For example, the Zhengde blue and white dragon-patterned golden bell bowl is an outstanding representative of this type of porcelain bowl.
This kind of golden bell bowl has a rounded mouth, deep arc belly and rounded feet.
The interior and exterior are decorated with blue and white flowers. The interior and exterior walls are painted with dragons intertwining lotus patterns.
The inner bottom of this blue and white dragon-patterned golden bell bowl, that is, the double blue and white circle, is also painted with a dragon intertwining lotus pattern, and the outer wall of the circle foot is painted with a wishful head pattern.
The shape of the golden bell bowl of the Ming Dynasty is also very unique. Even if you look at the name, you should know that the golden bell bowl is shaped like an inverted golden bell;
The shape of the Jinzhong bowl has a rounded mouth, a constricted neck, and a deep arc belly;
The foot and wall of the Jinzhong bowl in the Ming Dynasty were relatively high;
The Jinzhong bowls of the Ming Dynasty are relatively large in shape, and the diameter of the bowl is generally around 15cm;
Like a Ming Dynasty Zhengtong - Tianshun blue and white patterned golden bell bowl, it is 10.5cm high, 14.5cm wide, 7.3cm long.
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The golden bell bowl should be used for Taoist trustees, because most emperors in the early and mid-Ming Dynasty believed in Taoism.
Therefore, Emperors Xuande, Zhengde, and Jiajing of the Ming Dynasty all fired porcelain with Taoist meanings.
Such porcelain can be seen in terms of decoration and function.
By the late Ming Dynasty, the porcelain used for Taoist priests, especially porcelain such as the Golden Bell Bowl, was discontinued due to the economic decline of the Ming Dynasty.
However, in the Qing Dynasty, we also saw models imitating the golden bell bowls of the Ming Dynasty porcelain.
In the late Qing Dynasty, the golden bell bowl porcelain of the Xuande period of the Ming Dynasty was also imitated.
In addition to official kiln firing, golden bell bowls were also fired among the people during the Ming and Qing dynasties.
Especially in the Qing Dynasty, there are also very good collections of golden bell bowls fired in folk kilns.
Chen Wenzhe knew that in the ceramic museum in Jingzhen, there was a golden bell bowl with colorful flower and bird patterns fired in a folk kiln.
This is a fine product. It has a rounded mouth, a round belly, a shape like a golden bell, a thick body, and white glaze.
The inner mouth is decorated with plum and bamboo brocade patterns on the sand, chrysanthemum patterns are painted on the inside of the light, and a rose is painted on the bottom;
The outer wall is painted with roses, pomegranate flowers and lake stones, with birds and colorful butterflies dancing among the flowers.
The base model shows a branch of Yunzhi painted inside the double circle, which is a good product from folk kilns.
Of course, the most authentic one is the Golden Bell Bowl from the Xuande period.
So in the end, Chen Wenzhe made a replica of a Ming Xuande red-glazed gold bell bowl.
As long as it has a red glaze and a decent color, porcelain of this grade is considered a national treasure.
There were really many achievements in porcelain during the Xuande period, and it would take a lot of time to imitate them all.
Therefore, Chen Wenzhe just copied some of the unique and representative ones, and that was it.
Next, he needs to continue to imitate some high-quality products according to the Ming Dynasty emperor's list.
For example, during the Chenghua period of the Ming Dynasty, there were many porcelains in this period, which are worthy of a fine imitation.
Let’s not talk about Dou Cai. Let’s just say that the three-color plum vase from Chenghua Jindi in Ming Dynasty is worth imitating.
The golden ground and the yellow in disguise cannot really be called yellow glazed porcelain.
To imitate the real yellow glazed porcelain, you still have to look at the Hongzhi period.
Among the items in the 2022 Jiuding Spring Auction collection is a Ming Hongzhi yellow-glazed porcelain pillow with auspicious elephants, clouds and crane patterns.
In addition, there are many yellow-glazed porcelains, all of which date from the Hongzhi period.
This auction can be regarded as a special sale. There are yellow glaze pagoda-shaped flower pots with hidden dragon patterns, and a yellow-glazed Chilong plate with hidden dragon and phoenix engraved on the mouth of the Ming Dynasty Hongzhi vase.
