not decent

Chapter 1352 Jade Carving with Peony Pattern
Guanyinge Porcelain Kiln is one of the most famous folk kilns in Jingzhen, and its products are almost comparable to official kilns.

The porcelain produced here is mainly for export. From the 18th century to the beginning of the 19th century, Jingzhen’s export was mainly exported to Europe and Southeast Asia through the East India Company.

The last batch of blue-and-white porcelain dishes excavated underwater, blue-and-white porcelain bowls with lids, and other products are very representative utensils.

Their porcelain body and enamel are relatively thick, and the blue and white color is slightly blue-gray or blue-black.

Whether it is patterns, flowers and birds, or characters, they are all relatively casual, fully expressing the characteristics of folk art.

Of course, such porcelain must belong to the common type of export porcelain in Jingzhen.

It can be said that this batch of blue-and-white porcelain has great reference value and inspiration for Jingzhen cultural relics and archaeologists, as well as those engaged in ceramic art research.

In fact, in the history of the development of Jingzhen ceramics, there have been official kilns and folk kilns since the Song Dynasty.

However, official kilns in the true sense, that is, official kiln ceramic handicraft workshops, were not established until after the Ming Dynasty.

It was from this time that Jingzhen gradually developed into a porcelain-making center in the whole country, and even in the world.

Although the official kiln has played a great role in promoting the development of Jingzhen ceramics.

But in terms of its long history, wide range of service targets, rich technology, and broad market, it is still the folk kiln industry.

Especially after the emergence of capitalism in the mid-Ming Dynasty, the ceramic market at home and abroad continued to expand.

And the makers of these commercial porcelains entering the market are precisely the many folk kilns in JDZ with various characteristics.

These potters in the folk kiln industry not only produced the once famous Jingzhen porcelain, but also made the Jingzhen folk kiln develop to "the sound of thousands of pestles, the flames and candles, and the night can't sleep."

Because of this, Jingzhen in this period is called the era of "Leitun Town in Four Seasons".

In the apocalypse at the end of Ming Dynasty, during the reign of Chongzhen, the production of official kilns ceased, leaving only private kilns.

This period of history without official kilns is an important historical period in which Jingzhen's porcelain industry has become the most glorious and famous.

Neon merchants, Portuguese merchants, British East India Company and other foreign merchants bought large quantities of folk kiln porcelain in Jingzhen.

Free and unrestrained, dripping and carefree folk kiln blue and white porcelain, red and green colors;

Consecrated plate with rigorous composition and rich decoration;
The colorful and unique colorful porcelain in the late Ming Dynasty has become a treasure that countries all over the world are eagerly ordering.

The export of these porcelains has had an extremely profound impact on the development of neighboring countries and the subsequent development of the porcelain industry in European countries.

Chen Wenzhe never thought of discovering so many precious cultural relics in one trip to sea.

And these cultural relics are also somewhat representative, which makes his gains from going to sea this time more valuable.

For example, on the last shipwreck, although not many porcelains were found, many other cultural relics were also found.

In general salvage of sunken ships, porcelain is the most conspicuous, but not necessarily the most precious.

Cultural relics in our general sense are basically porcelain.

For example, this time, it mainly includes Clark Porcelain from Pinghe Kiln in ZZ City, as well as colored glaze porcelain from Jingzhen.

However, in addition to these porcelains, there are also many metal wares and so on.

The main types of porcelain include blue and white porcelain platters, bowls, bowls, cups, jars, bottles, etc.

In addition, there are glazed pottery pots, iron pots, copper coins, copper plates, and tin pots.

There are figures, flowers, animals and other patterns and Chinese characters in the decoration of the water porcelain.

For example, the lotus represents the "cleanness" of "clean government", and the deer represents the "lu" of official career.

There are also allusions such as the Ribbon Bird, Eighteen Scholars Deng Yingzhou, and Mi Fu's worship of stones in the decoration.

The largest blue and white plate has a diameter of about 30 centimeters, and the inner wall is painted with unicorns, peonies, ladies, scholars, flowers and plants.

Representative cultural relics are jade pot spring vase, Shuanglong jar (two dragons are painted on the surface and four handles on the top of the jar), colored glaze porcelain, double fish plate (two carp are painted on the pattern), etc.

In addition, nearly 3 other cultural relics have been released.

Now the cultural relics are basically cleaned up, and the structure of the ship is basically confirmed.

Among the unearthed ship cargo, porcelain is the most, followed by pottery, iron, bronze, tin, etc., and there are no less than 4 cannons and round condensation suspected to be shells.

The least of them are gold and silver objects, and the windfall is a batch of jade carvings.

The peony pattern is not a unique pattern of porcelain. There are also many jade peonies carved by ancient craftsmen.

Peony has been regarded as a flower of wealth and honor since ancient times, and this is definitely not for nothing.

Chen Wenzhe had made many porcelains with peony patterns before, but he had never carved jade wares with peony patterns.

This time it was all right, and unexpectedly found a batch of jade articles with peony patterns.

These jade wares look like antique jade, imitating Tang jade, Song jade and so on.

Peony patterns on jadeware first appeared in the Tang Dynasty.

At present, there are about [-] jade and stone wares with peonies as the decorative theme in the Palace Museum.

For example, the white jade engraved dragon inlaid with peony patterns in the Ming Dynasty is one of the masterpieces.

As for these exquisite peony-patterned jade wares, Chen Wenzhe couldn't put them down at first glance.

The most important thing is that through these jade wares, he can learn the top carving skills of the Ming Dynasty.

There is no way. In the Ming Dynasty, the top craftsmen could not be said to be from the folk, but there were definitely masters among the folk.

And when those foreigners entered the country, they saw everything as a treasure, and the jade carvings among them were naturally no problem.

To buy, you have to buy the best one, and now Chen Wenzhe happens to be cheap.

These Ming Dynasty jade pendants have a concise composition, smooth lines, and the carving techniques are sophisticated, vigorous and informal.

However, when grinding, pay more attention to the surface, often neglecting the details, and the processing is relatively sloppy.

The use of peony decorations has been enriched on the basis of inheriting the previous generation.

For example, the white jade openwork dragon inlaid with peony patterns in the Palace Museum collection adopts a multi-layer openwork method as a whole.

This jade carving is a dragon dancing between two peony flowers, and a dragon is carved on each side.

This kind of multi-layered carved and flaky jade belt decoration is a typical artifact in the Ming Dynasty jade belt decoration, and the Palace Museum has a rich collection.

Holding a white jade embossed peony bracelet in his hand, Chen Wenzhe was really moved.

There were many bracelets of this shape in the Qing Dynasty, and they did not arrive first, but the earliest ones came from the Ming Dynasty.

The use of peony decorations on jade pendants in the Qing Dynasty was much less than before.

But the jade material is of higher quality and the craftsmanship is more sophisticated.

Take this pair of white jade bracelets as an example. The bracelets are cut from high-quality Hetian white jade.

The side edge of its outer wall is engraved with incised patterns for a week, and the surface is embossed with peony flower and leaf patterns for a week. Among them, there are six peony flowers, which are in full bloom and surrounded by flowers and leaves.

In addition, among the jade carvings discovered by Chen Wenzhe, there is also the jade of the Peibi style jade in the December order group of white jade.

(End of this chapter)