The patterns of Chongzhen porcelain, in addition to traditional patterns such as dragons on temple offerings, often include character stories, landscapes, Arhats, white rabbits, pine, bamboo and plum blossoms, flowers and birds, etc., and window panes are often used as auxiliary patterns.
From the late Chongzhen period to the late Shunzhi period of the Qing Dynasty, inscriptions that matched the pictures were mostly written in official script.
During the Chongzhen period, Neon's fixed-burning utensils included various tea sets, tableware, incense boxes, etc.
The patterns and pictures are also completely drawn in the neon style.
Some of these utensils are stamped "Made by Wu Xiangrui, Wuliang Dafu", and are called "Xiangrui" porcelain.
In addition to blue and white, Chongzhen also has five colors.
There are two types of multicolored porcelain: simple on-glaze multicolored porcelain and blue and white multicolored porcelain.
The folk kiln style of blue and white multicolored porcelain is mainly based on patterns such as landscapes, figures, white rabbits, birds, peaches, plums, stones, flowers and birds.
Highlight the blue and white, red and green tones.
Pure overglaze multicolor emphasizes green and yellow.
There are often pictures of characters and stories, the bottom of the plate has obvious knife marks, and there is a seal script inscription of "The world is peaceful".
There is now a clear record of one piece, which is known as the "official kiln standard instrument" of Chongzhen in the Ming Dynasty.
This is a piece of porcelain that is up for auction. At the time, it was advertised that there were only 6 pieces left in the world.
This is a "Ming Chongzhen multicolored seawater dragon pattern plate".
There are only 6 pieces of this rare multi-colored sea dragon pattern plate known to exist in the world, so it is naturally extremely precious.
Therefore, major museums regard it as the standard official kiln instrument of the Chongzhen period.
The decoration on this object is painted in overglaze colors of red, green, black, yellow and malachite green.
The center of the disk is a dragon pattern on the front, leaping from the waves to the clouds, with the dragon's spine and fins in a cone shape.
It is surrounded by wavy sea water, strange rocks and river cliffs, and the outer wall is painted with two dragons playing with beads, flames and miscellaneous treasure patterns.
The center of the plate is painted with a cloud and dragon pattern. The dragon is in a frontal image, with sharp toes and claws and a powerful coiled horn.
His sideburns are waving, showing a majestic momentum, the lines of the painting are smooth, and the painting is accurate.
Among the six surviving pieces, four are collected in the Great Wade Foundation in England, the Guimet Museum in France, the Palace Museum in Shendu, and the Maritime Museum.
The fifth piece was originally a private collection in Switzerland and participated in the "International Exhibition of Chinese Art" in England from 1935 to 1936.
It was later auctioned by Deutsche Nago, and was auctioned by Shendu Rongbao in 2013. It is now owned by a private collector in China.
The sixth piece came from Christie's New York auction and was auctioned on March 26, 2010.
After that, the 2010 Qiu Shen Du Rong Bao was auctioned again.
Such artifacts are rare and rare, but whenever they appear, they will be treated specially because they are very precious.
In this way, it cannot be fake, because there are many people who have authenticated it, so the dating is accurate.
Only in this way will it be used by major museums as the standard instrument of the official kilns of the Chongzhen period, otherwise it would be a joke.
In fact, it is not difficult to identify Chongzhen porcelain, because Chongzhen porcelain generally has a gray-green glaze and is not very glossy.
The bottom of the thicker vessel has sand filling marks, the bottom glaze is blue, and the glaze is not orange-yellow.
The sauce mouth is often seen, and there are knife marks on the bottom.
The blue and white porcelain is gray in color. A large number of blue and white porcelain exports remain abroad and have a bright color.
Some have finger-like watermarks.
From about ten years after Chongzhen to fourteen years before Shunzhi in the Qing Dynasty, inscriptions were written in official style.
After all, it is not a top-notch treasure, so there are not many modern imitations.
Even if some people imitate it, they cannot imitate such poor official kiln porcelain.
Don't think that top-quality porcelain is difficult to imitate. In fact, poor-quality official kiln porcelain has many unique characteristics and is even more difficult to imitate.
This is just like it is difficult to get a perfect score on an exam, but it is equally difficult to get a zero score.
Chongzhen blue and white porcelain is not a high-quality product, and Chen Wenzhe only imitated a few famous porcelains of different styles for display.
