Chapter 1290: Dominate the three generations of Kangxi, Yongzong and Qianlong
Let’s talk about this enamel bottle with baby playing pattern. It is an early work by Jin Tingbiao, and its style is based on folk painting.
The colors in the picture are bright, the children's postures are vivid and diverse, and their movements are exaggerated.
Since it had not yet been affected by Qianlong's personal likes and dislikes at that time, its artistic value was higher compared to the usual splendor and complexity in the middle and later periods of the Qianlong Dynasty!
This is the rarest enamel work of its kind in the Qing Dynasty.
Its collection value is naturally very high, because it is an original masterpiece by the star painter Qianlong, and it is also the first enamel baby play pattern to get rid of the complexity and stand out!
It should be clear to everyone here that one of the key reasons for doubling the value of this work is the famous painter Jin Tingbiao.
And why can Jin Tingbiao’s works become famous paintings?
Isn't it because many of his good works have been included in "Shiqu Baoji"?
One of the important reasons is that the exquisite calligraphy and paintings included in "Shiqu Baoji" were once collected by the palace.
Of course, there are also some historical reasons that make this book even more important.
It is said that at the end of the Qing Dynasty and the beginning of the Republic of China, Puyi caused some famous paintings and calligraphy works to be lost in the name of rewards;
When leaving the palace, a large number of collections were moved out of the Forbidden City. During the period when the puppet Manchukuo ended, some of the collections were lost among the people and even overseas.
Therefore, "Shiqu Baoji" has become the most important clue to save these lost national treasures.
At the same time, if it can be verified that it is a painting recorded in the "Shiqu Baoji", its value will often double and it will become the focus of the auction.
For example, in the autumn auction of 2005, five paintings and calligraphy pieces recorded in "Shiqu Baoji" launched by Zhongmao Shengjia Company were all sold.
And the transaction price of each piece is more than 5 million yuan.
Tang Yin's "Songya Farewell Picture" recorded in "Shiqu Baoji" was held at Poly's 8th Anniversary Spring Auction "Chinese Ancient Calligraphy and Painting Night Show" on the evening of the 3rd.
The painting started with a bidding price of RMB 24 million. After 40 bids inside and outside the venue, it was sold by a buyer at the auction for a hammer price of RMB 62 million.
After adding commission, the transaction price reached 71.3 million yuan, setting a new world record for Tang Yin's work.
From this, we can also see some of the power of "Shiqu Baoji".
I have to say that there were still many good things during the Qianlong period.
The next piece is one that Chen Wenzhe is very familiar with, which is the Qianlong famille rose double-eared statue with hundred deer pattern.
As mentioned before, this piece of porcelain was also copied by Chen Wenzhe.
The pastel painting technique of this work is superb, the glaze is uniform, the patterns are complex, and the decorative effect is rich and luxurious, which fully reflects the contemporary style and technical level of the Qianlong official kiln.
In the later years of Qianlong's reign, the emperor secretly requested the Ministry of Internal Affairs to burn a piece of porcelain that was the most "honorable" in the world, and to paint "One Hundred Deers and One Hundred Cranes" by the court painter Shen Quan on it to celebrate his birthday.
Thousands of kiln workers from the Ministry of Internal Affairs and the Jingzhen Royal Kiln Factory spent several years painstakingly firing it.
During this period, the painting was redrawn hundreds of times and the glaze was adjusted thousands of times.
Finally, before Qianlong's 60th birthday, he fired the Bailu Zun, which was extremely popular for a while, and was known as "the first porcelain of all time".
Not to mention its collection value, "the first porcelain of all ages" has dominated the three dynasties of Kangxi, Yongzong and Qianlong. It is exclusive to the emperor with a hundred deers. It has extraordinary meaning to live with the sky!
There are only three pieces left, which are naturally not simple. Also, like the Bailu Zun, the remaining three pieces are made of pastel porcelain.
The only difference is the shape of the vessels. The eighth piece is a pastel nine-peach celestial sphere vase.
Pastel porcelain, a kind of soft colored porcelain, is one of the four traditional famous porcelains of Jingzhen kiln, and it is also a variety of overglaze color.
