During the Jiaqing period of the Qing Dynasty, plum vases had various shapes, some developed into wide and short shapes, and some developed into long and thin shapes.
The carcass at this time is not much different from that of the Qianlong period. The whiteness of the glaze color is higher than that of the Qianlong period, while the texture of the glaze has declined.
The plum vase patterns are more diverse, but the artistic taste is worse than that of the Qianlong period.
If we say that the shape of the plum vase in the Song Dynasty is tall, pretty, and full of feminine characteristics.
Then the plum vase of the Ming Dynasty is strong, honest,
Rich in masculine characteristics.
As for the plum vases of the Qing Dynasty, due to improper proportions, they give people a disharmonious and incomplete feeling, which is not as good as the level of the Ming Dynasty.
The plum vases of the Ming and Qing dynasties are quite different from the plum vases of the Song dynasty.
Although plum vases in the Ming and Qing dynasties were also mostly used for display, their shape changed from slender and beautiful to fat, short and plump.
At this time, the plum bottle lifts the shoulders more, the maximum abdominal diameter moves up to below the shoulders, and the abdomen becomes thinner.
Most of them have lids and are clumsy in shape, big at the top and small at the bottom. They are not as light and beautiful as the plum vases of the Song Dynasty.
All these Chen Wenzhe obtained from the newly emerged knowledge base in the Sui Marquis Pearl.
Moreover, the information he received was very comprehensive, and it described the characteristics of plum vases in the Song, Ming, Qing, and Three Dynasties very thoroughly.
Maybe he knew that Chen Wenzhe didn't want to make a Yuan blue and white plum vase, so he chose Song, Ming and Qing Dynasties.
Among them, the Ming and Qing plum vases are slightly different in shape. The Ming dynasty plum vase has thicker shoulders and fatter shanks.
Plum vases of the Qing Dynasty have plump and broad shoulders, with the shank drawn in and slightly tilted near the bottom. The best ones are made from the Jingzhen kiln, with various glazes and painted decorations.
in,
Those who have the word "Neifu" written in ink or blue and white regular script on their shoulders,
It is an intrauterine device.
The plum vase from the Qianlong period of the Qing Dynasty has particularly plump shoulders, almost forming a straight line, and is straighter from the waist down. The plum vase pays attention to patterning, and the dragon pattern is relatively rigid.
The shapes of plum vases during the Jiaqing period were diverse, some were wide and short, and some were elongated. The carcass was not much different from that in the Qianlong period. The whiteness of the glaze was higher than that in the Qianlong period, and the texture of the glaze was somewhat different than that in the Qianlong period.
decline.
The plum vases of this period had more diverse patterns, but the artistic taste was worse than that of the Qianlong period.
Therefore, to sum up, the plum vases of each period have their own characteristics and their own beauty.
This was also Chen Wenzhe’s idea to combine all the known styles of plum vases into
The reason to do it all again.
only,
At first it was obvious that he was thinking too simply.
Only those who have truly studied the knowledge inheritance provided by the Sui Marquis Pearl can
Only then did he realize that there were more styles of plum vases than he had imagined.
From the Sui Dynasty to the Qing Dynasty (581-1911), the plum vase has evolved over more than 1,300 years and formed an extremely rich variety of styles.
From the two perspectives of vessel type classification and historical evolution, there are even more changes.
Chen Wenzhe previously mentioned the distinction from the perspective of historical evolution, but in actual production, the plum vase types were divided into ten style groups based on the formal characteristics such as the mouth, neck, bottle body, and sole.
For example, it is marked by a small convex ring on the folded edge, which was popular from the Sui Dynasty to the Ming Dynasty.
Symbolized by a small curled mouth or a small wide mouth, the lips are mainly rounded, curled, and thin, with pointed lips, and the neck is mainly tied, with styles ranging from the Tang Dynasty to the Qing Dynasty.
With the plate mouth as the mark, the neck includes no neck, bunched neck and column neck, including styles from the Five Dynasties to the Ming Dynasty, and very few in the Qing Dynasty.
It is marked by a horizontally flat edge along the ring mouth, and the neck is dominated by a longer column neck, which looks very delicate. It is mainly seen from the mid-Northern Song Dynasty to the Jin Dynasty and Xixia.
