My system is not decent

Chapter 1838 The official kiln in the official kiln
In the year of Qianlong, the "Gourd Vase with Ten Thousand Flowers Uncovered" has dense flowers on the bottle body, covering the whole body, showing the beauty at a glance.

The so-called "ten thousand flowers are not exposed to the ground" refers to the painting of large peonies and other patterns on the center of the porcelain.

And around with chrysanthemum, camellia, rose, lotus, lily, morning glory and other small flowers as a foil.

Make the entire picture cover the entire porcelain, so that it does not reveal the "blank space" painting method.

Of course, the flowers painted are not as many as ten thousand, but they are dense and meticulous, colorful, with fine auxiliary patterns, and have the reputation of "icing on the cake".

There is also a beautiful meaning of "thousands of flowers present auspiciousness, prosperity and peace".

Xu Zhiheng said in "Yinliuzhai Talking about Porcelain": "Porcelain is full of paintings of various flowers. Those with different colors and shapes are called thousands of flowers. Those with black ground are the most expensive, and those with white ground are also rare. The shape of the flowers is reversed. Do your best."

Obviously, Heidi porcelain is the most expensive among Wanhua porcelain.

Among them, more precious than the black ground is the "enameled gold ground ten thousand flower tea utensils".

Thousands of flowers are not exposed, precious enamel colors!
According to the archives of the Qing Palace, "thousands of flowers are not exposed to the ground" are porcelains specially used for emperors to enjoy flowers and occasions.

Therefore, compared with other official kilns in the Qing Dynasty, the craftsmanship is more exquisite.

The use of enamel color technology represents the peak of art in the Qianlong period of the Qing Dynasty.

From creation to decline, this skill is monopolized by the royal family, and it is hardly passed on to the outside world. It is known as "the official kiln among the official kilns".

Its cost is high and the materials used are expensive, which was a symbol of status at that time.

Even because it was extremely labor-intensive to make, it disappeared after Qianlong.

It is extremely rare for the enamel colored porcelain used by the royal family to survive.

Most of them are collected in museums, and it is difficult for ordinary people to see them, let alone own them.

This kind of porcelain all continues the traditional enamel color technique, with the magnificence and luxury of "thousands of flowers without revealing the ground", showing the appearance of royal gold and noble temperament.

The lines and background colors are all outlined with gold lines, which are golden, magnificent, and full of grace and luxury.

The colors of enamel are elegant, pink and fresh, and the color transition is natural.

What's even more rare is the enamel color made by this craft, which is rich in layers, and a hundred flowers are in full bloom, competing for splendor.

Flowers, branches and leaves are interspersed with each other, each showing its beauty, making people feel as if they are in a grove of flowers, dizzying.

The overall decoration seems to be complicated, but in fact, there are traces to follow in the composition and composition, and the workmanship is extremely skillful.

This level of porcelain is obviously inseparable from the solid foundation accumulated over decades.

One stroke at a time is steady, the lines have a certain degree of virtuality and reality, and draw graceful and natural lines of petals with a calm craftsman's heart.

It can be said that it lives up to the beauty of the country and the fragrance of the sky, flowing clouds and flowing water, and swaying freely.

To describe it in one sentence, it is: Wanhua Xianrui, graceful and luxurious!

One of the classics is the tea caddy.

The shape of the tea caddy is extremely common, but what is unusual about this one is the craftsmanship used.

This tea pot has a diameter of 11cm, a height of 20.5cm, and a diameter of 17.5cm.

It is shaped like an ancient general jar, and the whole is like a general in armor, steady and upright.

The edge of the cover, the mouth of the vessel, and the soles of the feet are made of alum red, and auspicious patterns such as landscape patterns and lotus patterns are drawn in gold, which have the beautiful meaning of endless life, continuous thousands of miles, auspiciousness and harmony.

The layout of the body is exquisite and neat, the composition is full and complicated, rich in gold and jade, elegant and elegant.

Tea has a strong adsorption capacity for moisture and peculiar smell, and its aroma is easy to volatilize. If it is not stored properly, it is easy to deteriorate and the aroma will be greatly reduced.

