My system is not decent

Chapter 1875 Among the modern porcelain, the most top-level one

This pen stand is a masterpiece of northern ivory carving art during the Jiajing and Longqing periods of the Ming Dynasty.

For such a famous work, it is hard for Chen Wenzhe to forget it.

And like this, there are many dragon patterns from some famous products.

For example, the dragon pattern on a Jingzhen kiln blue-glazed white dragon-pattern plate has a flat center, and a vigorous white dragon is pasted with white clay on the blue-glazed floor.

The dragon has a thin neck and three claws, in the shape of a writhe with its head held high.

Other dragon patterns like this one are shown on some other porcelains, such as a blue glazed ware.

It was a plate, belonging to high-temperature cobalt blue glazed porcelain, one of the new varieties of Jingzhen kiln in the Yuan Dynasty, and the predecessor of the blue glaze in the Ming Dynasty.

Only four of this blue-glazed white dragon dish from the Yuan Dynasty have been published.

In addition to this one collected by the Palace Museum, there is one piece each collected by the Neon Idemitsu Art Museum, the Osaka Municipal Museum of Oriental Ceramics, and the David David Foundation in England, which shows that it is extremely precious!
The last piece of stone dragon pattern should be from a teapot.

The cultural relic is called Zisha Shoufu style dragon-head three-legged pot, with a lip, a dragon head flow (the spout is called "flow"), Fu Chi (the part on the side of the utensil for holding by hand), round Bottom, three breast nail-shaped feet.

A week of cloud head patterns are engraved on the side of the pot lid, and a week of cloud and thunder patterns are printed on the black mud in the middle of the abdomen.

The overall shape of the pot body imitates the popular style of bronze wares in the Spring and Autumn Period and Warring States Period.

This style combines flat line engraving with bas-relief, and the animals decorated with streams, bars and buttons echo the cloud and thunder patterns on the abdomen, which is simple and elegant.

Such a dragon pattern, even if it did not appear on the porcelain, Chen Wenzhe would be able to recognize it at a glance.

Compared with stone carvings and bronze wares, Chen Wenzhe is still more familiar with porcelain wares.

After all, dragon patterns are more widely used on porcelain.

This can be said to be due to the awe and love of Chinese people for dragons, which made dragons derive a variety of decorative colors on ancient arts and crafts.

There is no real evidence for what a dragon is, and its image is uncertain. Over thousands of years, the shape of the dragon has also changed with different meanings.

And dragons have also bred different types under the structure of people, such as Jiaolong with scales, Yinglong with wings, Horned dragon with horns, Chilong without horns and so on.

Any artistic modeling cannot be separated from the cultural background and form at that time.

The application of dragon patterns on ceramics can be traced back to the Warring States Period more than 2000 years ago.

In the mid-Yuan period, the export demand for blue and white flowers matured rapidly, and paintings using blue and white as raw materials can be freely expressed whether it is large-scale rendering or brushstrokes as fine as a hair.

This is tantamount to providing a huge creative space for the creation of dragon patterns.

The dragon pattern on the blue and white of the Yuan Dynasty is generally blue and white on a white ground. The dragon body is slender, with a small head, a thin neck, a single horn or two horns, no hair, eagle claws, and flame-like hairs swept back on the limbs.

The scales of the dragon body are arc-shaped or oblique grid-shaped, with three or four claws, and a pointed tail or a flame-shaped tail. The dragon patterns are decorated with seawater patterns, cloud patterns or flame patterns.

In the Yongle and Xuande periods, the official kiln system tended to be perfect, and the dragon pattern, as a symbol of royal power, highlighted the majesty and dignity.

At this time, the dragon body and limbs are thick, the dragon head is large, and the hair is scattered or vertical. The five-clawed dragon is generally used as the symbol of the official kiln.

In the mid-Ming Dynasty, the society was stable and the economy was prosperous, and the image of the dragon pattern became elegant and festive.

At this time, the dragon pattern has a multi-faceted head, shut up, and the dragon's eyes are looking straight up, accompanied by lotus ponds and flower bushes.

