My system is not decent

Chapter 1559 Official kiln standard vessel

The patterns and patterns of Chongzhen porcelain, in addition to traditional patterns such as dragon patterns on temple offerings, are often seen in stories of characters, landscapes, arhats, white rabbits, pine, bamboo and plum, flowers and birds, etc., and window pane patterns are often used as auxiliary patterns.

From the late Chongzhen period to the end of Shunzhi in the Qing Dynasty, the inscriptions matching the pictures were mostly written in official script.

During the reign of Chongzhen, Neon's fixed burners included various tea sets, tableware and incense boxes.

Some of the pattern pictures are completely drawn in neon style.

Some of these utensils are "Made by Wu Xiangrui, Wuliang Dafu (husband)", and the neon is called "Xiangrui" porcelain.

In addition to blue and white, Chongzhen also has five colors.

There are two kinds of multicolored porcelain, simple overglaze multicolored and blue and white multicolored.

The folk kiln style of blue and white multicolored porcelain is mainly based on patterns such as landscapes, figures, white rabbits, birds, peaches, plum stones, flowers and birds.

Prominent blue and white, red and green tones are obvious.

Simple overglaze five colors emphasize green and yellow.

There are mostly pictures of characters and stories, with obvious knife marks on the bottom of the plate, and there is a square inscription of "Tianxia Taiping" in seal script.

Now there is a clear record, which is known as the "standard official kiln" of Chongzhen in Ming Dynasty.

This is a piece of porcelain that was put up for auction. At that time, it was announced that there were only 6 pieces left in the world.

This is a "Ming Chongzhen five-color seawater dragon pattern plate".

There are only 6 known surviving pieces of this rare multicolored seawater dragon pattern plate, so it is naturally extremely precious.

Therefore, major museums regard it as a standard official kiln in the Chongzhen period.

The decoration of this vessel is painted in red, green, black, yellow and malachite green on-glaze.

The center of the plate is a dragon pattern on the front, jumping from the waves to the clouds, and the dragon's spine fins are cone-shaped.

It is surrounded by waves, sea water, strange rocks and river cliffs, and the outer wall is painted with two dragons playing with pearls, flames, and miscellaneous treasure patterns.

The center of the pan is painted with cloud and dragon patterns, the dragon is in frontal form, with sharp toes and claws, and the pan is powerful.

His beard is flicking, his momentum is awe-inspiring, the lines of the picture are smooth, and the painting is accurate.

Of the six surviving pieces, four are in the David David Foundation in England, the Guimet Museum in France, the Imperial Palace Museum in Shendu, and the Maritime Museum.

The fifth piece was originally in the private collection of Ruiguo, and participated in the "International Exhibition of Chinese Art" in England from 5 to 1935.

Later, it was auctioned by Deutsche Nagao, and it was auctioned by Shendu Rongbao in 2013. It is now owned by a private collector in Huaxia.

The sixth piece came from Christie's New York auction and was auctioned on March 6, 2010.

Afterwards, the 2010 Autumn God Capital Rongbao was auctioned again.

Such artifacts are rare, but as long as they appear, they will be treated specially because they are very precious.

In this way, it is impossible to be fake, because there are many people who have identified it, so the dating is accurate.

Only in this way will it be used by major museums as the standard utensils of official kilns in the Chongzhen period, otherwise it will be a joke.

In fact, it is not difficult to identify Chongzhen porcelain, because Chongzhen porcelain is generally grayish-blue glazed, and the gloss is not strong.

The bottom of the thicker utensils has sand filling marks, the bottom glaze is blue, and there is no orange yellow between the glaze.

It is mostly sauce mouth, and there are jumping knife marks on the bottom.

Part of the blue and white color is gray, and a large number of blue and white export porcelains left abroad are bright in color.

Some have finger-like watermarks.

About ten years after Chongzhen and 14 years before Shunzhi in Qing Dynasty, there were inscriptions written in official script.

After all, it is not a top treasure, so there are not many modern imitations.

Even if some people imitate it, they cannot imitate such poor official kiln porcelain.

Don't think that top-level porcelain is difficult to imitate. In fact, poor-quality official kiln porcelain has many unique characteristics and is even more difficult to imitate.

This is the same reason that it is difficult to get a perfect score in an exam, but it is also difficult to get a zero score.

Chongzhen blue and white porcelain is not a high-quality product, and Chen Wenzhe only imitated a few famous porcelains with styles for exhibition.

