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Chapter 1585 Blue and White Porcelain King

What kind of vivid expression does the figure painted on a blue and white porcelain bottle have? How lifelike is it?

Xiao He's anxiety when galloping on his horse, Han Xin's hesitation as he waited and watched by the river, and the old boatman's expectation as he stood holding his oar in his hands were all vividly expressed.

And the blank space is lined with green pines, plum bamboos, and mountain rocks, making it look well-proportioned.

This level of porcelain is definitely not easy to imitate, even if you have the right materials.

Of course, if the imitation can be successful, then it is not a problem to imitate a "Guiguzi Goes Down the Mountain" blue and white jar.

The price can exceed 100 million, so naturally this jar is not simple.

For example, the theme scene describes the story of Sun Bin's master, Gui Guzi, who went down the mountain to save his disciple.

Guiguzi sat upright in the car pulled by a tiger and a leopard, leaning slightly forward, with a calm and extraordinary demeanor.

Just a simple painting shows the demeanor of being in the midst of strategizing and winning a decisive victory thousands of miles away.

The overall blue and white pattern on the jar body is rich in color, the picture is full, the density is uniform, the primary and secondary are clear, and it is integrated.

The characterization is smooth and natural, full of charm, the mountains and rocks are dyed heartily, and the brushstrokes are precise and perfect!

Mr. Sun Yingzhou's evaluation of him as: "The King of Blue and White Porcelain" is not an exaggeration.

In addition to these two pieces, there is also a large blue and white jar from Yuan San Gu Thatched Cottage.

The Yuan blue and white "Three Visits to the Thatched Cottage" large jar is now in the Palace Museum, Shendu, and is a national first-class cultural relic.

This porcelain jar has a short lip, a short neck, plump shoulders, a round belly, and a wide, shallow circle foot.

The sole of the foot is flat and chamfered, with spiral patterns on the bottom and obvious burn marks on the pad.

The glaze surface is whiter, and the glaze accumulation is bluish.

Painted with imported Su Qing material, the hair color is bright and the condensed spots are obvious.

It is 27.6 cm high, 34.5 cm in diameter, 21.5 cm in upper diameter, and 20.6 cm in base diameter.

The main decoration is the picture of three visits to the thatched cottage, with seven vivid characters.

Zhuge Liang was sitting in the hall, and a scholar boy was waiting quietly with a scroll in his hand. A boy reported to Zhuge Liang: Liu Bei is outside the door asking for a meeting.

On one side of the porcelain jar is Liu Bei outside the thatched cottage, respectfully waiting for Zhuge Liang to summon him;

Zhang Fei and Guan Yu stood behind Liu Bei, while Zhou Cang carried the Qinglong Yanyue Sword and led the Red Rabbit Horse closely behind.

The natural scenery in the picture is beautiful and the scenery is charming.

Green pines, sycamores, willows, bamboos, stone mountains, flowers, grass, fences, small bridges, flowing water and thatched cottages form a tranquil Nanyang scenery, which can be called the best among Yuan blue and white flowers.

A blue and white jar vividly depicts the classic historical allusion of visiting the thatched cottage three times.

What's even more commendable is that in this small area, there are pine trees and willows, fences and firewood gates, mountains and flowing water, banana leaves, flowers and plants, and cirrus clouds and white cranes.

Savor it carefully, it's really wonderful.

After seeing this, can you understand why Yuan blue and white figure jars are so precious?

Not to mention anything else, it’s just the artistic conception in this painting that is difficult to imitate.

The successful firing back then should be more of a fluke.

Among the Yuan blue and white flowers handed down from generation to generation, it is said that there are eight large picture jars.

Unfortunately, it is very difficult to recover from the fever.

There are two main difficulties, one is materials and the other is craftsmanship.

Before the Yuan Dynasty, the aesthetic pursuit of porcelain by scholar-bureaucrats in my country was at its peak, represented by the five famous kilns of the Song Dynasty.

By the Yuan Dynasty, the Mongolian national aesthetic orientation of "blue sky and white clouds" on horseback opened a splendid new chapter in the aesthetics of ancient oriental ceramics.

This is Yuan Qinghua made in Jingzhen. Before burning Yuan Qinghua again, you must understand what Yuan Qinghua is.

