In the national treasure reconstruction project, the first thing to be copied was the blue and white fishtail vase with flower and bird patterns from the Kangxi period of the Qing Dynasty.
Its prototype is a national first-class cultural relic collected by the Forbidden City.
A national first-class cultural relic is naturally not simple.
It has a curved mouth, a thick and long neck, a curved belly that is drawn downwards, and a circled foot that is curved outwards and has a double platform.
This type of shape is a typical Kangxi utensil and is called "fish tail".
The body of the vessel is decorated with blue and white patterns, the neck is painted with "Golden Pheasant and Lotus", and the belly is painted with "Golden Pheasant and Peach Blossom".
Emperor Huizong of the Song Dynasty once painted a golden pheasant with hibiscus, saying that the golden pheasant has all the "five virtues".
Paired with four-season flowers, it symbolizes prosperity and a bright future.
As long as you understand this treasure, you will definitely know why Chen Wenzhe copied this bottle in the first place.
The first one is a bottle with flower and bird patterns, and Chen Wenzhe is now full of confidence in his flower and bird painting skills.
What's more, on this bottle, there are not only flowers of the four seasons, but also golden pheasants. It is really suitable for Chen Wenzhe to imitate now.
Another thing is that this is an emerald blue work.
It can be said that this work perfectly reproduces the unique "emerald blue" of Kangxi blue and white, creating the crown of blue and white art in the past!
Each of these ten treasures is not simple. This one is the crown of blue and white art, and the second one is certainly not simple either.
The second piece is a work by Yongzheng, which is a plum vase with colorful branches and branches.
Looking back at Yongzheng, this is not something you just say casually.
This plum vase from the Yongzheng period is also a national first-class cultural relic.
This vessel is a perfect interpretation of the Yongzheng Doucai, which combines underglaze blue and white with overglaze five colors.
It introduced the pastels, rouges, etc. of the time into the picture, creating a unique artistic effect.
This is an outstanding representative of the ceramic art and innovation of the Yongzheng Dynasty!
Because the formula of the overglaze glaze used is extremely complex, the flowers after firing are particularly gorgeous and gorgeous.
However, because the chemical composition of the glaze is too complex, the temperature control requirements are too high, resulting in an extremely low firing rate.
It is beautiful but difficult to make, so it has great collection value.
It can be said that it is the first work in history to break through the technology of underglaze blue and white and overglaze multicolor, and its historical status is extremely high!
However, it is extremely difficult to imitate this work. First of all, the glaze formula is the most complicated!
Because of the complexity of the glaze, the firing temperature is very difficult to control.
However, this is not difficult at all for Chen Wenzhe.
As long as he knows the glaze formula, he can perfectly control the firing temperature and directly fire the finished product.
Even if he fails several times, he will definitely be able to recover perfectly in the end.
With the Sui Marquis Pearl, he can use Hui Shuo to obtain the glaze formula, and even directly learn the experience and techniques of ancient craftsmen in firing this treasure through immersive experience.
This gives him an unparalleled advantage in replicating these complicated craftsmanship, which can even be said to be treasures obtained by chance.
During the Yongzheng period, there were extremely high achievements in porcelain firing technology.
Therefore, among the ten works recreated as national treasures this time, there are several from Yongzheng.
For example, the Yongzheng enamel landscape vase of the Qing Dynasty uses enamel to depict landscapes and figures throughout its entire body.
In other words, this is an enamel color, and Chen Wenzhe is now familiar with it.
After all, he has made a lot of enamel-colored porcelain recently!
And this one definitely has unique features, such as a full composition yet still feeling ethereal and cheerful.
Therefore, the effect achieved is very good, for example, for a long time, it feels like you are in a fairyland.
Also, the elegant use of colors contributes to the unique beauty of this treasure.
Therefore, if you want to imitate it, the artist's skill level is extremely high!
Of course, controlling the blending of glaze is also very demanding!
Therefore, among the national treasure reconstruction projects that year, this was the work with the highest scrap rate, the most difficulty in copying, and the highest cost. It also has unique collection value!
When it comes to collection value, this piece can be called the number one Chinese enamel freehand landscape porcelain, because its color is elegant and difficult to paint and burn, so you can waste a hundred and save one!
Yongzheng reigned for thirteen years, but his achievements in porcelain are really hard to describe.
For example, among the ten recreated national treasures, the first one is the first work to break through the underglaze blue and white and overglaze multicolor techniques, and has a very high historical status.
The second piece is even more impressive, and is known as the first Chinese enamel freehand landscape porcelain.
There is also a third piece, and this one is no less generous, because he is even more awesome, claiming that he only wants this bottle of thousand-year-old blue and white!
This bottle is the blue and white peach bat pattern olive bottle from the Yongzheng period of the Qing Dynasty.
The mouth of this bottle is set outwards, the neck is tied, the shoulders are wide, the arc belly gradually shrinks, and the feet are slightly set outwards, giving it an olive shape.
A thick peach tree is painted on the belly, bearing eight huge flat peaches.
Lined with peach blossoms, bamboo leaves, mountain stones and Ganoderma lucidum patterns.
Five bats are flying up and down, which means "five bats support longevity".
The level of blue and white firing during the Yongzheng period reached its highest peak and has never been surpassed since!
This peach and bat vase is elegant and elegant, with exquisite painting work. It is the highest quality representative work of blue and white porcelain used by the Qing Dynasty.
It is a representative work of the peak stage of Chinese blue and white porcelain. Only one bottle of blue and white porcelain can be seen for thousands of years, challenging the highest level of blue and white porcelain craftsmanship!
This is blue and white. Even Kangxi's achievements in emerald blue cannot cover up the brilliance of Yongzheng's blue and white porcelain.
The highest level of blue and white craftsmanship has never been achieved since then.
This is the collection value of this bottle, and apart from this one, the Yongzheng period had high achievements above other painted porcelains.
The fourth national treasure to be re-burned is the Yongzheng Mocai Landscape and Wood Grain Pen Holder of the Qing Dynasty.
Emperor Yongzheng not only had extremely high requirements for porcelain tasting, but also created many unique varieties of porcelain.
Ink color is the most distinctive original work among them.
It uses domestic color materials to imitate the artistic effect of burned ink enamel, just like painting with an ink pen on rice paper. The combination of wood grain glaze and ink color is rare in the world.
The carcass of this vessel is white and dense, the pattern composition is dense and dense, the layers are clear, and the scenery is well-proportioned and organized.
The brushstrokes are used naturally and flexibly, and the texture is smooth and smooth, just like a highly infectious Chinese ink painting. It has a fresh style and unique artistic charm. It is a rare masterpiece in the Yongzheng period.
This is a rare and original porcelain from the Yongzheng Dynasty. During the re-firing process, the master of traditional Chinese painting from the Forbidden City personally instructed and copied it. The artistic level is extremely high!
Among the top ten re-burned treasures, there is one from Kangxi, four from Yongzheng, and the remaining five are all from Qianlong.
In fact, this is not surprising, because Emperor Qianlong's behavior is well known to the world. Isn't it just a matter of great success?
Besides, Yongzheng left too much wealth to Qianlong. Isn’t he a wonderful man?
If you have money and the so-called prosperous Qianlong period, you will naturally have high artistic achievements. This is not surprising.
Therefore, the next five treasures are also extraordinary.
Of course, these five treasures are definitely not piles of gorgeous craftsmanship, but some unique national treasures.