This time the porcelain is all authentic palace supplies, and the prices are not low.
It is really not difficult to imitate these porcelains.
Whether it is porcelain pillows or dragon and phoenix vases, Chen Wenzhe has made so many of them that they are now very easy to copy.
It is also called a flower watering device, which is relatively rare. This thing is a flower watering device and was popular in the Ming and Qing Dynasties.
The Yongle flowers of the Ming Dynasty have a long neck, a round belly and a round mouth. They are often painted with sea water and entwined lotus patterns.
Xuande flower has a short neck, slightly flat belly, and wide handle.
The Yongzheng flower in the Qing Dynasty has a narrow flow gate, a thin and long neck, and chrysanthemum petal patterns on the underside of the shoulders and abdomen.
In fact, a flower watering pot is a kind of pot specially used for watering flowers.
This type of pot is shaped like a West Asian bronze ware, with a flow along one side of the mouth, a straight neck, and a crank between the mouth and shoulders.
It had been fired in the Song Dynasty, became popular in the Yongle and Xuande periods of the Ming Dynasty, and continued to the Qing Dynasty.
Yongle period vessels have a large mouth, straight neck, round belly, dragon-shaped handle, and slender decoration.
The Xuande vessel has a shorter neck, a slightly flat belly, a wide handle, and extensive decoration.
The flower sprue of the Yongzheng Dynasty flower pot in the Qing Dynasty is similar to the three-colored phoenix-head pot of the Tang Dynasty, with a thin neck, a straight and oblate abdomen, and a circle foot.
There are raised string patterns on the neck and shoulders, and the shoulders and lower abdomen are often decorated with raised chrysanthemum patterns.
The first time Chen Wenzhe learned about this was from a piece of news.
It is said that there was a rich man who spent tens of millions to buy a flower watering plant.
However, after identification, it was discovered that it was not a flower waterer at all!
Of course, this must be an authentic piece of Xuande porcelain, and there is no mistaking this.
However, to say that it is a flower water, after many expert appraisals, they think it is wrong.
In other words, this piece of porcelain is authentic from the official kiln, but its function and name may be wrong.
The forensic knowledge here is very rich.
And this is also an important reason that attracts Chen Wenzhe to the road of identification.
The identification of porcelain cultural relics is a science.
In addition to the intuitive impressions given by the appearance, looking inward and looking for the real identification code of cultural relics may be the most convincing identification key points.
It's a pity that because the science of cultural relic identification started late, it is difficult to pass it on.
Besides, this is also an empirical science. For example, the older generation of appraisers rely on eye knowledge and experience.
Regardless of whether these insights and experiences are true and reliable, it happens from time to time that the disciples starve to death of the master.
In addition, modern society indeed lacks respect for teachers. There are too many people who say "master, master" to their faces, but turn their backs and curse their mothers.
In this case, who would be willing to teach students? Unless it is their own children.
And those who do scientific testing basically don’t understand cultural relics.
To them, these porcelain pieces and fragments are corpses. If you bring them over, I will examine and dissect them.
I'll give you the report, and you can figure out the rest on your own.
Therefore, even if science plays a very important role in the process of identifying cultural relics, it would still be ineffective if alien weapons were given to primitive people.
In fact, learning identification is very difficult, but it is simple.
For example, the master kiln burner hired by Chen Wenzhe in South Vietnam not only knew how to watch the fire, but also built the wood kiln.
He can even professionally build matching firewood kilns according to the characteristics of porcelain.
Do you believe that he doesn’t make ceramics?
Therefore, if you want to learn identification, you must understand silicates. Why?
The ceramic industry is actually the most typical silicate industry.
If you don’t understand how ceramics are successfully fired, how can you become a good appraiser?
If you don’t understand the formula of the tire in ceramic production, the proportion of glaze, the proportion of blue and white pigments and overglaze paints, the firing atmosphere, and the firing characteristics of different kilns, then how can you know the various kiln entrances and various histories?
What are the characteristics of period porcelain?
If you don’t understand these basic things, how can you be an appraiser?