Marked by the small trapezoidal ring, the neck is divided into no neck, bunched neck, and short column neck.
The earliest style was found in the northern Liao Kingdom in the early Liao Dynasty.
It began to appear in the Central Plains area in the middle of the Northern Song Dynasty and soon spread to the south. It was the most prosperous period in the Jin Dynasty. It was mainly popular in the north during the Yuan Dynasty and declined in the Ming Dynasty.
It is marked by a straight mouth, the lip part is round or square, and the column neck changes from short to long. It was popular from the mid-Northern Song Dynasty to the Ming and Qing Dynasties.
Marked by the small opening of the knot, the neck includes a corset neck and a column neck. In the Southern Song Dynasty, when it was most popular, the neck was mostly a short column neck with a thin top and a thick bottom. The styles ranged from the late Northern Song Dynasty to the Qing Dynasty, but they could not be seen between different dynasties.
to a coherent context.
Others include drumstick bottles from the late Liao Dynasty to the Yuan Dynasty, which were mainly popular in the core areas ruled by the Liao Kingdom. They all have small mouths, and the inner edge of the mouth is turned and square. The bottle body is extremely tall and slender in the late Liao Dynasty. In the Jin and Yuan Dynasties, it gradually became
Short and thin.
The last one is marked by a pie-shaped foot and a circle foot that show a clear inward turn between the abdomen and the foot. Therefore, the bottle body rarely changes in the S-shaped outline.
The main shapes are egg-shaped, cocoon-shaped, cylindrical, wedge-shaped and so on.
The mouth and neck are all small-mouthed and short-necked, covering a variety of mouth shapes.
The inclusive style was built in the Five Dynasties and the early Liao Dynasty, with the greatest number in the Northern Song Dynasty, and was popular from the Southern Song Dynasty to the Yuan and Ming Dynasties.
This style of plum vase is "most unlike" the plum vase in people's general impression.
But in fact, it also has the original function of a plum bottle, which basically meets the basic characteristics of a small mouth, short neck, and long body of a plum bottle.
According to these styles, each type of vessel is a special symbol of each historical period.
In fact, it is not difficult to make, because in these style divisions, the mouth and neck are the main basis, and the bottle body is only the auxiliary basis.
The characteristics of the mouth and neck are relatively obvious, while the characteristics of the bottle body are relatively similar.
Most of the three parts of the Mei Ping's shoulders, abdomen, and shins have a coherent and smooth round shape.
Even if the turning relationship is clear enough, it still shows great relativity due to implicit and subtle outline changes.
For example, if you are also "repairing the abdomen", as the maximum abdominal diameter of the bottle changes, the proportion of the bottle will be different, showing different postures.
Another example is that wide shoulders are a popular feature of Mei Ping, which is also relative to the changes in thickness of the lower abdomen and shin and feet.
Therefore, any slight difference is a characteristic of different times.
If you don't understand these things and want to make antique porcelain, a knowledgeable person will be able to tell something is wrong with the finished product at a glance.
Of course, this time Chen Wenzhe made ten styles of plum vases, and it was impossible to make them all Ru kiln green-glazed plum vases. He could only choose the appropriate glaze and glaze color according to the different styles.
Therefore, there are celadon-glazed plum vases, pastel-glazed plum vases, copper-red-glazed plum vases, and even white-glazed, green-glazed, and blue-glazed plum vases.
Just because each time a type of vessel is made, it can often lead to many classics from different eras, so the glazes, ores, kaolin, etc. prepared by Chen Wenzhe are becoming more and more complete.
Now it can be said that whatever he wants to do, he can find suitable raw materials.
After finishing the plum bottle, Chen Wenzhe fell into silence involuntarily.
Plum vase has its own style, but what about the bottle?
From ancient times to the present, there are various kinds of bottles in ceramics. It can be said that there are countless variations, but the most classic ones seem to be only about a dozen.
Among them, the bile bottle was sought after by all walks of life in the Song Dynasty because of its elegant and graceful shape, which gave people a transcendent and refined infinite interest!
Therefore, among the Ru kilns handed down from ancient times, there are also bile bottles.