During the Chenghua period, the flower-bearing dragon spit out flowers, the dragon's body was curled, and the dragon's limbs were shaped like flowers and leaves, which is a portrayal of the social life of singing and dancing.

During the Jiajing period, the market culture flourished, and the porcelain decorations of this period were characterized by their abundance and beauty.

The dragon pattern tends to be slender, with a protruding dragon head, and the tip of the nose at the top is drawn in a wishful shape, resembling a pig's mouth, commonly known as pig-mouthed dragon.The painting has become a little rough, revealing a kind of impetuousness.

In the early Qing Dynasty, the dragon pattern was still a legacy of the Ming Dynasty. The collar was lifted up, like a nose, the mouth was opened and the tongue was stretched out.

The dragon pattern occupies a large area of ​​the screen, and the rendering is dripping and dense, with the momentum of swallowing clouds and fog.

During the Kangxi period, the head of the dragon pattern was more detailed, the upper jaw was shorter than the lower jaw, there were flesh spines on the edge of the jaw, the tongue drooped and the tip of the tongue rolled up.

The dragon's beard is slender and curly, the mane is parted backwards, the dragon's forehead is mountain-shaped, the expression is fierce, and the hair is fully visible. It is commonly known as the "old dragon".

Since Qianlong, the decorations on porcelain have been stylized, and many personalized shapes have been transformed into standard legends.

Most of the blue and white dragon patterns in the middle and late Qing Dynasty were replicas made by Qianlong. The craftsmanship is very mature, but lacks artistry.

The dragon has the potential to rise, and it can be said to be outstanding. It can soar through the clouds and ride the fog, and it has the ability.

Dragon ornaments also have beautiful meanings such as being outstanding, extraordinary, career like a rainbow, and a smooth future.

Therefore, dragon patterns are especially used on porcelain.

In modern times, although the imperial power has disappeared, the dragon pattern wares have not disappeared.

Among the classics of modern art, there is a blue-rimmed enamel-red dragon cup.

This cup is handmade by craftsmen to pay tribute to the spirit of the dragon. The whole picture is painted with blue and white, alum red and white glaze.

The picture is bright and fresh, with elegant color, elegant brushstrokes and grand artistic conception.

The outer wall of the cup is painted with alum red, and the dragon scales drawn with smooth strokes are clearly visible.

The layers on the cup are distinct, the dragon's beard is flying, and the dragon's claws are sharp and sharp, showing the majesty and majesty of the dragon in a real and subtle way.

In addition to the dragon, a dragon ball is shining brightly among the auspicious clouds on the other side of the cup.

Dragon balls are the essence of dragon practice, and dragon balls usually have the meaning of pursuing a better life.

This cup adopts the craft of enamel color, whether it is the flowing auspicious clouds, the aura full of dragon balls, or the majestic dragon, they are all hand-drawn by the craftsman.

Therefore, its production process is extremely cumbersome and complicated, especially the drawing of the dragon, which is a test of the craftsman's hand-painting skills.

The brushwork is smooth and free, beautiful without losing strength, free and easy, and the lines are smooth.

The dragon has a restrained expression, five claws stretched out, the head hair flying behind him, and the round eyes fully express the dragon's non-angry self-prestige.

Tengxiang cloud patterns are drawn around the edge of the mouth, and gold borders are drawn.

The rich and noble patterns on the feet are decorated side by side, the blue and white hair color is thickly researched, and the lines go deep into the fetal bone.

The ornamentation is clearly visible, and it is naturally smudged to the outer wall of the cup, and the auspicious cloud pattern is drawn, which has the meaning of good luck.

High-end appearance, practicality is not a problem.

It can be said that this is the most top-notch type of modern porcelain that Chen Wenzhe has ever seen.

Other top-level things should be considered as national porcelain.

However, Chen Wenzhe has only seen pictures of this type of porcelain, but has never seen the real thing.

And this kind of small cup can be bought in the market, but the price is very expensive.

Chen Wenzhe is in the porcelain business, so he naturally attaches great importance to high-end porcelain in the market.

It was also when he was learning about the market that he had only seen this kind of cup.

(End of this chapter)