Throughout the ages, many people have wanted to imitate Kangxi Emerald Blue, but few have done it well.
Generally, alternative green materials are used to achieve the hair color effect of emerald blue.
But if Chen Wenzhe wants to imitate the emerald blue, it will be much simpler. Of course, he will also need to experiment many times.
This is mainly about finding raw mineral materials with suitable element content ratio inside the pearl material.
As long as this kind of mineral material is found, other pearl materials with different compositions need to be processed to promote the stability of the pearl material.
In this way, under stable high-temperature firing, you can get the emerald blue every time, instead of just relying on luck.
"Huh? Is there really a successfully imitated work of Emerald Blue?"
I was studying how to improve the success rate of emerald blue porcelain, and unexpectedly Chen Wenzhe made a discovery.
On this day, Chen Wenzhe was trying to burn a batch of celestial bottles. He had just put them into the kiln and was watching the fire. Unexpectedly, he got an unexpected harvest.
He inadvertently found a work inside the Sui Marquis Pearl, a work made by the famous pottery master Ge Mingxiang during the Qianlong and Jiaqing periods of the Qing Dynasty. It was a large Jun porcelain emerald blue glaze scroll vat.
He did not find a modern master who imitated Cuimaolan, but unexpectedly found a master who imitated it in the Qing Dynasty.
This Ge Mingxiang was a pottery maker in the Qing Dynasty.
Ceramics were fired at the Yixing kiln, and the creative activities took place during the Qianlong reign (1736-1795).
He and his younger brother Ge Yuanxiang were both good at making furnaces and glazes.
The works they made were in the form of blue emerald glaze, with a three-character seal of Ge Mingxiang or Ge Yuanxiang at the bottom, which was called "Yijun".
Their works have always been cherished by collectors at home and abroad. Their works have participated in the London Expo and won awards.
Especially the little devils like the glaze color of Ge Kiln even more;
Similar works were once exhibited at the "Beauty of Qing Dynasty Craftsmanship" exhibition held at the Osaka Municipal Art Museum.
As a representative category of Yixing kiln, their works are very precious.
Therefore, all those with Ge Mingxiang and Ge Yuanxiang's inscriptions and seals are considered valuable objects.
Let’s talk about Lujun glaze. This is a type of imitation Jun glaze created by the imperial kiln during the Yongzheng period of the Qing Dynasty. It was popular in the Yongzheng and Qianlong dynasties. This type of work is regarded as a valuable category among purple clay wares.
The Qing Dynasty's "Nanyao Notes" records: "The furnace is a kind of Jun, which is fired in the furnace. The one with red dots in the flowing color is the best, followed by the green dots."
"Chronicles of Ceramics" written by Tang Ying of the Qing Dynasty says: "There were no Lujun utensils before Shunzhi and Kangxi of the Qing Dynasty. From Yongzheng to Qianlong years, there were glazes in Dong Kiln and Yixing. The name of the Jun glaze fired in a charcoal surround is: 'Lujun' ', is a low-temperature lead glaze, about 800 degrees.
The purple clay pot is first "fired" and then glazed. The glaze is rich in color. It is made of lead white glaze, copper and cobalt, and the pattern flows and changes. It is a double-glazed pot, beautiful and elegant."
Lujun glaze uses copper, cobalt and other elements as colorants. The glaze is red, blue, purple, cyan and other colors. The glaze surface naturally flows down and melts with each other to form colorful spots or stripes, and the glaze is smooth or smooth.
The large scroll vat that Chen Wenzhe found was a purple sand body-colored glaze scroll vat.
The height of this large cylinder is 32cm, the upper diameter is 43cm, and the bottom diameter is 31cm.
It is not easy to make such a grand study object, so it is even rarer.
This artifact is made of blue emerald glaze, which flows naturally. Its dense patterns and luster are full of elegance and tranquility.
