My system is not decent

Chapter 1566 What is good at the top, the bottom must be very bad
In the late Qing Dynasty, the firing level of sprinkled blue glazed porcelain declined.

Especially in terms of tires and glazes, they cannot be compared with the utensils of the early Qing Dynasty.

Therefore, from the perspective of collection, the blue-glazed porcelain of the Qing Dynasty is still the best in the Kang, Yong and Qian periods.

This is also something that can't be helped. On the one hand, the national power of the Qing Dynasty was strong, and on the other hand, the emperor liked it.

For example, because Emperor Kangxi loved ancient porcelain very much, he felt that it was a pity that the simple and exquisite blue-glazed porcelain craftsmanship was lost, so he asked JDZ Imperial Kiln Factory to re-develop re-fired blue-glazed porcelain
What's good in the top, what's in the bottom!

That's why there will be blue-glazed porcelain handed down from the Qing Dynasty.

For example, bowls with gold and auspicious animal patterns, as well as Kangxi's three-color ichthyosaur-changing Avalokitesvara Zun under sprinkled blue glaze, plum vases sprinkled with blue glaze, gallbladder vases sprinkled with blue glaze with dragon patterns, and bowls with flower mouths sprinkled with blue glaze leaving white clouds and dragon patterns.

Later, it was also fired during the Guangxu period, and there was a bowl with a blue glaze and a white dragon pattern.

Of course, blue-glazed porcelain is still the best in the Ming Dynasty.

The blue glaze technique of the Ming Dynasty was not only the pinnacle of porcelain firing at that time, but also the crystallization of the hard work and wisdom of the ancient working people, which was highly respected by later generations.

After Xuande, Hongzhi's products were slightly inferior, which was closer to the color of lotus root or blue.

At this time, the blue glaze was sprinkled, and the glaze surface was not uniform, and the color tone was different.

However, the plate with dark dragon patterns is made with white glaze on the inside, green gold blue glaze on the outside, and light peacock green color on the dragon body, which is quite delicate.

In fact, it can be seen from these porcelains that ancient craftsmen's cognition of cyan, blue, and green is really not so absolute.

It's not that I don't know each other, but I'm a little confused.

Therefore, during the Jiajing period, blue-glazed porcelain was created and fired.

Huiqing glaze and Jilan glaze are both high-temperature glazes with cobalt oxide as the coloring agent.

It's just that the green material used is a blend of the unique Huiqing and domestic Shiziqing at that time.

This point is similar to Buddha head green, so the color of this kind of back green glaze is similar to that of Ji blue glaze.

However, Huiqing glaze is not as deep and colorful as Jilan glaze, but light blue in color.

However, the whole body is covered with high-temperature Ji blue glaze, and the place near the bottom is purple-black due to the thicker glaze accumulation.

Generally, Ji blue glazed porcelain has no glaze in the foot and exposed tire.

The porcelain fired in this way is dignified and simple in shape, the glaze color is thick, even and deep, and the glaze surface is shiny. Each piece is the best of blue glazed porcelain.

Such blue-glazed porcelain can also see some characteristics from the bottom of the tire.

For example, some of the bottom tires have fine grains on the glaze surface, some have brown spots, and the polyglaze near the bottom feet is black.

It is a pity that after the Wanli Dynasty, blue glazed porcelain was basically extinct.

Only in the Qing Dynasty, the blue glaze was re-fired because of the love of Kangxi, Yongzheng, and Qianlong.

After nearly half a century of silence in the late Ming and early Qing Dynasties, it flourished again in the Kangxi period of the Qing Dynasty.

Since then, there have been fine works handed down from all dynasties, and the number of surviving ones is far greater than that of Ming Dynasty blue glazed porcelain.

After Kangxi, blue-glazed porcelain was produced in all dynasties, and there are many imitations of Kangxi's blue-glazed porcelain.

When appraising, we should pay attention to the shape of the glaze in different eras. The imitation of Kangxi's blue gold color is easy to fall off, and it is often the case that the gold color of later generations falls off and then painted with gold and fired again.

Therefore, be sure to use a magnifying glass to carefully observe the traces of gold painting.

The modern imitation gold color is fired with gold water, and its color is more gorgeous than Kangxi gold color, so we should pay attention to the difference between the two.

During the Yongzheng period, the blue glazed porcelain of the Qing Dynasty was crowned with Yongzheng blue glaze.

During the Yongzheng period, Tang Ying served as the pottery supervisor of the imperial kiln factory, and all kinds of glazes were fired with great success.

