Huangcaiman is a kind of turmeric that is thick but not irritating, which can better bring out the purple color of ripe grapes.
The purple color on the cup is rich, but it does not lose the overall tranquil charm.
Its color is like red iron, and its surface is dull and dull, which will never be seen in future generations. It is the unique color of Chenghua Doucai porcelain.
The famous grape cup was unearthed from the tomb of Heisheri.
Heisheli is the granddaughter of Sony, the head of the four auxiliary ministers of the Kangxi Dynasty, and the daughter of Suo'etu, a bachelor of Baohe Palace.
She died of rash when she was seven years old (Jiayin, the 12th year of Kangxi, 1674) and was buried the following year.
It can be seen that the grape cup has an irreplaceable position in the minds of the Sony family, and its preciousness is obvious to all.
This kind of colorful grape-pattern cup was used and loved by the royal family in the palace, and has been passed down.
This cup is bowl-shaped, with an open curved belly, high legs on the lower belly, and hollow feet, so it is also called a tall bowl. It is a cup style popular in jdz kilns in the Ming and Yong Dynasties and in the Xuan Dynasty.
This period is known as the heyday or golden age of blue and white porcelain.
Including this grape cup, there are five kinds of billion cups, so there are four kinds.
The last type is the goblet, which is called the "handled cup" because it has a high-footed handle at the bottom. It is also called the "horse cup" because it is held in the hand for drinking on horseback.
In May 2016, Scotland's oldest auction house Liang Tengbo and Freeman's, the oldest auction house in Scotland, jointly held an auction in Hong Kong for the first time.
Among them, a blue and white seawater cloud and dragon pattern goblet made in the Xuande period of the Ming Dynasty was sold to an anonymous buyer for 41.6 million Hong Kong dollars.
The outer wall of this goblet is painted with flaming sea water and a pair of coiled dragons playing with beads. The handle is painted with sea water and river cliffs, leaving a blank space to represent waves. The inside and outside of the mouth rim and the foot rim are decorated with blue and white double circles.
In addition, the body decoration of this Ming Xuande dragon-patterned goblet is also quite distinctive.
Its theme is decorated with dragons and is painted with deep and bright clear materials.
The surroundings are decorated with moving clouds, and the high feet are painted with thick blue and white patterns of sea water waves.
The two dragons are leaping on the sea, the image is majestic and vigorous, the sea water is surging and the momentum is magnificent.
This is a cup, and this cup actually has such a scene.
Think about Chen Wenzhe's earliest porcelain with this kind of pattern. The effect could only be achieved on a large jar.
During the Xuande period of the Ming Dynasty, people were able to create this effect on a small goblet. What kind of technology was this?
By the Chenghua period, it can be said that porcelain production at this time reached its peak during the Ming Dynasty.
Therefore, if you want to imitate the Sanqiu cup now, you must first make the blue and white cup, then make the blue and white okra cup, and then make the grape cup.
Even if the bright colors on the goblet can be perfectly copied, then it will be almost the same when making the colorful Sanqiu cup.
Of course, if the chicken jar cup can be made exactly the same as the Chenghua cup, the production of Sanqiu cup will be a little less integrated.
If ordinary people want to make any of these cups, it is not an easy task.
Even Chen Wenzhe, if he did not have a cheating device, would have to collect a large amount of old porcelain from the Chenghua official kiln period in advance.
Of course, it is definitely not a complete device, because it is not easy to find some old ordinary objects and porcelain pieces.
After that, we must conduct research on the body glaze, and undergo many experiments on firing the body glaze to finally determine the raw materials for making these porcelains.
The porcelain produced in Chenghua during the Ming Dynasty must have been made from high-grade porcelain clay from the Jingzhen area.
jdz high-quality porcelain clay has been famous all over the world since ancient times.
It is non-renewable, non-recyclable and extremely precious.
Nowadays, it is even more scarce due to long-term mining, and every inch of land is valuable.
Special-grade high-grade porcelain clay has a fine white color. After being fired into porcelain, the texture will be white and fine.
The white glaze produced by this kind of firing is soft on the outside and the inside is the same, the cup body is light and translucent, and the tea soup is poured into it to make the tea color more obvious.
The five billion cups that Chen Wenzhe mentioned before are all thin and moist, and they are also derived from the ancient blue and flower material that has been restored through painstaking efforts - Subo mud green.
One thing to pay special attention to here is that the suma liqing material used in the Ming Dynasty is different from that used in the Yuan Dynasty.
Although in the early Ming Dynasty, some Persian Sumali green materials were received from the Yuan Dynasty due to wars.
But the suma liqing used later must have been obtained from Southeast Asia.
This was finally confirmed by Chen Wenzhe after long-term research.
Of course, he was not the only one to notice this. In fact, many experts had this idea.
During the Yongle and Xuande periods of the Ming Dynasty, after Zheng He's voyages to the West, the expansion of sea transportation promoted the development of my country's porcelain production.
When firing blue and white porcelain, the "Suma Liqing" brought back from Southeast Asia by Zheng He was used as glaze.
The porcelain products at this time were extremely beautiful and exquisite, marking the second development peak since the maturity of blue and white porcelain in the late Yuan Dynasty.
The blue and white porcelain of this period is called the "golden age" of blue and white porcelain.
What about Yuan blue and white? There is no clear record of it in historical documents.
In 1929, the British man Hobson conducted research on the handed down Yuan blue and white porcelain for the first time.
For decades, ancient ceramic experts and scholars at home and abroad have made long-term and unremitting efforts.
There is still no convincing scientific evidence on where the Yuan blue and white cobalt material was produced and through which channel it was introduced into my country.
Under this premise, it is not rigorous to identify the Yuan blue and white cobalt material and "Suma Li Qing" as a mineral.
"Su Ma Li Qing" is a specific product of Zheng He's voyages to the West, and there is no reason for academic circles to confuse it.
The production of blue and white porcelain during this period reached a new level in terms of output and quality.
It is famous for the fineness of its body and glaze, the richness of blue and white, the variety of shapes and the grace of decoration, so it is called the "golden age" of blue and white porcelain.
The blue and white porcelain of this period is characterized by bright and stable color.
Its halo phenomenon is even more novel and unique, as if it has the unique effect of the burnt ink technique in traditional Chinese ink painting.
In particular, the blue and white porcelain of the Xuande period was organically combined with our country's traditional culture, and was called the "King of Blue and White" by the folks.
In Cao Xueqin's work "A Dream of Red Mansions", the "grimace green flower urn" described is the "Su Ma Li Qing" blue and white porcelain of the Yong and Xuan Dynasties.
Yong, Xuanguan kiln blue and white porcelain has high academic value for the study of the development history of blue and white porcelain in my country.
After many years of textual research in the ancient ceramic circles at home and abroad, it is basically agreed that "Su Ni Bo Qing was introduced from Southeast Asia by Zheng He during his voyages to the West in the early Ming Dynasty."
Of course, some people think that it was introduced from the Yins area.
As for the exact origin of the "Suma Liqing" material, due to the lack of documentary records and physical evidence, there have been divergent opinions in the ancient ceramic circles at home and abroad over the years, and there is no consensus.
Mr. Ye Wencheng, an expert on ancient Chinese ceramics, has a clear answer after studying Chinese porcelain unearthed in Southeast Asia.
Because the Yongle pressed hand cup discovered in the Philippines was a flowery porcelain fired with the glaze "Suma Li Qing" brought back from Sumatra and Bo Ni during Zheng He's voyages to the West.