Sky is blue, but not bright, gray but not dark, green but not green.
It is an indescribable color, a color that does not exist in nature.
Choosing agate stone to put into the glaze makes your porcelain appear as juicy as fat, with a face like beautiful jade, smooth and pure, elegant and noble, and it makes a piece of porcelain full of royal atmosphere.
Only when agate is glazed can a satisfying azure color be produced.
It doesn't matter if you can't grasp this point, as long as you have a clear understanding and know what to do.
The color this time is a little less interesting, which is the only flaw, but Chen Wenzhe is definitely on the right path.
This batch of Ru kilns fired for the first time seems to be unable to achieve the true sky blue color after rain, but,
If he said it was achieved,
It should be possible, right?
After all, very few people have ever seen the sky turn green after the rain.
Now it is just a little worse than the most classic ones in the National Palace Museum!
Compared with the imitation Ru kilns of the past dynasties, it is already very powerful, but it is still not comparable to the Yongzheng period.
This batch of his imitations are really good, but to say they are comparable to Yongzheng's is a bit bragging.
At best, it can be regarded as a copy, while other imitation Ru kilns from the Yongzheng period already contain elements of creation, but this aspect is incomparable.
There is a saying in the porcelain collection market that for every fine product there must be a copy.
Everyone must know that there are very few ancient porcelains left in the market. After all, porcelain is fragile and difficult to preserve.
So most of the ancient porcelain we see on the market now are probably imitations, but these imitations are all imitations of fine products.
Modern imitations of ancient porcelain have also become an important part of the development of Chinese porcelain.
Speaking of Ru kiln imitation,
Which one is more popular?
This must be porcelain from the Yongzheng period. During the Ming and Qing Dynasties, Jingzhen had become the center of national porcelain manufacturing, and Ru kiln imitation porcelain was also produced there.
At the same time, in order to achieve the same effect, it can be said that no expense is spared.
Among the more successful ones, there are imitation porcelains from the Qianlong and Xuande years.
However, the imitation porcelain produced during the Yongzheng period was the most successful and is now welcomed by many collectors.
During the Yongzheng period, a large number of porcelains from the Song Dynasty were imitated, and most of them were single-color porcelain, giving people a simple and elegant impression.
Among them, imitation Ru kiln porcelain accounts for a relatively large proportion.
In the collection market, the level of imitation of Ru kilns during the Yongzheng period was also the highest.
At present, most of the Yongzheng imitation porcelains in the world are finely cut and have gray-white glaze.
The reason why Yongzheng's imitation porcelain was so successful was also because there was an effective porcelain art director Tang Ying. Anyone who knows Yongzheng porcelain must know this person.
In the ninth year of Yongzheng's reign, Tang Ying was a skilled porcelain expert.
At the same time, a new era of porcelain manufacturing was opened during the Yongzheng and Qianlong periods, and at that time it was considered a new miracle.
Whether it is the shape or details of the porcelain,
They are all very beautiful,
Deeply loved by the emperors.
The porcelain of the Yongzheng period is more distinguished by the changes in the porcelain itself and the aura exuded by the porcelain.
To put it simply, the author of the imitation porcelain adds a lively charm to the work itself.
For example, the Northern Song Dynasty Ru kiln azure glaze round washers, the Ru kiln pink cyan glaze statues, and the Ru kiln glaze penetrating six-square pots are all exquisite products.
Looking back at the porcelain of the Qianlong period, what he dedicated more to everyone was a kind of standardization.
Moreover, the programmed format is too rigid and lacks innovation.
Therefore, this is why the imitation porcelain of the Qianlong period lost to the imitation porcelain of the Yongzheng period.
Let’s take a look at the Ru kiln imitation porcelain from the Yongzheng period. Although it seems relatively simple, it always gives people a very elegant and beautiful feeling. This is also the royal porcelain.
Besides, these are all imitation porcelain, but they are not exact replicas, but have the author's own creativity injected into them.
If you understand the market, you will find that many collectors today are keen on this type of porcelain.
Although it is an imitation, in the eyes of many collectors, it is a beautiful work of art, and the imitations he imitates are all high-quality products.
No matter in terms of material, production technology or appearance, it can surpass the original work, which is also the highest level of imitation.
Once you know the gap, you will naturally improve and strive for excellence!
This time Chen Wenzhe was no longer distracted and began to focus on the production of imitation Ru porcelain.
"I'll imitate Ru porcelain, and you imitate others. You can do whatever you want, blue and white, multicolored, pastel, anything. If it doesn't work, just follow me!"
After thinking for a while, Chen Wenzhe didn't make flower cups anymore, but this time he wanted to see the level of Zhang Gu first, so Chen Wenzhe didn't choose a too difficult type of cup.
If I were to say that the most common type of vessel among Ru kiln's works would definitely be the plate, because the vessel type is relatively simple.
However, the simple shape of the device does not mean it is easy to copy.
Chen Wenzhe thought for a moment and thought of a special plate that existed in the Red Mansion.
Since the Ru kiln porcelain in the Red Mansion was imitated before, let’s imitate it to the end.
Among the Ru kiln wares handed down from generation to generation, there is also the kind of plate in the Red Mansion, which is a deep-belly plate.
Such a plate is found in Mrs. Wang's room in "A Dream of Red Mansions".
Also, in the house of Sister Feng, one of the most important people, there is also a Ru porcelain plate like this.
The book uses Sister Feng's words to say to Xiaohong: "Go to our house and tell your sister Ping that there is a roll of silver placed under the Ru kiln plate rack on the table outside, which is one hundred and twenty taels...".
Sister Feng, who has "a pair of red-phoenix triangular eyes and two willow-leaf eyebrows", is the chief housekeeper of the Jia family in "A Dream of Red Mansions" and is a popular person next to Jia Mu, the head of the family.
The Ru kiln plates mentioned here are especially mentioned as being held up on a shelf. Their value must be unmatched by ordinary plates.
Also, I don’t know which version of Red Mansions seems to have illustrations. Chen Wenzhe has seen this page of illustrations and clearly remembers that the drawing in it seems to be the deep abdominal disk.
Of course, this illustration was probably added by later generations, and there is no guarantee that the one in the Red Mansion is the deep abdominal disk, but this does not matter at all.
Making dishes this time is just for practice. It doesn’t matter what kind of dishes you make.
Seeing that Zhang Gu was doing well, Chen Wenzhe stopped.
At this time, there was a row of deep belly dishes placed in front of him. As the name suggests, deep belly is a plate with a relatively deep abdomen.
Since there is a deep abdominal disk, there must be a shallow abdominal disk.
However, no matter what kind of plate it is, it is not difficult to imitate it.
The most important thing is that this kind of plate is very fast to make, even if it is a Ru kiln plate, there will be no problem.
Therefore, Chen Wenzhe soon made a batch and glazed it for the first time. At this time, it was time to put it into the kiln and fire it for the first time.