The tea canister has good airtightness, suitable for storage of tea, and it is suitable for viewing and viewing. It is a scene of its own.

Matching with the tea pot is a complete set of Jindi Wanhua tea set.

Among them are cups, tureens, teapots and more.

Each of these tea utensils is a high-quality product, such as a master cup, which has a diameter of 7.3cm, a height of 4.5cm, and a capacity of 55ml.

The shape of this cup is upright and stable, the details are finely outlined, and every detail is clearly visible, and the mouth of the cup is closed with a golden thread.

Holding the cup is as stable as a mountain, calm and unhurried, with a calm temperament exuding from the inside to the outside.

There is also a covered bowl with a diameter of 10.5cm, a height of 8.5cm and a capacity of 120ml.

The body of the bowl is based on a golden ground, and the edge is surrounded by gold.

Hand-painted enamel-colored flowers, peony as the main flower, chrysanthemum, rose, lotus, lily, and morning glory complement each other, magnificent and unique.

It is a classic tea-tasting vessel with a full belly and tea aroma.

The cover button is flipped out for easy handling, and the rim of the cup is slightly expanded to avoid hot hands.

The shape is full, the water is cut off neatly, and it is elegant and convenient to use with the master cup.

Then there is the teapot, which is 8cm high, 13cm in diameter, and has a capacity of 200ml.

The shape of the pot is exquisite and exquisite, the handle is round and elegant, harmonious and natural, the spout is short and slightly raised, echoing the handle, full and round belly, gathering the fragrance of tea, and exhaling the smell of tea.

Pour the tea like a pour, without leaking the tea.

The container is full of thousands of flowers, just like a flower ball pressing the eyes, it is elegant and luxurious when used with the owner's cup.

These porcelains are all intricately crafted and cannot be made by skilled craftsmen.

The firing process of this level of porcelain is very complicated, which was described in detail by Ming Dynasty scientist Song Yingxing in "Tiangong Kaiwu".

Its porcelain-making process: "It takes a total of one billet to pass 72 hands, and it can be made into a vessel. The details of it are not yet exhausted."

The success of thousands of flowers lies in good workmanship and skillful craftsmen.

The procedures and techniques are all quite complicated.

That strong color shocked the world, and at the same time stumped the craftsmen of Jingzhen.

Especially in modern times, some masters of arts and crafts strive for perfection.

It is not easy for them to start with the selection of materials, such as the selection of mud. They use raw ore high-white mud, which is harder and whiter than Jingzhen kaolin in the Qianlong period.

The fired utensils have a delicate fetal feel and are as white as jade.

Hand-made mud is first rubbed repeatedly with both hands, or stepped on with feet to squeeze out the air in the mud ball, and the water and mud mix more evenly, so that fine and hard ceramics can be fired.

If you want to trim and trim the utensils by hand, you must have experienced craftsmen.

First of all, you must be able to master the characteristics of the mud material proficiently. When making it, ensure that the thickness and size of each part of the mud material are the same, and the error is controlled within 3mm.

In this way, not only is the shape of the vessel consistent, but it is also easier to control the firing temperature and reduce the risk of bursting.

Then there is glazing. Most ceramic products must be glazed before they can be fired in kilns.

The glazing process seems simple, but it is an extremely difficult process to master.

Ordinary round wares generally use sacrificial glaze or swing glaze, while cutlers or large round wares use blown glaze.

The glazing should ensure that all parts of the green body are uniform and the thickness is appropriate.

At the same time, we must also pay attention to the different fluidity of various glazes, which is a test of skill.

After the glazing is fired, the plain body is fired at a high temperature of 1300°C.

The body should be thin and straight, and high white should be used as the color standard of the porcelain body. The glaze color should be smooth, the brown color should be seen, and the beauty of the utensil should be appreciated.

Often the enamel color can not be fired successfully in one time. After the first firing, the second time out of the kiln and then continue to draw the line.

It is to paint on a round white porcelain body, which is different from paper. Every stroke must consider the structure and direction.

If one stroke is wrong, the whole area will change, which is a great test of the foundation of copying a drawing.

Once you make a mistake, you have to start over, draw it, and burn it too much.

(End of this chapter)