Such a thing, regardless of whether it is a valuable item made by a famous person, just its appearance characteristics can make people who see it cherish it.
"If you have nothing to do, just make a big tank. Don't think about drawing the embryo. Just use the method of coiling mud strips and do it slowly!"
The accidental discovery of such a large vat gave Chen Wenzhe the idea of making large-scale porcelain.
Among the large porcelains, the large vat type is the simplest.
Of course, Chen Wenzhe has not forgotten the key point now. He is making porcelain from the third generation of Qing Dynasty!
Therefore, this imitation of the Kangxi Emerald Blue work can only be done slowly using the trivial time in my spare time.
By this time, he had almost studied sapphire blue and emerald blue.
After all, he has a clear goal. As long as the firing is successful once and the pearl materials are properly prepared, the firing will continue to be successful.
In addition to the porcelain of the Kangxi period, other porcelains were relatively easy to make. As long as he wanted to, he could make a batch of them.
Next, he should start imitating Yongzheng's fine porcelain.
You must know that although Yongzheng only reigned for more than ten years, his artistic achievements surpassed those of Kangxi and Qianlong.
Therefore, the pinnacle of Qing Dynasty court porcelain was Yongzheng porcelain!
Among the three dynasties of the Qing Dynasty, Yongzheng porcelain was the most popular, so what is the most classic among Yongzheng porcelain?
In addition to being diligent in political affairs, Emperor Yongzheng in history was also commendable for his high-end and elegant aesthetic taste.
Especially the porcelain from the Yongzheng period is simply a miracle that stands at the pinnacle of aesthetics.
The porcelain of the Yongzheng period is world-famous for its fineness, and its monochromatic glaze is noble and colorful.
This kind of aesthetic taste is very similar to the Arts and Crafts movement, and even the subsequent Art Nouveau movement and Bauhaus trend of thought.
However, Emperor Yongzheng lived from the end of the 17th century to the beginning of the 18th century, long before the revolutionary trend of artistic aesthetics in the West.
The glaze colors of Yongzheng porcelain are quite special, such as the twelve-color single-color glaze chrysanthemum petal plate.
Emperor Yongzheng had a strict and orderly character and a high aesthetic taste. It is said that the elegant and noble monochromatic glaze (color glaze) was his favorite type of porcelain.
The single-color glazed porcelain of the Yongzheng period is light and slender, and pays attention to composition, with dense and white spaces, and even regular geometric rhythmic patterns.
The most common single-color glaze colors during Yongzheng's reign should be red glaze, yellow glaze and celadon glaze.
Red glaze was a type that was modified and fired to its peak during the Kangxi period, while yellow glaze and blue glaze may be closer to Yongzheng's own aesthetic taste.
Also, during the Yongzheng period, pastels were very popular.
Compared with the simple and plain single-color glaze, the characteristics of Emperor Yongzheng are more obvious on the magnificent pastel porcelain.
Different from the splendor and accumulation of other periods, the colored porcelain patterns of the Yongzheng period are obviously restrained.
The human figures, flowers and birds painted on the body of the vessel all have obvious shrinking and gathering features.
The brush strokes used in the decorative painting are also more delicate.
This makes the pictures on the porcelain surface more compact, well-proportioned and full of three-dimensionality.
At the same time, the colors used in the colored porcelain of the Yongzheng period were relatively simple and elegant, with soft but not bright colors and a hint of plainness in the color.
The glaze color is already so outstanding, and in terms of shape, Yongzheng porcelain is also unique.
During the Yongzheng period, the mainstream shape of porcelain was thin body, light body, beautiful workmanship and charming.
Even the sizes of common porcelain used in daily life are exquisite and compact.
There were many types of utensils at that time, including many porcelain vases.
For example, there are moon bottles, plum bottles, mallet bottles, appreciation bottles, gourd bottles, celestial sphere bottles, olive bottles, string pattern bottles, cloud ear bottles, Guanyin bottles, etc.