Guanyin Pavilion Porcelain Kiln is one of the most famous folk kilns in Jingzhen, and its products are almost comparable to official kilns.
The porcelain produced here was mainly for export. From the 18th to the early 19th century, Jingzhen's exports were mainly exported to Europe and Southeast Asia through the Dongyin Third Company.
These last batch of blue and white porcelain plates, blue and white porcelain bowls with lids, and other products excavated underwater are all very representative artifacts.
Their porcelain body and enamel are relatively thick, and the blue and white color is slightly blue-gray or blue-black.
Whether it is pictures, flowers, birds, or characters, they are all relatively casual, fully expressing the characteristics of folk art.
Of course, such porcelain must be of the type commonly seen in export porcelain in Jingzhen.
This batch of water-exposed blue and white porcelain can be said to be of great reference value and inspiration to Jingzhen cultural relics and archaeological workers, as well as those engaged in ceramic art research.
In fact, in the history of the development of Jingzhen ceramics, there have been distinctions between official kilns and private kilns since the Song Dynasty.
But the official kiln in the true sense, that is, the official kiln ceramic handicraft workshop, was only established after the Ming Dynasty.
It was from this time on that Jingzhen gradually developed into a porcelain making center in the country and even the world.
Although the official kiln played a great role in promoting the development history of Jingzhen ceramics.
But in terms of its long history, wide range of service targets, rich technology, broad market, etc., it is still the private kiln industry.
Especially after the emergence of capitalism in the mid-Ming Dynasty, the ceramic market at home and abroad continued to expand.
The manufacturers of these commercial porcelains entering the market are the numerous private kilns in JDZ with various characteristics.
These potters in the folk kiln industry not only produced the once-famous Jingzhen porcelain, but also made the Jingzhen folk kiln develop to the point where "the sound of thousands of pestles fills the ground, the fire lights the sky, and it is impossible to sleep at night."
Because of this, Jingzhen during this period was called the era of "Leitun Town in Four Seasons".
During the Tianqi and Chongzhen years of the late Ming Dynasty, the construction of official kilns ceased, leaving only private kilns.
This period of history without official kilns was an important historical period in which Jingzhen's porcelain industry became most glorious and famous.
Neon merchants, Portuguese merchants, British East India Company and other foreign merchants purchased large quantities of folk kiln porcelain from Jingzhen.
Free and unrestrained, dripping and cheerful folk kiln blue and white porcelain, red and green colors;
A large consecration plate with rigorous composition and rich decoration;
The multicolored porcelain of the late Ming Dynasty, with its brilliant colors and unique style, has become a treasure that countries all over the world are ordering.
The export of these porcelain had a profound impact on neighboring countries and the subsequent development of the porcelain industry in European countries.
Chen Wenzhe had never thought that so many precious cultural relics could be found in one trip to the sea.
And these cultural relics also have some representative characteristics, which makes what he gained from this trip to sea even more valuable.
For example, although not many porcelains were found on the last sunken ship, many other cultural relics were also found.
Generally, when salvaging sunken ships, porcelain is the most conspicuous, but it is not necessarily the most precious item.
In our general sense, cultural relics are basically porcelain.
For example, this time, it is mainly porcelain from Clark Porcelain of Pinghe Kiln in ZZ City, as well as colored glazed porcelain from Jingzhen.
However, in addition to these porcelains, there are also many metalwares.
The main types of porcelain include blue and white porcelain plates, bowls, bowls, cups, jars, bottles, etc.
In addition, there are glazed pottery pots, iron pots, copper coins, copper plates and tin pots, etc.
The decorations on Chushui porcelain include figures, flowers, animals and other figures as well as Chinese characters.
For example, the lotus flower represents the "integrity" of "clean government", and the deer represents the "lu" of official career.
The decorations also include allusions to the ribbon bird, the Eighteen Scholars' visit to Yingzhou, Mi Fu's worship of the stone, etc.
The largest blue and white plate is about 30 centimeters in diameter, with unicorns, peonies, ladies, scholars, flowers and plants painted on the inner walls.
Representative cultural relics include jade pots and spring vases, double dragon jars (with two dragons painted on the surface and four handles on the top of the jar), colored glazed porcelain, and a double fish plate (the picture depicts two carp), etc.
In addition, there are nearly 30,000 other cultural relics found in the water.
Now the cultural relics have been basically cleared and the structure of the ship has been basically confirmed.
Among the excavated ship cargo, porcelain was the largest, followed by pottery, ironware, copperware, tinware, etc., as well as no less than 4 cannons and round condensations suspected of being cannonballs.
The least among them are gold and silver items, and the unexpected harvest is a batch of jade carvings.
The peony pattern is not unique to porcelain. There are also many jade peonies carved by ancient craftsmen.
Peony has been regarded as the flower of wealth since ancient times, and this reputation is definitely not in vain.
Chen Wenzhe has made many porcelains with peony patterns before, but he has never made jade with peony patterns.
This time it was better, and I unexpectedly discovered a batch of peony-patterned jades.
At first glance, these jade articles are imitations of antique jade, Tang jade, Song jade, etc.
The peony pattern on jade first appeared in the Tang Dynasty.
There are currently about 200 jade objects with peonies as decorative themes in the Palace Museum.
For example, the Ming Dynasty white jade carving with a rectangular inlay of a dragon piercing a peony pattern is one of the representative works.
Chen Wenzhe couldn't put it down at first sight of these exquisite peony-patterned jades.
The most important thing is that through these jade articles, he can learn the top carving techniques of the Ming Dynasty.
There is no way. In the Ming Dynasty, it cannot be said that the top craftsmen came from the folk, but there were definitely experts among the folk.
When foreigners enter the country, everything they see is a treasure, and the jade pieces among them are naturally no exception.
When you buy, you have to buy the best, and it happens to be cheap now Chen Wenzhe.
These jade pendants from the Ming Dynasty have simple compositions, smooth lines, and sophisticated carving techniques that are strong and informal.
However, when grinding, more attention is paid to the surface, and the details are often neglected, resulting in careless processing.
The use of peony decorations has been enriched based on inheritance from previous generations.
For example, the white jade carved dragon with peony pattern rectangular inlay in the Palace Museum uses a multi-layered carving method.
This jade sculpture features a dragon dancing between two peonies, with a dragon carved on each side.
This multi-layered, flaky jade belt decoration is a typical jade belt decoration of the Ming Dynasty and is well collected by the Palace Museum.
Holding a white jade embossed peony-patterned bracelet in his hand, Chen Wenzhe felt a little emotional.
There were many bracelets of this shape in the Qing Dynasty, but they didn't arrive first, but they were the earliest ones from the Ming Dynasty.
Although the use of peony decorations on jade pendants in the Qing Dynasty was much less than before.
But the jade material is of higher quality and the craftsmanship is more sophisticated.
Take this pair of white jade bracelets as an example. The bracelets are made of high-quality Hetian white jade.
The side edge of its outer wall is inscribed with a pattern of incised patterns for a week, and the surface is lightly embossed with peony flowers and leaves. There are six peonies in full bloom, surrounded by flowers and leaves.
In addition, among the jade pieces discovered by Chen Wenzhe, there is also the white jade December Order Group Pebi-style jade.