The Tianqi blue and white Wuzi Dengke jar has a straight mouth, short neck, swollen shoulders, bulging belly, and ringed feet.
The whole body is painted in blue and white, with rich layers and appropriate layout, without any sense of complexity.
The glaze color is bluish, the enamel is fine, moist and translucent white, and the body glaze is closely combined, which contrasts with the green and blue colors of the flowers and flowers, and complements each other.
The abdomen is painted with the "Picture of Five Sons Enrolling in the Imperial College". The figures have different expressions, combining movement and stillness, and have a strong classical charm.
The brushstrokes are subtle, and the scene in the picture is ready to be seen, containing an elegant and auspicious atmosphere.
This is considered a rare and excellent work of the Tianqi Dynasty.
Finally, there is the Chongzhen Dynasty. There is actually nothing special about this dynasty, not as good as Tianqi.
The characteristics of the blue and white porcelain at this time are not much different from those of Tianqi. At most, the signature is different.
Chen Wenzhe has already sorted out the issue of recognition very clearly before.
Therefore, when making Tianqi porcelain, just change the base and you will have Chongzhen porcelain.
After that came the blue and white porcelain of the Qing Dynasty. In the early Qing Dynasty, blue and white porcelain basically used Zhejiang materials.
However, due to the differences in green material preparation technology and painting techniques, blue and white flowers in each period show different characteristics.
During the Shunzhi period, export trade was prohibited, and craftsmen competed for the domestic market. The decorations they painted catered to the needs of the public, showing the closed state of the social environment.
The blue and white patterns follow the Ming style, but are innovative at the same time. They mainly use travertine patterns and sycamore leaf patterns, highlighting the relaxed social environment of the Shunzhi period.
The style characteristics of this period are still very obvious, such as this blue and white travertine stone jar with phoenix and unicorn pattern.
It is tall, with a round mouth, short neck and plump shoulders.
The tank body is bulging and the lower abdomen is slightly retracted, making the whole body appear plump, firm and heavy.
The whole body and exterior are covered with white glaze, which makes it white and bluish, lustrous and elegant.
The abdomen is painted with a phoenix piercing the unicorn pattern, with plantains and rocks as the background. The auspicious animal painting is lifelike, and the outline of the rocks is smooth and free.
The blue and white flowers are rich, bright and fresh, the glaze color is white and uniform, and the picture is vivid and pleasing to the eye.
There are many types of blue and white wares in Shunzhi, but the types of wares are relatively small. They mainly include stoves, goblets, bottles, large and small plates, bowls, jars, etc.
Generally speaking, the carcass is rough. Large vessels such as stoves, large plates, and goblets have thick carcasses, while small vessels such as small plates, bowls, etc. have light and thin carcasses.
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.
There are also some large vessels among them, and the representative one is a large vase with blue and white branches and peony patterns.
This large blue and white vase is of considerable size, with a thick carcass, smooth walls, a plump top and a narrowed bottom, giving it a tall and straight posture.
The abdomen is painted with peony branches, the layout is dense and orderly, and the brushwork is free and easy.
The peonies painted are plump and huge, full and gorgeous, and elegant.
The glaze color is bright and smooth, and the blue and white color is elegant and natural. It is quite interesting and lively with the freehand brushwork of ink and wash.
In addition, it is quite large in size and has high artistic and research value.
Although there were continuous wars during the Shunzhi period, compared with Chongzhen, one was the founding period of the dynasty and the other was the final period, so naturally they cannot be compared.
After Shunzhi, there was Kangxi.
In the third dynasty of the Qing Dynasty, the most prosperous period of the Qing Dynasty, its founder was the Kangxi Dynasty, whose blue and white colors were bright and clear.
One of the outstanding features of blue and white at this time is its clear layers.
At this time, the water-dividing method is used to paint, and only one kind of green material can be used to fully express the yin and yang of the scene, the distance and density, and make the picture full of three-dimensionality.
This multi-color blue and white breaks through the monotony of traditional flat painting and makes the blue and white as colorful as five colors. Therefore, the Kangxi blue and white is also known as the "multicolored blue and white".
This kind of fine porcelain was made a lot during the Kangxi Dynasty.
The exquisite products handed down include the blue and white rolled-leaf cans with lids, which are not too big in size and only high in height.
This large jar has a straight mouth, short neck, bulging belly, and ringed feet.
The whole device is glazed, smooth and shiny.
The blue and white color is rich, the texture is solid, and the glaze is green and bright.
The blue and white on the body of the vessel is painted with deformed curling leaf patterns. The composition of the entire picture is extremely full and the layout is rigorous.
The patterns are complex but not chaotic, and the layers are clear.
The blue and white hair color is rich and gorgeous, with distinctive characteristics of the times.
This kind of porcelain is extremely rare and very precious.
However, Kangxi reigned for a long time and liked porcelain, so more of this kind of porcelain was produced at that time.
However, even if there are a large number of them handed down to the present, each one is a treasure, because they are really the best among the official kiln wares.
Each piece of porcelain like this is not easy to make, so it is naturally precious.
Especially large jars, such as a general jar with blue and white landscapes and figures.
The specifications are relatively high, and it has a certain height.
This jar has a straight mouth, short neck, plump shoulders and bulging belly.
The lower part of the abdomen gradually shrinks, and a general hat-like cover is placed on the neck, with smooth and graceful curves.
The carcass is delicate and tight, and the glaze can be seen as plump and waxy as jade.
The whole body is painted with landscapes, figures and stories, and the blue and white flowers are green and gorgeous.
The composition is full and the lines are smooth and free.
The expressions of the characters are vivid and the artistic conception of the painting is quiet.
The painting style is calm and elegant, with a strong literati atmosphere and a rich sense of layering, which is quite interesting in the landscape paintings of Chinese literati.
The style of Kangxi porcelain is dignified and clumsy, with a thicker body.
Elephant leg vases, mallet vases, flowers, phoenix tail statues, etc. have distinctive characteristics of the times.
The blue and white composition is stretched and the artistic conception is profound.
The traditional style of the Southern Song Dynasty School of Painting is based on the many clan styles of landscapes, and the techniques of ax cracking are commonly used for mountains and rocks;
The characters are influenced by Lao Lian's painting style.
In fact, there are many special porcelains from the Kangxi period, such as Bingmei porcelain.
Among them, the representative work is the blue and white ice plum pattern consecrated Bogu pattern jar, which is 21cm high and 23cm wide.
This jar has a short neck, round shoulders, lying feet, and a dignified and simple shape.
The glaze is plump and moist, the glaze color is uniform and bright, and the blue and white hair color is deep blue.
The three openings on the outer wall are decorated with ancient blue and white patterns, which coexist with both realism and freehand brushwork, implying auspiciousness.
The painting is exquisite and delicate, the composition is generous, well-proportioned, bright and gorgeous.
The consecrated exterior is fully decorated with ice plum patterns, the patterns are smooth and freehand, and the colors are soft and elegant. It is truly a rare collection.
There is no way around it. Kangxi Bingmei itself is a treasure, not to mention the size of this jar.
The Kangxi Bingmei porcelain handed down today are generally small jars.
For example, there is a small blue and white jar with ice plum pattern made in the Kangxi period. It is only 13 centimeters high, 5 centimeters in diameter, and 8 centimeters in base diameter.
This jar has a round shape, a straight mouth, a thin and solid wall, and a plum blossom pattern on its abdomen.
So why is this kind of porcelain called Bingmei?
The ice plum pattern refers to leaving a white plum pattern on the blue ground to create a strong contrast between blue and white.
The decorative patterns in the porcelain are very eye-catching and have a strong decorative effect.