The so-called overglaze painting is to paint on the fired plain glaze and then bake it in the kiln at a temperature of 600 to 900 degrees Celsius.
Pastel porcelain is a new type of overglaze color created on the basis of Kangxi five colors and influenced by the enamel making process.
After its advent in the late Kangxi period, it developed through the Yongzheng dynasty and reached an extremely high level during the Qianlong period.
During the Qianlong period, in addition to "white ground" pastel paintings, there were also "color ground" pastel paintings, or "color ground" pastel paintings, or "color ground" painted pastel colors.
The innovative variety of pastels in the Qianlong Dynasty is to use extremely fine tools to roll out continuous patterns such as tangled honeysuckle or tangled vines on the ground of yellow, green, red, pink, blue and other colors, and is often used together with consecration. , this is the opening of the rolling track.
The emergence of this craft pushed pastels to a more luxurious and elaborate peak, which lasted until the Republic of China.
Let’s talk about this nine-peach celestial sphere vase. It is a piece of porcelain with nine peach patterns. The nine-peach pattern porcelain was created during the Yongzheng Dynasty and was still copied in the Guangxu Dynasty.
Among all the pastel nine-peach pattern porcelain imitated by Yongzheng, Qianlong and later generations, the patterns from the Yongzheng period are the most vivid and eye-catching, and the painting level is also the highest.
Such porcelain has naturally high collection value, so this imitation has become the latest scientific research achievement of the Forbidden City in the past 30 years, and its craftsmanship surpasses the level of the National Gift of the Forbidden City in 2005!
Porcelain that can be used as a national gift is definitely not simple, not to mention that this is a pastel nine peach vase.
As long as such porcelain is authentic, it must be the porcelain used by the Qing Palace during the Qianlong period.
The shape of this bottle is also very beautiful. It has a straight mouth, a straight neck, a plump and round belly, and round feet.
The whole body is painted with a peach tree, with a strong trunk and 9 flat peaches on the branches. The peach tree is lined with a cluster of roses.
The bottom foot is inscribed in blue and white with the six-character seal script inscription "Made in the Qianlong Year of the Qing Dynasty".
There are a large number of auspicious-themed decorations in the pastel porcelain of the Qianlong period.
Most of these themes use natural scenery to imply auspiciousness.
The meticulous painting work, clear layers and complicated content are the characteristics of its era.
This bottle uses rendering techniques to paint peach fruits. The peach fruits are richly decorated and successfully express the delicate colors of ripe peach fruits.
The entire composition is dense and dense, creating the effect that the leaves have yin and yang facing away, and the tree has old branches and new buds.
These effects make this bottle a representative work of Qianlong's large pastel objects.
Therefore, it is definitely not an exaggeration to say that during the Qianlong reign, pastel porcelain reached its peak.
For example, the ninth imitation national treasure is a Qianlong famille rose jade vase with peony pattern.
The painting method of this work adopts the techniques of spot dyeing and over-coloring. The rocks, flowers, birds and insects all have strong texture, clear light and dark, and distinct layers.
It combines rigorous and meticulous meticulous meticulous painting with lively, concise and concise freehand brushwork, as well as an exaggerated and deformed decorative style.
The most important thing is that Qianlong personally participated in the creation of this porcelain.
Therefore, this jade pot spring vase became a representative of the royal artistic taste, and also showed the extremely high artistic accomplishment of Emperor Qianlong.
This work can be said to be a perfect representation of the palace painting style of the Qianlong period. It has irreplaceable artistic value in the history of Chinese ceramic art.
This is the concentrated expression of Qianlong's artistic taste. It is a landmark work of the era of porcelain painting art and has extremely high collection value!
The last piece is the Qianlong Emperor's colorful lantern vase with Eight Immortals celebrating their birthdays.
This vase is a masterpiece of porcelain painting that was personally designed by Emperor Qianlong in his middle age.
Qianlong appointed a Xiang-level court painter to hand-draw more than ten drafts, and finally the emperor personally selected this draft for firing.