Most of the three-color utensils in color are large bottles, large pots, large plates, incense sticks and other display porcelain.
Among a pile of large plates, Chen Wenzhe also discovered purple and green shirts with yellow ground.
This kind of glaze-colored porcelain is mainly made of plates. The outer wall is painted with three-color grapes, clouds and cranes, flowers, and silk ribbons. The inner part of the plate is painted with dragon patterns and filled with purple and green shirts.
There is a blue and white or purple glaze inscription on the bottom, and the top is covered with yellow glaze.
This kind of plate was produced throughout the Qing Dynasty.
Then there is Mo Di Sancai. This kind of plain three-color porcelain uses green glaze on ground glaze first, and then black glaze.
When it came out, it was outlined with purple and black glaze and then filled with yellow, green, purple and white.
Some are consecrated in black and painted with three colors in white.
The three-color ink painting is as rare as the morning star, and many imitations were made in the early Republic of China.
There is also a kind of tiger skin tri-color, which was imitated by many in the late Qing Dynasty and the early Republic of China.
This is made of yellow, green and purple dots dyed into tiger skin-like patches, and the glaze surface is bright and changing.
The utensils include plates, bowls and three stars of fortune, wealth and longevity, all of which have dense and heavy fetal bones.
In fact, no matter what kind of tricolor it is, it cannot be separated from the glaze color.
The earliest three-color porcelain sculptures were actually Tang Sancai, so in the Qing Dynasty, three-color porcelain sculptures evolved.
A type of Tang Sancai figurines, which combine sculpture and glaze, including immortals, Buddhas, animals, ghosts and pots with the characters "Fu Lu Shou", all of which are solid in texture and vivid in shape.
Three-color Kangxi products are rarely produced anymore. Some imitations appeared in the late Qing Dynasty, Guangxu period and the early Republic of China, and they were also quite exquisite.
Most of the porcelain fragments discovered by Chen Wenzhe were Ming Dynasty three-color porcelain.
Compared with the plain three-color porcelain of the Qing Dynasty, those Ming Dynasty products have fewer varieties, but the shape, decoration, and glaze color are not bad at all.
The plain three-color paintings of the Ming Dynasty were developed on the basis of the three-color paintings of the Tang and Song Dynasties.
However, with the improvement of porcelain firing technology, the imperial factory switched to using unfired porcelain bodies instead of the previous unfired pottery bodies.
This change not only further increased the mechanical strength of the "plain tire", but also improved the exquisiteness of the finished product, becoming the biggest difference between the tricolor tricolor of the Ming and Qing dynasties and the tricolor tricolor of the Tang and Song Dynasties.
Based on this point, plain three-color pottery can be further divided into two categories: "plain three-color pottery" and "plain three-color porcelain".
During the Yongle and Xuande periods, Jingzhen Imperial Factory had already begun firing various simple low-temperature composite colored glazed porcelains.
There are mostly two types of colored glazes, which are usually not called "plain three-color glaze" but "green ground sauce color" or "yellow ground green color".
The shapes are mainly based on daily necessities such as bowls, plates, and pots.
Similar products were still produced in large quantities until the Chenghua period.
In order to clearly express the painting pattern, the body of the vessel basically uses conical carvings as dividing lines.
Because the firing process is not yet skilled, there are relatively few products using more than three colored glazes.
But this time, Chen Wenzhe discovered that what they grabbed the most were the Ming Dynasty plain three-color paintings.
Especially some of the classics, such as Chenghua Susancai duck smoke, is one of the typical Susancai products of the Ming Dynasty.
This kind of work is made of a combination of yellow, green, brown, dark green, peacock blue and other colored glazes.
Chen Wenzhe really didn't expect that a plain three-color porcelain from Chenghua could be salvaged from a sunken ship that seemed to be from the Wanli period.
"Five Dynasties Rivers, Mountains and Winds"
This was a big gain, and it made Chen Wenzhe even more interested.
"Grab, hurry up. If you encounter other people, don't be polite. Whether it's a machine or a diver, you have to attack. Anyway, our cargo ship has left this sea area."
