To make a pastel hundred deer statue, not to mention the hair color of the pastel, just the drawing is very troublesome.
This statue is entirely painted with a hundred deers, and is lined with mountain forests, streams, Ganoderma lucidum, flowers and other scenery.
Under the green pines and cypresses, a group of deer are running, snuggling, or resting, with different shapes.
The rocks and leaves in the painting are mostly painted in green, with rich colors;
The deer and their branches are painted with ocher, black and other colors. The deer are vivid, the branches are vigorous, and the brushwork is vivid and delicate.
The Hundred Deer Zun is said to be one of the most gorgeous decorative porcelains produced by the court in the early Qianlong period of the Qing Dynasty. This is quite reasonable.
This kind of statue is also called "Nuolou Zun" because its shape resembles a bull's head.
Because the shape of the vessel is often painted with patterns of hundreds of deers, it is also called the Hundred Deer Zun.
This piece of porcelain has a thick body, chilong ears on the shoulders, and a dignified shape.
The belly of the vessel is painted with pastel paintings of landscapes and hundreds of deer. The deer have different expressions, either running, playing, foraging, or taking a nap, creating a lively scene.
Surrounded by towering ancient trees, mountains, waterfalls and streams, the painting is vivid and natural.
In addition, this porcelain is glazed with pastel color, which makes this large vessel even more beautiful when paired with the picture above.
And beautiful things are naturally not easy to make.
For example, this pastel-colored Hundred Deer Zun has an even carcass thickness, moderate weight, bluish-white glaze, bright colors, and distinct layers.
The paintings of mountains, rocks, trees, and deer are vivid and lifelike, and can be described as standard paintings during the Qianlong period.
Even when identifying landscape paintings on Qianlong pastel porcelain, this style of painting can be used as a basis.
It can be seen that the pastel hundred deer statue represents the highest level of pastel painting during the Qianlong period.
This pastel-colored Bailu Zun is an early work of the Qianlong Emperor. In the third year of Qianlong's reign, there was an imperial decree that the Yang-colored Bailu Double-Eared Zun was fired as usual without the ears.
This statue was copied by Daoguang of the Qing Dynasty and many were imitated during the Guangxu period. However, if the technology is not good, even if it is imitated by the official kiln of the same dynasty, it will not be able to imitate it well.
As for the Guangxu imitation, the appearance, color, and decoration are close to the real thing, but it gives the impression that the lines of the body are clumsy, the mouth is thin, the walls are thick, and the weight is heavier.
There is also a glazed surface, which is green and not uneven.
The bottom glaze is yellowed and the foot repair is rough.
The decorative painting is even more "stealing the artist's intention" and the colors are too thick.
The layers of rocks and trees are poor, and the deer are dull and inactive.
Most of this batch of official-imitation official works imitate the four-character seal script inscription "Qianlong Year System", with thick and irregular fonts.
There are also imitation ears, most of which are pink colored bull heads or rouge painted chi ears, which is also the difference.
The beauty of pastel porcelain lies entirely in its "glass whiteness", which is closely combined with painting techniques.
The effect of pastels is to utilize the opacification effect of "glass white".
This effect can make the painting appear rich and concave, increase the expressiveness of the painting, and make the picture pink and soft, rich in the style of traditional Chinese painting.
Therefore, this kind of craft can win the reputation of "Pearl of Oriental Art".
Such a piece of porcelain is still challenging even for Chen Wenzhe.
If you want to imitate well, pastel glaze is the key. Otherwise, why can’t the official kilns of Guangxu period imitate well?
There are also painting skills. "One deer with three thousand strokes" is not a joke. The last step is pastel technology.
The combination of all these is what made this pastel Hundred Deer Zun so valued by Qianlong, and it became one of the national treasures of porcelain in China.
Such a piece of porcelain has great collection value. Even if it is a modern art piece, it has a very beautiful meaning if it is sent to a museum or collected by oneself.
If coupled with Chen Wenzhe's fame, if this piece of porcelain is finished, even if Chen Wenzhe's name is retained, it should easily sell for a high price.
This is a fine piece of porcelain that reflects its true value.
It is a pity that if something of this level is genuine, even Chen Wenzhe cannot get it. Even if he wants to take a look at it or even get his hands on it, it is a luxury.
In the collection world, many collectors understand the truth, that is, no matter what time, there are some antique treasures that can be seen but not played with.
At that time, there were still some treasures that you would never see in your lifetime.
There are also some treasures that do not belong to the collection world.
What you can look at, but not play with, are high-level antique collectors.
Most treasures like Bailu Zun are not available to ordinary people, and they cannot be obtained in a lifetime.
Therefore, there is a comforting saying like "it's just a passing thing", but for many ordinary collectors, it is very helpless and there is no other way.
Chen Wenzhe is pretty good now. He has certain collection qualifications. After all, he still has a group of the most enviable treasures. They are only the playthings of the rich.
Chen Wenzhe is also a rich man now and is qualified to purchase this kind of treasure.
However, even rich people sometimes have some dreams that cannot be realized with money, such as this exquisite Bailu Zun from the Qianlong period.
For Chen Wenzhe, the price of this piece of porcelain is not high, but it is really rare.
Not just anyone with money can buy such palace porcelain.
Unable to buy one, he had to make one himself, which has become a daily job for him.
When making a picture of a hundred deer, the basic things are easy to explain, such as the quality of the embryo, glaze color, etc. Chen Wenzhe is very confident.
For him, the most difficult thing is the Hundred Deer Picture.
Qianlong liked the theme of hundreds of deer, but it was not just for auspiciousness, nor was it a simple aesthetic taste. I am afraid there was a deeper consideration behind it...
According to historical records, the "Hundred Deer" and "Mulan Qiuhu" pictures are closely related.
Mulan is a Manchu language, meaning "whistle deer", and Qiuyi refers to hunting in autumn.
Since the 22nd year of Kangxi's reign, the "Mulan Autumn Festival" ceremony has been held almost every autumn.
He believed that an important purpose of Mulan Qiuyi was to strengthen control over the ethnic groups outside the Great Wall.
Therefore, Emperor Qianlong started hunting with his grandfather when he was more than ten years old.
Horseback riding and archery were an indispensable and important part of his court life, so Emperor Qianlong attached great importance to the "ancestral system" of Mulan Qiubi and ordered the court painter to record the actual situation.
If the production office is ordered to take this scroll and pass it on to the craftsmen in Jingzhen to follow the painting, there will be no doubt about it.
Perhaps at the same time, it is also consistent with historical reasons to combine this important event of the Qing Dynasty with the previous pink version of the "Hundred Deer and Hundred Cranes" and the "Ming Wanli Blue and White Colorful Hundred Deer Zun" to recreate this important event in the Bailu Zun.
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Therefore, the picture unfolded by the Bailu Zun is exactly the instrument for the emperor to inscribe his virtue.
This kind of thing is actually very common in porcelain making, but it adds more difficulties for Chen Wenzhe to copy the Bailu Zun.
It is not that simple to engrave famous paintings on porcelain.
To put it simply, you can't draw worse than calligraphy and painting, right?
At the very least, we need to express the artistic conception and essence of the calligraphy and painting works, right? These are difficult enough.
What's more, the picture of a hundred deer on this Hundred Deer Zun is not a simple Chinese painting.