Others, he doesn't have much interest.

In the heyday of blue and white porcelain, there were only three dynasties, namely Yuan, Ming and Qing.

In the Qing Dynasty, blue and white porcelain reached its heyday.

It was not until after Qianlong in the Qing Dynasty that blue and white porcelain gradually declined due to the development of pastel porcelain.

Although it was once revived in the late Qing Dynasty (Guangxu), it was unable to continue the prosperity of the Kangxi Dynasty in the end.

If you want to imitate the blue and white of the Qing Dynasty, you have to study it during the Shunzhi period in the early Qing Dynasty.

The Shunzhi (1644-1661) Dynasty in the early Qing Dynasty did not last long, but it was a critical period for connecting the past and the future, and laid a solid foundation for the later peak of the Kangxi period.

Shunzhi blue-and-white wares mainly have several characteristics, mainly because they are less in shape.

Of course, some commonly used device types are still available.

There are mainly stoves, goblets, bottles, large and small plates, bowls, cans, etc.

The carcass is generally rough, and the carcass of large utensils such as furnaces, large plates, and goblets is thick.

The carcass of small utensils such as small plates and bowls is lighter and thinner.

However, there are also individual utensils with fine and dense fetal texture, which can be seen in the shape of glutinous rice.

The bottom glaze is mostly white and blue, and some are slightly gray, and the glaze layer is thin.

The blue and white material should be Zhejiang material and Shiziqing used together, resulting in some green and some blue hair colors.

Among them, the blue and white hair color of the furnace is mostly green, while the hair color of other utensils is mostly grayish blue.

Most of the decorations are flowers and birds, landscapes, travertine stones, autumn grass, boats on the river, monsters, auspicious animals, plantains, clouds and so on.

Dapan likes to draw a blue and white coil on the edge of the mouth, and then draw the main body decoration inside the circle;

Most of the small plates have a sycamore leaf painted on one side of the plate, and similar poems such as "When a sycamore leaf falls, all the world is autumn" are written on the other side.

Large vessels such as bottles, goblets, and cans also like to use blue and white lines as decorations to separate them.

The painting method is a combination of sketching, flat painting, rendering and line drawing.

The style of painting is casual. Although it is neater than that of the late Ming Dynasty, it still does not have the rigorous and meticulous style of Kangxi.

The picture layout is relatively full, especially the utensils such as large plates, jars, bottles, and goblets.

Changes in texture and shades have begun to appear, but they are not yet mature.

Bottles, goblets, etc. have multiple flat sand bottoms.

Glaze shrinkage spots are common on the bottom of plates, bowls, and jars, and sticky sand on the bottom feet is more common.

There are many knife marks on the bottom of the bowl.

There are many folk kiln wares and few official kiln wares, and there are very few wares with annual models.

This situation is similar to that of Chongzhen porcelain in the late Ming Dynasty. In the early days of the founding of the People's Republic of China, there were turmoil everywhere, and the people were struggling to make ends meet, so how could they even think about developing porcelain.

However, when it comes to the next emperor, it will be different.

After Shunzhi came Kangxi, which had a long time span, rich types of utensils, and superb craftsmanship.

Zhejiang materials and pearl materials are used in this period. The blue and white hair color is darker in the early stage, and green and blue, bright and bright after the middle stage.

In the early days, the painting method was mainly single-line flat painting, with a rough momentum;

After the mid-term, outline, rendering, cracking, etc. were used together, and the painting was fine, and the blue and white color scale (the so-called "blue and white five colors") was highly respected.

The themes of the decorations are diverse, including landscape figures, dragons and phoenixes, flowers and birds, fish, insects and animals, poems and essays, Bogus and so on.

Among them, the most characteristic of the times are Bingmei, Plowing and Weaving Maps, Daomaren, and Shuanghuang Peonies.

There is also a pattern, the white edge is more obvious than other dynasties.

Porcelain from the Kangxi period is dense and white, in the shape of glutinous rice cakes.

The glaze is hard, closely combined with the fetus, orange peel or brown eyes can be seen, white and blue in the early stage, and bright white in the middle stage.

In addition to daily-use utensils, ornamental porcelain has increased in large numbers. Typical utensils include jars with lids, phoenix-tailed statues, flower goblets, elephant-leg vases, and pen holders.

(End of this chapter)