After seeing something good, Chen Wenzhe let go of Gao Qijing and the others.
Before, he was afraid that Gao Qijing and the others were too wild, but now it doesn't matter. Who will let them have more people and better equipment?
The most important thing is that they have more machines in the water and the prices are cheaper.
Also, Chen Wenzhe is rich and he is not afraid of losses.
As a result, those salvage ships that do not have much capital and can only send divers into the water will be the first to retreat.
Later, some capital and salvage ship owners who sent underwater robots into the water could not bear the losses and withdrew from the salvage operation.
On Chen Wenzhe's side, the people were hiding on the boat, and no one went into the water.
They will send robots into the water to cause trouble, and at worst they will lose some money!
Only those who love to fight will win, so Chen Wenzhe won.
He soon had a bigger consignment, this time it was not just plain three-color porcelain, but also Doucai, Wucai and other porcelains.
As batches of exquisite porcelain were salvaged, Chen Wenzhe also learned more about the porcelain of the Chenghua, Jiaqing and Wanli periods.
For example, plain three-color porcelain should have continued to be produced during the Jiawan period.
However, the scale of overglaze colors such as Doucai and Wucai continues to expand, resulting in a relative decrease in the production of plain tricolor.
As for Doucai, with more colors, it can naturally be sold in large quantities.
Of course, due to craftsmanship issues, the quantities of these two types of porcelain are still relatively small.
In addition to these, there is another kind of porcelain, which also appears in the ranks of exported porcelain.
At that time, the decline of plain three-color porcelain also led to the increase of another type of porcelain, that is, Lotus color porcelain.
At that time, the imperial factory also produced a large number of "fahua" utensils, also known as "fahua", "fahua", etc.
This type of utensil is the same as the plain three-color pottery above. It is first fired at high temperature into a plain body, then filled with peacock blue, yellow, green, purple, white and other colored glaze decorations, and then fired at low temperature.
No matter from the perspective of technological process or raw materials, they should be classified into the category of plain three colors.
It is only because people overemphasize its color in daily life that it is called "Flower Flower", which seems to have no direct relationship with "Susancai".
Unfortunately, these porcelains snatched from the sunken ship are all from the Ming Dynasty, and there is not a single piece from the Qing Dynasty.
This confirms that this sunken ship should be from the Jiawan period and definitely cannot be from the Qing Dynasty.
Compared with the products of the Ming Dynasty, the production of imperial factories in the Qing Dynasty became more detailed and complex, and the porcelain they produced became more popular.
Naturally, the price is also higher.
After all, the technology of the Qing Dynasty was better than that of the Ming Dynasty.
For example, some plain three-color porcelain in the early Qing Dynasty gradually used black color outlines instead of the previous carved lines, making the picture much more refined.
This change should be the result of the imperial porcelain makers drawing on the colorful porcelain paintings of the time and summarizing improvements.
Therefore, plain three-color products in the Qing Dynasty were more diverse.
Of course, it is easier to distinguish between plain three-color paintings in the Qing Dynasty and plain three-color paintings in the Ming Dynasty.
The plain three-color porcelain of the Qing Dynasty not only continued the tradition of the Ming royal factory and used carving patterns as dividing lines, but also the carving patterns and other colored glaze patterns did not interfere with each other and coexisted with each other.
What needs to be mentioned here is that in many Kangxi plain three-color products, the white glaze shows varying degrees of tooth-yellow tones.
It is said that the white glaze did not achieve the expected ideal effect because of poor firing.
However, during the Qing Dynasty, they were innovating plain tricolor.
During the Kangxi period, a new type of plain three-color porcelain appeared in the imperial factory that used black color to outline the outline. It was most likely an innovative variety that the porcelain makers drew from the five-color porcelain painting style at that time.
The biggest change in plain three-color painting in the Qing Dynasty was caused by the craftsmen of the royal factory.
When making traditional plain sancai, they actively used the emerging pastel to develop a combination of plain sancai and pastel.
This type of utensils even uses carmine (i.e. meat color), making the name "plain three colors" even more untrue.