The blue-glazed porcelain of this period has the most well-proportioned proportions and the most elegant lines.

There are many varieties of Yongzheng olive vases, including blue and white, pastel, monochrome glaze, etc. Ji blue glaze is a very rare one.

It is characterized by thin body and light body, regular shape, uniform and moist glaze color, blue and purple glaze surface, and is unique in the Qing Dynasty because of its gorgeous glaze color.

During the Qianlong period, the blue-glazed porcelain was mainly Ji blue glaze and sky blue glaze, and most of them were display utensils and some sacrificial utensils.

During this period, a large number of blue-glazed gold-painted decorations appeared, and the blue-glazed gold-painted decoration technique continued to prevail until the end of the Qing Dynasty and the Republic of China.

The characteristics of Jilan in the Qing Dynasty are deep color, the glaze does not flow or crack, the color tone is uniform, and the color is relatively stable.

In addition to monochromatic glaze, Jilan utensils are often decorated with gold color, and there are also engraved and printed dark flowers.

To sum up, the Jilan in the Kangxi period of the Qing Dynasty was also quite successful. Its thin glaze has no cracks, and the glaze color is relatively dim.

Some are engraved with dark patterns, and some are painted with golden colors.

It was the most prosperous in Yongzheng, but it felt a bit desperate in Qianlong.

The identification and identification of blue-glazed porcelain is similar to that of other palace kiln porcelain, and it is even very simple.

Still from several aspects, the first is to look at the glaze.

In the Yuan Dynasty and the early Ming Dynasty, they belonged to high-grade glazes with fewer numbers than other glazes.

The high-quality ji blue glaze is the best Buddha head green extracted from the back green material, and the blue is purple.

This kind of glaze color is a kind of high-temperature glaze, that is, a proper amount of natural cobalt material is mixed into the stone and lime alkali glaze as a colorant, and it is successfully fired at one time with the blank in the kiln at about 1280-1300 degrees Celsius.

At this time, the glaze color is deep, the glaze surface does not flow or crack, the color tone is uniform, and the color is relatively stable, which was monopolized by official kilns at that time.

Of course, although they are all high-temperature glazes, the color of the blue glaze in the Yuan Dynasty was unstable, and the color was different.

This was caused by the kiln workers at that time, who did not have a good grasp of the fire temperature and the washing and refining technology.

In the later stage, the refining technology has improved, and the highest quality blue material can be extracted from imported materials, which is "Buddha head green".

Combined with the technology of controlling the fire temperature, finally a deep and stable blue glaze with purple in the blue is produced, which does not flow or crack.

Jilan in the Yuan Dynasty is deep and beautiful in color, full of nobility.

In fact, the high-temperature blue glaze in the early Yuan Dynasty also belongs to the category of Ji blue glaze.

If you look at the glaze color, or the surface of the porcelain, there are still many features of the porcelain of the Yuan Dynasty.

For example, the characteristic of orange peel glaze is also a common feature of all wood kiln fired porcelain.

In addition, the white glaze of the Yuan Dynasty turned blue, which is one of the common characteristics of the blue and white porcelain in the early Yuan and Ming Dynasties.

Then there is the recognition of inscriptions. Before the Yuan Dynasty, there was basically no recognition of inscriptions.

But it can be distinguished from the glaze and the bottom of the tire.

Ming Yongle and Xuande both have inscriptions, and the production of Ji blue glazed porcelain in the Qing Dynasty has continued throughout the dynasties, and there are fine products handed down from generation to generation.

Some are engraved with dark patterns, and some are painted with golden colors.

The common shapes are still palace sacrificial vessels and furnishing porcelain, and the blue-glazed porcelain in official kilns mostly has official models, and the workmanship is very fine.

Folk kilns also have Ji blue glazed porcelain, but most of them are sacrificial vessels used in temples, most of which are furnaces and vases, none of which have official models, but there are old ones.

Generally speaking, the surface of ancient porcelain is basically "damaged".

This damage is what is now called soft injury, which is the trace of "cow hair pattern" caused by natural wear and tear.

This kind of aging trace is difficult to imitate, but it does not mean that it cannot be imitated.

If you really want to say that it is difficult to imitate traces, air bubbles are naturally indispensable.

Observing the bubbles, it is easy to discern the degree of time aging of the porcelain.

It is basically impossible to say that the bubbles in a collection are intact, so we can observe whether it is an old thing from the bubbles.

(End of this chapter)