My system is not decent

Chapter 1656 Using a Knife Instead of a Brush to Draw Daqian

The shape of porcelain in the period of the Republic of China is monotonous, and the shape of the vessel has lost the simple and simple style of the past, and it looks clumsy.

To a certain extent, this is influenced by some foreign industrial products.

Porcelain shapes in this period include furnishings and daily necessities.

The furnishings include porcelain statues, such as human statues, Buddha statues, birds and beasts, three-star people, big-bellied people, and Hehe Erxian.

Daily necessities include plates, bowls, cups, saucers, gall bottles, cylinders, small bottles, soap boxes, snuff bottles, buckle boxes, festival boxes, etc. that we are familiar with.

There are also ornamental porcelains such as narcissus dishes, water washers, hat tubes, flower pots, pen holders, water bowls, pen holders, teapots, fish tanks, porridge jars, medicine bottles, vases, and general jars.

In addition to porcelain for normal daily life, a large number of antique and strange utensils appeared during the Republic of China.

It is characterized by a large number and a wide range. It not only imitates the famous kiln ceramics of the past dynasties, but also imitates the porcelain of the early period in the late Republic of China.

Common imitations of ancient porcelain include celadon from the Three Kingdoms, Jin, Southern and Northern Dynasties;
There are also white porcelain imitating the Sui, Tang and Five Dynasties, and imitating the five famous kiln porcelains of Guan, Ru, Jun, Ge and Ding in the Song and Yuan Dynasties.

The imitation of Ming, Qing and the early Republic of China porcelain, the production process is quite rough.

For example, the tire repair along the mouth of the pen holder is not round, and feels hard to the touch.

The outline of the bottle shape is not as clear as that of Tongzhi and Guangxu.

The two ears of the bottle have been simplified from the front-facing double lion ears to round ears and flower ears, and the decoration of the ears is getting worse and worse.

Applique porcelain appeared during this period, some of which were all of appliqué, and some of which were appliqué and watercolor.

That is, part decal, part painting watercolor, the two blended into one.

Another point to note is that in the late Qing Dynasty and the early Republic of China, "company" models appeared on porcelain.

For example, "Xijiang Porcelain Company", "Tonghua Company", "Yicheng Company", "Liu Rongsheng Company", "Tang Yiyuan Company", "Chen Heshun Company" and other inscriptions appeared.

The development of porcelain in the Republic of China can be described as a difficult journey.

At that time, the economy was sluggish and the current situation was turbulent, which greatly hindered the development of the porcelain industry.

However, during this period, the production of antique porcelain in the history of Chinese ceramics reached its peak, and its scale, output and quality surpassed any dynasty before the Republic of China.

The types of antique porcelain in the period of the Republic of China are mainly colored glaze, blue and white porcelain, painted porcelain, carved porcelain, and Hongxian porcelain.

Color glazed porcelain is the most strictly controlled variety in the official kiln period, and it is also the variety with the highest technical content.

Moreover, it is very difficult to fire, especially the crock bean red glaze in the Kangxi period, which has lost its formula and is difficult to fire in the Yongzheng period.

In the period of the Republic of China, imitations have already appeared in the market, reaching the point of confusing the real ones.

Lang kiln red porcelain is also a variety of the Kangxi period. By the late Qing Dynasty and the Republic of China period, it was difficult to distinguish the authenticity of the imitations that appeared on the market.

There are also various blue and white flowers. Since the country is open, various raw materials are easier to purchase.

Therefore, the import of cobalt materials during the Republic of China was cheap, so blue and white porcelain bloomed everywhere.

The blue and white porcelain that is mainly imitated is a product of the late Ming and early Qing dynasties.

They are almost similar in shape, painting and color rendering.

The imitations of painted porcelain are also mainly works of the late Ming and early Qing dynasties.

However, most of these works have been handed down overseas.

In terms of modeling and painting, these works have inherited the charm of the previous dynasty.

There are also a large number of imitations of famille rose and enamel colored porcelain, and the painters are all masters in official kilns.

Therefore, the paintings are fine, vivid and dexterous. When identifying them, they must be compared with the authentic ones to distinguish the age.

It is because of the participation of masters that the enamel and colored porcelain of the Republic of China cannot be let go as long as they encounter it.

Because those who dare to make enamel paint should be masters.

As for the works that are not masters, you can tell at a glance, because you can't read them.

When the enamel color is high-end porcelain, of course Li Jinli can't buy it.

However, he did buy a piece of engraved porcelain.

The art of porcelain carving is a traditional handicraft art. In the Qin and Han Dynasties, there was a method of peeling and chiseling enamel, which was called "peeling jade".

Starting from the Wei and Jin Dynasties, with the development of the ceramic industry, a large number of exquisite porcelain appeared.

Emperors, officials and some literati wanted to keep the ink marks of poems and inscriptions on porcelain for permanent preservation.

So the artists at that time used straight knives to carve the outline of poetry, calligraphy and painting on the porcelain blank before glazing, which formed the original porcelain carving.

The decoration of Ding kiln porcelain in the Song Dynasty is a typical representative of carving patterns on the porcelain body and then glazing and firing.

The real carving of porcelain, that is, carving on enamel, began in the early Qing Dynasty.

According to records, in the early Qing Dynasty, there was a business specializing in carving porcelain among the people.

However, most of them are mainly inscribed, and the artistic expression such as dot-line composition appears monotonous and plain, and does not attract much attention from the world.

Until the late Qianlong period, due to the prosperity of the economy and the needs of the ruler's cultural life, the imperial court specially set up a "Zaoban Office" in the imperial palace to manufacture handicrafts for the imperial court.

Due to the praise of all walks of life at that time, the art of engraved calligraphy has been further developed.

At that time, there were even people who could use knives to carve landscapes, flowers and birds, grass and insects, etc. on porcelain plates or other utensils, and they were lifelike.

During this period, engraved porcelain really developed into a new art of porcelain decoration.

At the beginning of the last century, engraved porcelain was widely spread in the Central Plains. Although the artistic level is uneven, many folk artists have mastered the skill of engraving on this set of porcelain.

Later, because of the war, this skill was gradually lost.

After liberation, few people have mastered the skill of engraving porcelain.

The one seen by Chen Wenzhe is obviously impossible to be genuine, because it is a Ru Kiln blue-glazed tripod wash.

Three-legged washers are common, but Ru kiln wares are not so common, let alone Ru kiln wares with engraved characters.

This is a three-legged washer in the C character. If it is genuine, it is an out-and-out palace furnishing porcelain.

It's a pity that the authentic piece cannot appear in Chen Wenzhe's hands, because the authentic piece is hidden in the Forbidden City.

However, the imitation of this one is not bad. It has an open mouth, a straight wall, a flat bottom, three curved feet under the support, and five small nail marks on the outer bottom.

The shape imitates the copper washing style of the Han Dynasty, simple and elegant.

The whole body is covered with azure glaze, with fine grained pieces, the glaze color is soft and clear, green and lush like jade.

The pure glaze color and glaze contrast with the finely grained flakes of purpose.

This makes the single green glaze add a sense of rhythm and rhythm.

Just this point shows the artistic style of the Song Dynasty in pursuit of rational beauty.

So, this is definitely a fine imitation.

Although this three-legged Ru Kiln brush washer inscribed with imperial inscriptions in C characters is an imitation, it is exquisite in craftsmanship, beautiful in shape, and exquisitely crafted.

In particular, the azure-colored glaze surface is moist, elegant and pure, with a unique style.

This kind of glaze color is obviously based on precious agate.

Only in this way can a pure azure color be produced.

This color is very unique, it can change with the light.

(End of this chapter)