What did the palace teapots of the Qing Dynasty look like? They were rich and colorful, delicate and intricate, exquisite and time-consuming.
The tea sets of the Qing Dynasty surpassed all previous dynasties in both quantity and quality.
There were many varieties in the Qing Dynasty, with exquisite production, elegant shapes and rich materials.
The main textures include porcelain, pottery, silver, copper, lacquer, etc.
Also valuable are teapots made of gold, jade and other materials;
These exquisite teapots have exquisite workmanship, are more time-consuming, labor-intensive and more luxurious, and their styles tend to be rich, rich, delicate and intricate.
Just taking a closer look, Chen Wenzhe saw another series.
They are definitely serious about imitating ancient tea sets.
For example, the group in front of me mainly imitates Qing Dynasty palace tea sets.
There are many styles and varieties of palace tea sets in the Qing Dynasty.
For example, gold wares and some colorful wares are the most eye-catching.
Teapots made before Yongzheng, that is, from the Kangxi period, are better.
In the early Qing Dynasty, there were some teapots with the life characteristics of ethnic minorities such as Manchu and Mongolian. They were mainly made of metal and could be used as offerings.
Porcelain pots are often decorated with fighting colors, decorated with flowers and birds, and are often shaped like handles.
Among them, the ones that are somewhat representative are gold vessels, which are generally from the early Qing Dynasty.
Like the gold-engraved flower pot, it is now hidden in the Palace Museum in Shen City.
The Imperial Palace Museum in Shen City has an early Qing Dynasty gold-engraved pot with a total height of 37.8 cm, a bottom diameter of 10.2 cm, a flow height of 13.2 cm, and a total weight of 1,500 grams.
This pot is made of pure gold, round, with a round belly, narrow diameter, flat mouth, umbrella top, dragon tongue trickle, and ring foot.
Then there is the hand-held pot, which has a plain belly, a convex hoop on the neck, and a large edge under the flat mouth with chiseled lotus petal patterns and entwined branch patterns;
The neck of the trickle is chiseled with a dragon's head, the dragon's mouth holds a snake-shaped long stream, and the outer periphery of the bottom foot is chiseled with a lotus pattern of entwining branches;
Umbrella-shaped mouth, narrow neck along the edge of the umbrella, plump shoulders under the neck, bulging belly and high rounded feet;
There is an animal head protruding from the belly and a long stream extending out from the neck, and a copper core is inserted into the heart of the pot in a cylindrical shape.
Between the neck and shoulders, there is a binding hoop.
The body of the pot is polished throughout, and the umbrella-shaped rim is decorated with forged patterns.
A lotus petal pattern is raised along the center, surrounded by lotus branches, and the outside of the circle foot is also decorated with lotus flower patterns.
The golden pot was originally an offering vessel in the Lotus Pure Land Shisheng Temple in Shengjing. Its shape has the life characteristics of Manchu, Mongolian and other ethnic minorities. It is one of the few remaining treasures among the historical relics of the early Qing Dynasty.
After that, in addition to Kangxi, the works of the Yongzheng period reached their peak.
In terms of teapots, the Jingzhen kiln of Yongzheng in the Qing Dynasty produced many fine products, many of which are hidden in the capital museum.
Of course, the purple clay teapot is also essential.
Emperor Yinzhen of the Qing Dynasty often used purple clay teapots when drinking tea in the palace.
There is a record in the Qing palace archives of Yongzheng imitation Jun-glazed chrysanthemum petal teapot.
For example, in 1729, the seventh year of Emperor Yongzheng's reign in the Qing Dynasty (1729), in the "Post from the Old Summer Palace", doctor Haiwang brought out a special-shaped chrysanthemum petal pot and gave it to Nian Xiyao to make a Jun kiln according to this style.
From a pragmatic perspective, he put forward suggestions for improving the handle and flow of the teapot, that is, making the teapot according to the style of a purple clay teapot.
The Capital Museum has a jdz kiln dome-colored pot with flower and bird patterns in the Yongzheng period of the Qing Dynasty, which is one of the best.
It is 14 in height, 4.3 in diameter, and 10.2 cm in base diameter.
