If you really want to count, the Xianfeng period was not only a special period due to historical events, but also a major turning point in the production of porcelain.
It is because of this that Xianfeng porcelain is so precious.
In the article "The Roughness and Essence of Xianfeng Official Kiln", there is a description of Xianfeng porcelain, especially some changes.
For example, take the blue and white alum-red dragon-pattern cup as an example. Before Xianfeng, the string pattern on the rim of the cup was made of underglaze blue and white. By Tongzhi and Guangxu periods, it was changed to alum-red color paint.
Therefore, the porcelain of the Xianfeng period is also special, and the most important thing is that there are not many of them.
Even in the National Palace Museum, the number of artifacts from the Xianfeng Dynasty is vastly different from those from other dynasties.
According to previous statistics, more than 310,000 pieces of porcelain were preserved in the Qing Dynasty.
Among such a huge number, there were only more than 560 pieces in the Xianfeng Dynasty.
The comparison of this data just illustrates the scarcity of Xianfeng porcelain.
At first glance, more than 560 pieces seem to be a lot, but those were retained by the Qing Palace!
This is what the Qing Palace left behind, so how much is spread among the people?
It is said that there are 350,000 pieces of ceramics in the Forbidden City, including more than 1,100 pieces of first-class products and about 56,000 pieces of second-class products.
There are also more than 36,000 ceramic specimens collected from more than 200 kiln entrances across the country.
The collection is also very complete, especially porcelain from the Three Kingdoms to the Tang and Five Dynasties, Yuan porcelain, imperial kilns in the middle and late Qing Dynasty, and porcelain for palace furnishings.
Among them are purple clay ware, large-scale porcelain with multiple glazes, production data from imperial kilns of the Qing Dynasty, porcelain from folk kilns of past dynasties, and archaeological excavation data.
With so many porcelains, there were more than 560 pieces in Xianfeng Dynasty, which is definitely not much.
If you are still not impressed by this comparison, then compare some recorded quantities of fired porcelain.
For example, in the eighth year of Xuande's reign in the Ming Dynasty, 443,500 pieces of porcelain of all kinds were fired at one time in response to the needs of the Shangshan Supervisor, an organization specializing in imperial cuisine.
From the sixth to the thirteenth year of Yongzheng reign in the Qing Dynasty, "tens of thousands of dollars were spent, and no less than three to four hundred thousand pieces of round-cut and other utensils were produced."
So many were fired, and by the end of the Qing Dynasty, there were hundreds of thousands of ceramics preserved in the palace.
Among so many porcelains, there are less than 600 pieces of Xianfeng porcelain.
One of the reasons for such a rarity is the short reign, and the other is the influence of the Taiping Heavenly Kingdom.
Of course, apart from the influence of the Taiping Heavenly Kingdom, in the last years of Xianfeng, when the British and French forces burned and looted the Old Summer Palace, Xianfeng official kilns suffered another bad fate.
This can be said to add insult to injury, so very few of them have survived to this day.
If there are few, they naturally deserve to be protected, and the same goes for folk kiln products.
In terms of the auction market, Xianfeng official kilns are rarely seen in the collection market because they are rarely handed down from generation to generation, and their prices are higher than those of Xuantong.
For example, a Qing Xianfeng imitation official glaze square vase with ears through the ears. Its precise and regular shape and the smooth and elegant glaze reflect the character of the prosperous Qianlong period, so it sold for a lot of money in 2011.
This Xianfeng imitation official glaze square vase with ears was sold at Shendu Poly’s 2011 spring auction, with a transaction price of 2.07 million yuan.
Why are they sold so expensively? In fact, the Xianfeng period was a critical period of transition.
Since then, with the collapse of the kiln factory, the destruction of the porcelain samples in stock, and the migration of kiln workers, it has had a profound impact on the development of the porcelain industry in Jingzhen and even the whole country.
It can also be said that from now on, the quality of official kiln wares can no longer be guaranteed.
Therefore, some mediocre official kiln wares from the Xuantong period, which are definitely not high-quality, are particularly rare.
The late Qing Dynasty was a special period, and Xianfeng and Xuantong competed with Qianlong. Therefore, this time Chen Wenzhe did not deliberately imitate the vase appreciation of the third dynasty of the Qing Dynasty, but imitated some works of Wan Qing.
One of them must be the Tongzhi Dragon Pattern Appreciation Vase. Naturally, it is not just blue and white porcelain. He can also give free play and make some gold tracing, pastel color, and Chinese red color.
Anyway, Chen Wenzhe is not selling it now, he just wants to imitate a batch of Wanqing style porcelain.
Whether there is a inheritance or not, whether the inheritance is orderly, these are not important.
Because he didn't expect high imitations to be made into the society, he just did it for appreciation and collection.
Of course, if you really look for some high-quality products with various craftsmanship, you can also find them.
For example, the Qing Xuantong pastel vase with gold cloud and bat patterns is a rare classic vase that combines gold and pastel.
The vase is easy to make, but the pastel vase with golden clouds and bat patterns turned out to be not easy for Chen Wenzhe to make.
Not to mention other things, except for the two techniques of opening the door, he couldn't do it before.
He can make pastels, but he cannot definitely make Xuantong pastels.
Of course there is no such problem now. If you want to make Xuantong Pastels, you only need to search inside the Sui Marquis Pearl to get the formula.
This made it too convenient for him to imitate various porcelains.
Once he had the glaze formula, he came to the gold painting technique, which was a technique he had only recently mastered.
Only by maxing out these basic skills can he easily make a piece of Qing Dynasty palace porcelain.
Therefore, even if it is an object used by the imperial court in the late Qing Dynasty, it is sometimes difficult for civilian porcelain craftsmen to move it.
This is also the reason why he imitated the top ten classic bottle types. It turns out that he really didn’t have the confidence to imitate some high-quality products.
It's different now, he can make it easily.
However, after letting himself go for a while and imitating the works of the Qing Dynasty, Chen Wenzhe returned to the normal path and continued to make the top ten classic porcelain vases.
But here, he still used his freedom and made a Chinese red vase.
There's no way around it, this bottle is so beautiful that whenever he sees it, Chen Wenzhe can't help but imitate it.
Besides, there are also some new techniques in this bottle.
Because the accurate official scientific name of the vase made by Chen Wenzhe this time should be called: Red Porcelain Wheat Straw Painted vase.
Wheat straw painted vases have become a new favorite in the red porcelain market in recent years.
It combines the latest Chinese pottery making technology and innovates on the original basis.
It is to make a breakthrough in the overall beauty of red porcelain, turning the originally deep and dull old and dull color into exquisite, translucent and colorful!
As a beautiful and elegant representative of red porcelain, the vase has received high attention and praise, making it quickly become famous and become a star in the gift industry!
Such a kind of porcelain, and Chen Wenzhe happened to be able to make Chinese red, so he would not let it go.
After it was made, the effect was even better. The original bright red glaze color was bright enough, and the exquisite and clear bottle body made this kind of instrument extremely beautiful.
After making this bottle, Chen Wenzhe felt that his various craftsmanship had been perfectly integrated.
This allows him to make all kinds of classic porcelain as he likes, and he can also control various techniques as he likes and integrate them, ultimately making the work more dazzling.
The last of the top ten classic porcelain vases is the lantern vase. He has never made this kind of porcelain vase before, and now he uses it to finish it off.