Play treasure master

Chapter 305
After the two things were placed on the long table, Yu Yao's eyes were first attracted by a pen holder.

This pen holder is more than 20 centimeters high and more than ten centimeters in diameter.

Belted waist with graceful lines.

Blue and white, the pictures are dead branches flowers and birds.The blue and white hair color is a little light, like the effect of mixing Zhejiang material and Jiangxi soil green, but combined with exquisite painting, it gives people a clean and comfortable feeling.

This blue and white waist pen holder also attracted many people's attention.

I don't know whether it was intentional or random, but when the pen holder was brought up, it was not upright, but down.

The bottom of the tire can be seen, but there is no money.

Perhaps because of the last round, some people's voices were a little louder.

Words such as "transitional period" and "early Kangxi period" popped up from time to time.

If you don't get started, you can roughly set the year from the transition period to the early Kangxi period after just a few glances.

The so-called transition period, like the blank period, is a term in the history of ceramics.

Apocalypse and Chongzhen in the late Ming Dynasty, and Shunzhi in the early Qing Dynasty, these three dynasties add up to only a few decades and are called the transitional period.Some foreign researchers also call this period the transformation period.

During this period, the mainstream porcelain was still blue and white, regardless of transition or transformation, it was basically reflected in blue and white porcelain.

Observing the blue and white porcelain in the transition period, there will be a very interesting phenomenon. The blue and white porcelain of this period has changed from the complicated and dense style of the previous Jiajing to Wanli period, and has moved towards a "small and fresh" way.

Kangxi's early blue and white were also affected by this kind of influence, and the style came down in one continuous line.

At first glance, it is difficult to understand, because whether it is the transitional period or the early Kangxi period, China is a mess.For example, in the famous year of 1644, there were three emperors in one year: Chongzhen, Li Zicheng, and Shunzhi.

But if you think about it carefully, the political chaos just made the high-level rulers have no time to take care of too many economic links, such as kiln production in the porcelain capital.Porcelain in this period, to a certain extent, got rid of political control, and it was a bit laissez-faire. The so-called "little freshness" is actually a free and vivid expression.

Yang Rui was also very interested in this blue and white waist pen holder, so he took a closer look at it himself.In addition to determining the period, another key is to determine whether it is an official kiln.

Because a considerable part of the official kilns from the transition period to the early Kangxi period were not signed.

At the same time, due to the vigorous development of the folk kilns in this period, a number of high-level products appeared, which were comparable to the official kilns at that time.

From the transitional period to the early Kangxi period, it was also a period of appearance and initial development of porcelain pen holders, with various shapes and shapes, which cannot be finely distinguished from this aspect.

The pen holder, a stationery utensil, was the latest to appear.Needless to say, pens, inks, papers and inkstones, even some other auxiliary stationery utensils were basically available in the Song Dynasty, and only the pen holders began to appear in the late Ming Dynasty.

Because the pen holder has no specific function.

Isn't the pen holder for pens?

of course not.

The ancients used brushes. If you put calligraphy and painting upside down in the brush container after cleaning, the brush will bloom; naturally, it won’t work if the brush is pointing down, and it will be deformed if it is stuck at the bottom of the brush container.

Therefore, the brush is not placed in the pen holder, but hangs on the pen holder with the pen pen down.Unused brushes can be put in the pen holder, but unused brushes can be put in the box and cabinet, whether there is a pen holder or not.

The pen holder has no specific function, so it appeared late.But if it appears, it has a role--appreciation function: put it on the desk, decorate the desk, and display it for viewing.

From this pen holder, it can be roughly determined that it is from the transition period to the early Kangxi period, and the eyesight on porcelain is already considered good.Because the blue and white porcelain has a large span, some old players only focus on the famous official kilns of the Ming and Qing dynasties.

Some people are not interested in this pen holder, thinking that this kind of sparse picture is something from the late Qing Dynasty and the Republic of China.

As for further determining which dynasty it is, whether it is an official kiln or a private kiln, it requires a higher level of vision.

It's not difficult for those who meet, but not for those who are difficult. It only takes a little, and Yu Yao immediately judges that this is something from the Shunzhi period.

This "point" is the bird.

On the porcelain, there are silent birdsong.

From the late Ming Dynasty to the early Qing Dynasty, due to the influence of the political and social environment, the state of the birds on the porcelain was different.

For example, in the Wanli period earlier than the transition period, the birds on the porcelain were flying with their heads flapping their wings, as if they were broadcasting: Ming Dynasty is about to die, run away!
In the days of Tianqi and Chongzhen, the state of the bird changed, and it felt a little like dancing, and it seemed to be saying: live every day to enjoy one day, eat the meal of beheading, and after 20 years, the master will be a good man again!
During the Shunzhi period, there were changes again. Asuka's state was neither exhausted nor self-defeating, but a state of adjustment. The typical feature is that Asuka's head does not rush forward, and he often looks back.

In the early Kangxi period, there were fewer flying birds, and most of them were birds squatting on the branches. Even the flying birds had a bit fat body and round belly.

The flying bird on this blue and white waist pen holder is not far from the dead branch, but it does not fall. It turns its head and looks back at the dead branch, as if it wants to rest its feet.

Of course, the explanation is relatively complicated. Yu Yao saw that it was only a short period of time. Before the pen holder was adjusted and placed, he was sure that it was a Shunzhi official kiln!
During the Shunzhi period, it was impossible for the imperial kiln factory to fully resume production, so Shunzhi official kilns were relatively rare.This period also continued the "official and civilian burning" that appeared in the late Ming Dynasty.

To put it simply, official and civilian burning means that most of the official kiln porcelain is first completed in the imperial kiln factory in the process of modeling and glaze color, and then it is set and fired in the folk kiln.This is also an important reason for the emergence of a group of high-level folk kilns that are comparable to official kilns in the late Ming and early Qing Dynasties.

Therefore, it is difficult to distinguish whether it is a Shunzhi official kiln or a private kiln from the aspects of fetal glaze, blue material, and painter, and this one has no money.Of course, it is much easier to have money, and the money of Shunzhi official kilns is easy to identify; many folk kilns are also inscribed, mostly dry and branch money, such as "Shunzhi Dinghai Year".

Yu Yao was sure that it was a Shunzhi official kiln, and he had to thank the way it was placed. If it was placed vertically at the beginning, he would have to look at the bottom of the circle to be sure.

Because the circle, foot and mouth edge of this pen holder has been carefully trimmed, it is a smooth "loach back". As the name suggests, the radian is like the back of a loach.

There are also "foot repairs" in fine folk kilns, but they can't reach this level.This requires a lot of skill and takes a long time.Furthermore, as far as the pen holder is concerned, the loach back made by the official kiln must be smoother than that of the folk kiln, and the polishing techniques and materials must be different.

It is easy to analyze technically, but it is difficult to understand it when it comes to visual acuity.

People who are attracted by this pen holder seem to be a little bit unsure the longer they look at it.

At this time, Yu Yao couldn't help but glanced at the price again, and took a deep breath.

(End of this chapter)