The pot has a straight mouth, flat shoulders, bulging belly, meandering flow, a lifting handle, a bead button cover, a flat bottom and four legs with narrow crests.
In the middle part of the pot, there is an auspicious picture of the five elements in fighting colors.
Judging from the pattern patterns, all patterns are outlined with blue and white, and then various colors are painted on the glaze to fill in the outline.
The bottom of the pot is made of white glaze. Within the double circle of blue and white, there is a six-character double-line regular script inscription of "Yongzheng Year of the Qing Dynasty" in the middle.
This Yongzheng model teapot has a delicate and unique appearance and exquisite craftsmanship;
The porcelain is exquisite in texture and glossy in color. It is a representative practical tea set in the Qing Dynasty palace. It is also one of the beautiful porcelains from the Yongzheng period in the Capital Museum.
Chen Wenzhe imitated many Yongzheng porcelains, but he never imitated teapots in particular.
Therefore, he was very happy to see the fresh and elegant teapot from the Yongzheng period.
However, such teapots are only needed by some literati.
In this impetuous society, the kind of porcelain with bright red and green colors, grace and wealth, is even more rare.
Therefore, we have to mention Qianlong.
The teapots in the palace during the Qianlong period looked richer and more pleasing to the eye.
Because during the Qianlong period, teapots were mostly decorated with pastels, and the shape of the teapots was mostly jade pots with spring-style handles.
For example, the turquoise green land pastel multi-mu pot from the Jingzhen Kiln of the Qianlong Period of the Qing Dynasty is one of the best.
The Qing Qianlong jdz kiln turquoise green pastel multi-mu pot in the Capital Museum has the shape of ethnic utensils such as Mongolian and snowy areas. It was originally used to hold butter tea, milk tea, etc.
Jurchens generally use Domu pots as tea drinking vessels.
Some clues in this regard can be seen as early as in "Taizu's Real Battle Pictures".
For example, "E Yi Du Zhao Jiu Road Chief Meets Taizu" means that a Domu pot is placed on the banquet table on the right side in front of Nurhachi.
The overall height of this teapot is 45cm, its flow length is 26.7cm, and the bottom diameter of the teapot is 13.7cm;
The pot has a lion knob, a dragon head handle, a phoenix body and a circle foot.
The dragon head handle and phoenix body are decorated with red paint techniques.
The main body of the vessel is decorated with pastel intertwining floral patterns and eight treasure patterns.
There are four yellow hoops on the whole body from the top, which means good luck and good fortune.
The inside and sole of the pot are decorated with turquoise green glaze.
On the sole of the foot is a three-line six-character seal script inscription "Made in the Qianlong Year of the Qing Dynasty".
It must be mentioned here that there is a technology that Chen Wenzhe has never been involved in before, that is, the red smear technology.
Porcelain collectors must know the process of red-painting porcelain.
Applying red is a technique for glazing porcelain in the Ming and Qing Dynasties. To put it more directly, applying red is one of the methods of applying red color, also known as "glazing" and "glazing".
In ancient times, porcelain was fired purely by hand, so many collectors have rarely heard of this glazing process.
The term "red paint" first appeared in the Ming Dynasty and was one of the methods of applying red color to ancient porcelain.
We have heard about the dipping and glazing methods of ancient porcelain, but we know very little about the red glazing method.
Applying red is to apply colored glaze on the pattern of porcelain, which greatly shortens the glaze application time compared with glaze blowing.
However, although this glazing method is fast, the glaze layer is uneven and has brush marks.
Therefore, this method of glazing is vividly called red application.
There are many representative works of rouge ware, and there are ready-made materials right in front of you.
Therefore, Chen Wenzhe naturally would not just watch others do it.
He just picked up some materials imitating those used by Yongzheng and stretched them into a plate.
He planned to make a fine product from the Jingzhen kiln of the Yongzheng period in the Qing Dynasty, with a red treasure-like flower plate.
This kind of plate is generally 3 cm high, 14.8 in diameter, and 9.4c in base diameter.
The whole porcelain is glazed with white glaze, and the glaze on the outer belly wall is painted with alum red entwined branches and precious flowers.
Among them, the decorations are complex but not dense.
In fact, this technology appeared very early, especially during the Jiajing period of the Ming Dynasty, when alum red color appeared.