The emerald blue and white of Kangxi is not as crystal clear and gorgeous as the blue and white of Xuande, and it is also different from the exquisite and beautiful blue and white of Chenghua.
This kind of emerald blue is not as novel in shape as the Qianlong blue and white flowers, but has its own unique bright and green luster.
The hair color of blue and white porcelain, Emerald Blue, has always been called the divine blue and white porcelain by praisers. This is not without reason.
It is different from the majestic hair color of Yongxuan Su material, and also different from the elegant and handsome hair color of Chenghua Pingping green material.
It is not as quiet and deep as the Jiajing blue and white material, but it is also very different from the peaceful, stable, graceful and luxurious style of the Qianlong blue and white.
The emerald blue shows a magical effect that is close to the ink rendered on rice paper in Chinese paintings.
The blue color scale is also divided into multiple steps, which can even vividly express the chamfering method in painting.
What is the chamfering method? This is one of the expression techniques of traditional Chinese painting.
What does it mean to be able to express the chamfering method vividly? What kind of effect does it show?
If you want to know this, you must understand what the method is!
Although this chaffing method is one of the basic techniques of painting, it is not simple.
In the artistic practice of ancient painters, they summarized and created an expression program based on the different geological structures of various rocks and the surface conditions of trees. This is the chamfering method.
There are many types of chai methods, and they are all named after their respective shapes.
The main expression technique of early landscape painting was to outline the outline with lines and then apply color.
With the development of painting, in order to express the veins, lines, texture, yin and yang, concave and convex, and back of mountains, rocks and trees in landscapes.
After that, the brushwork technique of chaffing was gradually formed, forming the unique term "cracking technique" of Chinese painting.
The basic method is to use the various ways of running the brush to express the light and dark (convex and concave) of the mountains, the complex geological structures, and the morphology of different rocks, resulting in various stylized rubbing methods and names.
Chapping methods are generally divided into hammer-head chapping, hemp chapping, random chaffing, sesame chapping, large ax chapping, small ax chapping, cirrus chapping (cloud chapping), raindrop chapping (rain and snow chapping), bomb vortex chapping, and lotus leaf chapping.
There are many techniques such as chafing.
If we were to describe them all, there would be many more, such as alum-headed chaff, skull chaff, ghost-skin chaff, solution chaff, random chai chaff, ox-hair chaff, horse-tooth chaff, point-wrong chaff, douban chaff, prickly pear chaff (douban chazhi)
Changes), cracked webs, cracked belts, cracked nails pulled out of the mud, cracked with water from dragging mud, golden cracks, boneless cracks, straight scratches, horizontal scratches, etc.
But from now on, it should also be seen that the expression of this technique is a bit complicated.
Zheng Ji of the Qing Dynasty listed it as one of the Sixteen Cun Methods.
"A Brief Introduction to the Study of Painting in Dream House·On Champagne": "The ancients divided the landscape chambray into sixteen categories. It is called Phi Ma, it is called cloud head, it is called sesame, it is called tangled hemp, it is called folded belt, it is called horse tooth, it is called axe, it is called raindrop, it is called raindrop.
The vortex is called the skull, the alum head, the lotus leaf, the ox hair, the solution element, the ghost skin, and the chaotic firewood. These sixteen methods of chaffing, which are the sixteen names of mountain stones, are not made up."
The Wang Gai of the Qing Dynasty listed as many as fifteen methods of chaffing.
From the form of the chamfering method, the basic innovative elements can be summarized.
That is, spot chapped, line chapped and surface chapped.
Diancha mainly includes raindrops, douban, and dingtou.
The main types of thread chapped are long and short linen chapped, lotus leaf chapped, solution rope chapped, folded belt chapped, cirrus cloud chapped, and cow hair chapped.
The main types of surface cracks include small and large ax cracks, scraping scratches, and wood fire cracks.
Symptoms on the surface of the tree include scales, ropes, horizontal chaps, etc.
Among the painting treatises of the past dynasties, those that discuss the method of chaffing include "Coral Net·Craft Stone Method", "Miscellaneous Words on Painting·Chapters", "Quotes from Shi Tao's Paintings·Chapters on Chapmanting", "On Painting in Silent Residence in the Mountain", etc.
In the landscape painting of Chinese painting, the emergence of the chamfering method marks the true maturity of landscape painting.
With the continuous development of traditional Chinese painting, the technique of chamfering has evolved from a basic technique to an artistic language form with vitality over thousands of years.
It not only has independent aesthetic value, but with the development of the times, the Cun method also reflects the aesthetic characteristics of different eras.
The Cun method is an artistic language form refined by landscape painters of all ages through the practice of imitating nature.
In the process of continuous development, a complete system has been formed, which has a unique value position.
It is such a technique, but it can be expressed with a simple blue and white hair color.
From now on, you can imagine the joy you felt after accidentally firing the emerald blue.
Just using one color and hair color can express complex artistic conception of traditional Chinese painting. Isn’t this surprising?
Just a few strokes of color can express the artistic conception of landscapes and characters in traditional Chinese paintings, which is definitely surprising.
But all of this is definitely inseparable from the coloring agent.
Without a special color, the blue and white is still the same blue and white, how can it become emerald blue?
Therefore, blue and white flowers are often found, but blue and white flowers in the emerald blue state are not common.
The coloring agent of emerald blue must be hidden in the green material, and the production of emerald blue cannot be separated from the pearl material.
Nowadays, everyone knows that Cuimao Blue is made from the finest Yunnan pearls, which are carefully screened and refined.
Generally, the hair color of pearl materials can stably show the color of sapphire blue.
But whether you can burn emerald blue really depends on luck.
However, some rules have been summarized.
That is to say, on the basis of suitable pearl materials, through high temperature and burning, we can unexpectedly obtain satisfactory works.
In this process, the firing of emerald blue is completely beyond manual control.
All kilns that specialize in firing emerald blue know that emerald blue is the result of "burning out" when the kiln temperature is high.
However, repeating the experiment at the same temperature will not yield the same results as the previous time.
So when it comes to porcelain firing, sometimes it just depends on luck.
But this kind of luck often becomes inevitable after being studied by modern scientific methods.
In order to make emerald blue, you must first be able to make sapphire blue.
Because sapphire blue and emerald blue are so closely and inheritedly related, the two cannot be completely separated when the actual objects are fired.
Some sapphire blue utensils will have an emerald blue effect in parts.
On the utensils that are recognized as emerald blue, there are also some places where the burning is not emerald blue enough, but looks like sapphire blue.
So how to fire sapphire blue porcelain?
You know, if there is no unexpected emerald blue, even sapphire blue porcelain is a high-end product among porcelains and a well-deserved treasure.
Of course, to fire classic porcelain, you must have a stable environment, and during the Kangxi period, all conditions were met.
In the early Qing Dynasty, after experiencing the transition of the Shunzhi period, the central government had stabilized during the Kangxi period.
The social economy has resumed development and is gradually showing overall prosperity.
In order to appease the people, the Qing government introduced many new policies.
In particular, the "craftsmanship" system since the Ming Dynasty was abolished, which relatively eased the constraints on farmers and handicraft craftsmen.
This loose social environment liberated craftsmen, thus allowing the production and development of porcelain to have an explosive period!