He doesn't have much interest in anything else.
There were only three dynasties in the heyday of blue and white porcelain, namely the Yuan, Ming and Qing dynasties.
In the Qing Dynasty, blue and white porcelain reached its peak period.
It was not until Qianlong of the Qing Dynasty that blue and white gradually declined due to the development of pastel porcelain.
Although there was a revival in the late Qing Dynasty (Guangxu), it was ultimately unable to continue the prosperity of the Kangxi Dynasty.
If you want to imitate the blue and white flowers of the Qing Dynasty, you must study them during the Shunzhi period in the early Qing Dynasty.
The Shunzhi Dynasty in the early Qing Dynasty did not last long, but it was a critical period for inheriting the past and linking the future, and laid a solid foundation for the later peak of the Kangxi period.
Shunzhi blue and white wares mainly have several characteristics, mainly due to the small number of wares.
Of course, some commonly used types of instruments still exist.
Mainly include stoves, gobs, bottles, large and small plates, bowls, cans, etc.
The carcass is generally rough, and the carcasses of large vessels such as furnaces, large plates, and goblets are thick and heavy.
Small utensils such as small plates and bowls have lighter and thinner bodies.
However, there are also some objects that are delicate and dense, and can be seen as glutinous rice-like.
The base glaze is mostly white with green flashes, some are slightly grayish, and the glaze layer is thin.
The blue and white material should be a combination of Zhejiang material and Shi Ziqing, resulting in some green and some bluish hair colors.
Among them, the blue and white color of the furnace is mostly green, while the color of other utensils is mostly gray-blue.
The decorations mostly include flowers and birds, landscapes, travertine, autumn grass, boats on the river, monsters, auspicious animals, plantains, clouds, etc.
Dapan likes to draw a blue and white circle on the edge of the mouth, and then draw the main decoration inside the circle;
Small plates usually have a sycamore leaf painted on one side of the plate, and similar verses such as "One leaf of the sycamore tree falls, and everything under heaven is autumn" is written on the other side.
Bottles, gobs, cans and other large vessels also like to use blue and white lines as decorative divisions.
The painting method combines outline, flat painting, rendering and line drawing.
The painting style is casual, and although it is more neat than the late Ming Dynasty, it still lacks the rigorous and meticulous style of the Kangxi Dynasty.
The layout of the picture is rich, especially large plates, jars, bottles, goblets and other utensils.
Changes in chamfering methods and shades of color are beginning to appear, but they are not yet mature.
Bottles, goblets, etc. mostly have flat sand bottoms.
Glaze shrinkage spots are often seen on the bottoms of plates, bowls, jars, etc., and sand sticking to the bottom is common.
There are many knife marks on the bottom of the bowl.
There are many folk kiln wares and few official kiln wares, and there are very few wares with year marks.
The situation is similar to that of Chongzhen porcelain in the late Ming Dynasty. In the early days of the founding of the People's Republic of China, there was turmoil everywhere. How could the people have the energy to develop porcelain if they were not living well.
However, it will be different when the next emperor comes.
After Shunzhi came Kangxi. The Kangxi dynasty spanned a long time, had rich types of utensils, and had high levels of craftsmanship.
In this period, Zhejiang materials and pearl materials are used. The blue and white hair color is darker in the early stage, and then green and blue in the middle stage, bright and bright.
In the early days, the painting method was mainly single-line flat painting, which was rough and rough;
After the middle period, sketching, rendering, and chamfering techniques were all used together, and the painting was exquisite, and the blue and white color scale (the so-called "blue and white five colors") was highly praised.
The themes of the decorations are diverse, including landscape figures, dragons, phoenixes, flowers and birds, fish, insects and animals, poetry, ancient books, etc.
Among them, the most distinctive ones are Bingmei, Farming and Weaving Pictures, Sword-Horse Man, Double-headed Peony, etc.
There is also the pattern, the white edges are more obvious than other directions.
The porcelain of the Kangxi period was dense, fine, white, and shaped like a glutinous rice cake.
The glaze is hard and closely combined with the body. Orange peel or brown eyes can be seen. It is white with green flashes in the early stage, and bright white after the middle stage.
In addition to daily utensils, ornamental porcelain has increased in number. Typical utensils include jars with lids, phoenix tail statues, flower gobs, elephant-leg bottles, pen holders, etc.
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Please remember the domain name of this book:.The Moral Record of the Mortician