Since he found a good thing in the basement of Jiangcheng Museum, a smile appeared on Mr. Huang's face. At Lang Ting's request, Mr. Huang briefly popularized the knowledge of this porcelain to Li Zhongxin and others.

Huang Lao told Lang Ting and others that the shape of Ming Yongle porcelain is round, agile and elegant. It not only inherited the shape of the previous dynasty, but also absorbed a large number of external elements and produced many innovative utensils.

Zhu Di, the Emperor Chengzu of the Ming Dynasty, was the third emperor of the Ming Dynasty. His reign was Yongle, so later generations called him Emperor Yongle. It was the period of the prosperity of the Ming Dynasty. With the prosperity of Jingdezhen's porcelain industry and the continuous progress of technology, his body and fine glaze

, the blue color is rich, with diverse shapes and beautiful patterns and is well-known. Together with Xuande blue and white porcelain, it is known as the golden age of Chinese blue and white porcelain.

The quality of porcelain in the early and late periods of the Yongle Dynasty changed greatly. The early products in Yongle were basically close to the late Hongwu Dynasty, while the late products were connected with the early Xuande period.

The innovative instruments in the Yongle period include large celestial ball bottles, pointed-bottom lotus seed bowls, double-type, three-type or four-type lid jars or multi-type lid pots, porcelain beans with lids, high-foot cup holders, chicken heart bowls, lying foot bowls, lying foot bowls,

Fit bowl washing, cylindrical holder, etc. Double-series small jars, with rounded lines and covers, and double-circular small jars, with unique shapes.

The hand-pressing cup is a famous product from the Yongle period. The cup is small and thick in size, with a wide ring foot, and it has a heavy feeling when placed in the hands. It has been imitated in the Ming and Qing dynasties.

During the Yongle period, the porcelain body was sophisticated and refined, with a moderate body weight, and a very white fine sand bottom appeared, which felt as delicate as glutinous rice flour when touched.

The edge of the squid bottle in the round instrument is sharp when tried by hand, while the edge of the imitation device is mostly round and there is no water chestnut. This feature of the mouth is one of the main things that determine the age and distinguish the authenticity.

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The bubbles in Yongle porcelain generally have different sizes. If you observe them with a 30x microscope, you should pay special attention to their era.

Compared with Xuande porcelain, Yongle porcelain, all the same utensils are thin and Xuande thick; Yongle kiln is light and it is suitable for heavy kilns. The base of sweet white porcelain is more water-green than Xuande porcelain; the blue and white utensils are

The glazed Yongkiln is more thicker than the Xuankiln.

Yongle blue and white porcelain mainly uses "Su Mali Qing" cobalt material, which will cause natural dispersion when burned. Because Su Mali Qing has low manganese content and high iron content, it reduces the red and purple tones in the color.

Under the right heat, a bright blue-blue color can be burned, with a luster like sapphire blue. The colors are elegant and solemn, bright and eye-catching, and distinct layers.

If there is too much accident, the one in his hand can be said to be a national treasure-level cultural relic. At least during this period, there has been no Ming blue and white porcelain with better quality than this porcelain bowl.

Chinese civilization has a long history, with a history of 5,000 years and is shining brightly in the world. The vast ancient cultural books and ingenious cultural relics and treasures constitute the music of the Chinese history.

Not only Yuan blue and white, but also Ming blue and white porcelain also have a considerable status in porcelain.

The cultural relics in the collection are usually divided into three levels: first-level, second-level and third-level. Among them, the highest-level first-level cultural relics are divided into two levels: A and B. Only first-level A cultural relics can be called "national treasures".

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Whether a cultural relic is a first-class A, in other words, it must be approved by the National Cultural Relics Appraisal Committee, and the appraisal experts must be present together. As for the standards held during the appraisal, the first thing is not the value of the cultural relic, but the most important thing is

It must be an important witness to the development of Chinese civilization. Only with this significance can it be recognized as a "national treasure".

Like this Blade Flower and Fruit Pattern Pub, it can be said that it is at least a first-class B cultural relic. It depends on the number of this Blade Flower and Fruit Pattern Pubtern Pub. It depends on whether it exists in this Blade Flower and Fruit Pattern Pub.

After hearing Mr. Huang talk for a long time, Li Zhongxin finally understood one thing, that is, the porcelain bowl that Chen Chong and others collected can be regarded as a national treasure-level cultural relic. Whether it is specific, it has not been finalized yet.

But! The chance of being a national treasure is very high.

But Li Zhongxin has always had a doubt in his heart. Shouldn’t it be Yuan blue and white and Tang Sancai that can only have national treasure-level porcelain?

"Old Huang, please forgive me for taking the liberty. I would like to ask you, the valuable or precious porcelain I heard before should be Yuan blue and white. Why are Ming blue and white so precious?

What is the difference between them?” Li Zhongxin asked with a confused look on his face.

When Mr. Huang heard Li Zhongxin ask a little childish question, he had a little more kindness on his face.

Mr. Huang even thought in his heart that before, seeing Li Zhongxin, this little guy, was Lang Ting's boss, he always felt that he was confused about it, and he didn't understand. How could Lang Ting be so convinced by Li Zhongxin, the one in front of him

The little guy looks like he has a young face, but he should be the kind of cunning person in his heart, otherwise he would not be able to deal with people like Lang Ting.

Now that Li Zhongxin asked a simple and naive question, he naturally had a change.

Huang Lao slowly spoke to Li Zhongxin: "Blue and white porcelain was produced in the Tang Dynasty and flourished in the Yuan Dynasty. Yuan blue and white porcelain changed the implicit and restrained style of traditional porcelain, giving people a concise pleasure with distinct visual effects. With its grand and heroic spirit,

The original spirit of art pushed the blue and white painting art to its peak, establishing the prosperity and endurance of blue and white porcelain in later generations.

The blue and white porcelain of the Ming Dynasty had a profound influence in China's blue and white porcelain. Different blue and white cobalt materials from different eras could well adapt to various themes of Chinese painting. The painting of blue and white porcelain uses traditional brushes and uses various lines and dots and dyes to complete the drawing.

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The lines of the Yuan blue and white shapes are simple and natural, with soft patterns and mostly large pieces. The blue and white shapes of Ming Dynasty are simple and honest, with soft lines. The patterns and patterns are mostly composed of arcs. The early Ming Dynasty is mostly small pieces, but it was not until the late Ming Dynasty.

Large items appear.

The fetus of Yuan blue and white are thicker, while the fetus of Ming blue and white are delicate, and the fetus is whiter, and the fetus wall is thinner than that of Yuan blue and white, and it is lighter and more agile.

The glaze of Yuan blue and white porcelain from higher transparency to more turbidity, while the glaze of Ming blue and white porcelain was whiter and brighter, while the color of the blue and white porcelain glaze in the late Ming Dynasty increased whiteness, making the glaze more moist and fuller.

Yuan blue and white porcelain are mostly figures and flowers, with a strong sense of life. Ming blue and white porcelain patterns are widely used, mostly based on natural scenery.

No markings are found in the existing Yuan blue and white porcelain, which makes it more difficult to identify Song blue and white porcelain, while Ming blue and white porcelain are both used in the Ming blue and white porcelain. The chronological patterns start from Yongle, and the Xuande patterns are the most visible. In addition, there are blue and white books and Yin and Yang engraving patterns.

, regular script style, seal script style, etc.
Chapter completed!