Before the Yuan Dynasty, there was no such thing as blue and white.

The so-called "Tang Qinghua" and "Song Qinghua" are still controversial in academic circles.

However, the non-mainstream blue-colored porcelain tested in Gongxian kiln and Longquan kiln did not receive official and private recognition in the Tang and Song Dynasties.

Starting from the Yuan blue and white porcelain, Chinese porcelain no longer adheres to minimalism and has entered an era when blue and white and colorful paintings are blooming.

Yuan blue and white have won the popularity of the world with the mysterious blue of Suma Liqing.

However, people soon discovered that Yuan Qinghua was a special existence that could not be confirmed by historical documents.

Because of the more than five hundred years of blue and white porcelain firing history, there is no record of the firing of blue and white porcelain in the Yuan Dynasty.

All literature agrees that the creation of blue and white flowers began when Zheng He went to the West during the Yongle period of the Ming Dynasty and brought back Su Ma Li Qing.

The Forbidden City collects many fine cultural relics from the Song to the Ming and Qing dynasties, but lacks records of blue and white porcelain from the Yuan Dynasty, which also supports this view.

Until 1952, the Zhizheng 11-year-old blue and white elephant ear vase collected by the British David Foundation was designated by researchers as the standard for dating blue and white porcelain in the 14th century. It was recognized by Chinese ancient ceramic scholars all over the world and named "Zhizheng".

"Zhengqinghua" has since lifted the mysterious veil of Yuanqinghua.

There is a saying that there are about 300 complete Yuan blue and white vessels in existence in the world.

Among them, more than 200 pieces are abroad and more than 100 pieces are in domestic state-owned collection institutions.

Although this statement has been questioned, it also proves the rarity and value of Yuan blue and white from one side.

Suma Liqing was used to color ceramics around the time of the Yuan Dynasty, subverting the aesthetic standard of the Song Dynasty in which beauty was regarded as simple.

The earliest record about Su Ma Liqing is Wang Shimao's "Gui Tian Wai Cheng" during the Wanli period of the Ming Dynasty.

"...The official kiln was specially set up in Fuliang County in JDz, Yongle, and Xuande. It was fired in the inner government. It is the most expensive so far. It is decorated with Suma Liqing..."

Suma Liqing is used as a coloring material for ceramic decoration, creating outstanding blue and white varieties in the history of Chinese ceramics - Yuan blue and white and Yongxuan official kiln blue and white.

Around the time of Yuan Zhizheng, ceramic craftsmen in Jingzhen successfully applied "Suma Liqing" to the color of ceramics.

It is made of white porcelain as the ground, with sumac green as the ingredient, and flowers, birds, spiritual animals and figures painted under the glaze.

The aesthetic standard of the Song Dynasty people, which regarded beauty as simple, was completely overturned.

The blue and white flowers of the East can be so strong.

Scholars of the Yuan Dynasty and people from the Western Regions found common ground in the aesthetics of ceramics.

In the middle of the 14th century, Jingzhen craftsmen used the suma liqing sold by merchants from the Middle East to create beautiful blue and white porcelain.

And later sold to all parts of the country, Southeast Asia, and even further away in Central Asia.

Blue and white replaced shadow blue and became the mainstream product in Jingzhen.

The greatest charm of Suma Liqing lies in the creation of the bright and vivid "Zhizheng Qinghua" of the Yuan Dynasty.

Zhizheng, the reign name of Yuan Huizong, the last emperor of the Yuan Dynasty.

At that time, the ruler's regime was in decline, and many places in the south of the Yangtze River encountered resistance from separatist warlords and civil forces.

It is a miracle that the thousand-year-old kiln fire in Jingzhen can survive the wars between all parties, and the blue and white flowers shine brilliantly.

The Han warlords and White Lotus believers in the south worshiped blue and white porcelain devoutly. On top of the general daily aesthetics, they also gave blue and white porcelain a pure spiritual meaning.

For twenty years from the eleventh year of Zhizheng, Jingzhen has been trapped in the whirlpool of war.

The status of the porcelain capital has not been weakened by this. On the contrary, it has been able to grow against the trend in the cracks of the war.

Everyone in the world knows that blue and white porcelain was the most powerful Chinese product at that time and could bring huge trade income.


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