Learning is fun, and making porcelain makes Chen Wenzhe even happier.
The most important thing is that he has no pressure and can learn whatever he thinks of and do whatever he thinks of.
With the experience of several seniors, it would be really easy for Chen Wenzhe to play Yuan Qinghua again.
If it weren't for these kilns, they wouldn't directly sell the materials for making Yuan blue and white flowers. It would be easier for him to imitate Yuan blue and white flowers.
There is nothing we can do about it. All the kilns and porcelain companies in Jingzhen are being watched.
For example, Chen Wenzhe came into contact with the earliest Qianlong blue and white glaze, which is definitely not available to ordinary people.
Because after buying this kind of glaze, you can directly imitate Qianlong blue and white porcelain.
If it weren't for this, the blue and white glazes and underglaze red glazes prepared by Chen Wenzhe would not be sold at high prices.
Even the blue and white materials of the third generation of the Qing Dynasty are not allowed to flow out easily in Jingzhen, let alone the modern processing technology that can imitate the blue and white materials of the Yuan Dynasty, such as the sumali green materials and hemp warehouse soil.
Just like Mr. Huang once said before: "I am responsible for the collectors and my works."
He once said frankly that some people used his works as cultural relics for auction.
This will cause the market to distrust him and even Jingzhen as a whole.
Now, every one of his works has his own name on it.
When he was imitating the Yuan blue and white Guigu Descending Mountain jars, he made a total of 10 jars, stamped his name and numbered them.
Nowadays, even though the value of each piece has increased by hundreds of thousands of yuan, the old man still sticks to his original intention and no longer imitates.
Imitation is a kind of inheritance of ancient porcelain culture, but we must also innovate while inheriting.
When it comes to Chen Wenzhe, he also wants to innovate rather than simply imitate.
When I first started making antique porcelain, it was definitely to make money.
But, he is short of money now?
Since there is no shortage of money, why not have some higher pursuits?
If the warehouse is solid, you will know etiquette; if you have enough food and clothing, you will know honor and disgrace.
There is no other way, everyone in the world needs a good meal, and making antique porcelain is definitely the best shortcut for porcelain craftsmen.
Chen Wenzhe is now in a real position, so his ideals are at the top.
He definitely wants to discover some new technologies based on imitation.
This road was taken by our predecessors. As long as they have the imitation technology, they will always be able to introduce new things.
Because new technologies and new cultures often evolve from ancient cultures.
The essence of antiquing is not only to restore ancient cultural relics, but also to use antiquing technology to create new works.
As a teacher or a craftsman, you need to not only improve your skills, but also improve your artistic ethics.
Only by combining virtue and art, taking morality as the foundation, rooting in technology and works, can we create better works of art.
Instead of being proud of your art and disrupting the market.
Just like Mr. Huang, who has been engaged in ceramic art for more than fifty years and has become the number one person in my country for antique porcelain by one person.
His works are also sought after by people from all walks of life at home and abroad. After all, he is good at blue and white underglaze red, Song Yingqing Qinghua, Yuan blue and white, pastels, etc.
Its antique works are known as "Yellow Kiln Porcelain" and are famous all over the world. It is a veritable contemporary official kiln.
If he did not leave his name on his works, and if these works entered the market, the impact would be huge.
"So, in the future, my works will also have names!"
After finishing a piece of porcelain and waiting to be fired in the kiln, Chen Wenzhe said with a bit of pride.
After several trial burns, Chen Wenzhe felt that this time it should be stable, so he was a little drifting.
He has tried it several times based on the experience of his predecessors.
Because he has a complete firing process of Yuan blue and white, he did not test many times, but the results were unexpectedly good.
It is also because of this that he is so confident.
This time he made a jar with a picture of Guiguzi going down the mountain. All the jars he had made before were this kind of large jars.
However, it is not the Guiguzi Descending Mountain jar, but some peony jars, large jars with cloud and dragon patterns, etc.
Now I feel that the pot with the picture of Guiguzi going down the mountain should be successfully fired. Chen Wenzhe doesn't want to continue to make large pots.
Because he doesn't want to continue doing this kind of imitation work, and he also needs some innovation.
But before innovating, he needs to find what he is good at.
It was also when he was making large blue and white jars from the Yuan Dynasty that Chen Wenzhe suddenly realized that he had made many works with peony patterns.
Among them are large jars with peony patterns, and some large jars with red underglaze. He is quite good at painting peonies.
His previous small breakthrough was also based on ornamentation.
It's just that it was a deformation of Dayan, and this time, he directly made the type of decoration that he was best at and liked most, which was the peony pattern.
If it is innovation, naturally you don’t need to pay too much attention to the habits of predecessors.
However, before innovating, you must first learn.
Especially when making antique porcelain, it is necessary to understand the habits of the predecessors.
Peony pattern is a typical Han porcelain decorative pattern or brocade pattern, with peony flowers as the theme.
Since the Tang Dynasty, peonies have been popular among people and are regarded as a symbol of prosperity, beauty and happiness.
During the Song Dynasty, it was known as the "flower of wealth" and became a popular decoration on porcelain.
The peony pattern flourished for a long time in the Yuan, Ming and Qing dynasties and was often used as the main pattern to decorate the main parts of bottles, bowls, plates, jars and other utensils.
During the Ming and Qing Dynasties, the peony patterns on Jingzhen kiln porcelain were more colorful, including broken branches of peonies, twisted branches of peonies, etc.
The peony pattern with broken branches on the Xuande blue and white plate of the Ming Dynasty and the peony pattern on the blue and white jade pot and spring vase are exquisite in pattern and have a strong decorative effect.
The Ming Jiajing glaze is decorated with gold peacock and peony patterns, and the peach-shaped consecration on the belly of the vessel is gilded with peacock and peony patterns, which is particularly rich and gorgeous.
The Qing Yongzheng famille rose peony pattern plate-mouth vase and the coral red ground famille rose peony pattern ear-piercing vase are all meticulously crafted with meticulous attention to detail.
They vividly demonstrated the beauty, fragrance, elegance and splendor of peonies.
There are many expression techniques, the most familiar to us are engraving, printing, painting, etc.;
The forms include single branch, cross branch, broken branch, string branch, entwined branch, etc.
The Yue kiln of the Five Dynasties, the Ding kiln of the Song Dynasty, and the Yaozhou kiln have products with peony patterns, while the Cizhou kiln has products with black flowers on a white ground.
For example, single peonies often appear on Ding kiln vessels.
On Yaozhou kiln porcelain, flowers are often seen facing each other.
On the pillow surface of Cizhou kiln, three peonies can be seen painted in the shape of cloud heads.
After such research, Chen Wenzhe discovered that peony patterns are really not simple.
There are various methods for painting peonies on porcelain.
For example, composition methods include suitable style, symmetrical style, balanced style, etc.
It can be said that every kiln entrance and the works of every era have unique characteristics.
For example, a Yaozhou kiln celadon bowl has a peony branch carved on its inner wall. The flowers are in full bloom and the branches and leaves are luxuriant, covering the entire bowl, creating a suitable composition.
There is also a symmetrical composition depicting two peonies, with branches intersecting and flowers facing each other;
The carved peony branches and stems on the Yaozhou kiln celadon vase are intertwined with flowers and leaves, creating a balanced composition.