Chapter 1,655 Using a knife instead of a pen to paint the world
The styles of porcelain during the Republic of China were monotonous, and the shape of the porcelain had lost its past rich and simple style and looked clumsy.
To a certain extent, this is influenced by some foreign industrial products.
During this period, porcelain was shaped into furnishings and daily necessities.
The furnishings include porcelain statues, such as human figures, Buddha statues, birds and animals, three-star people, big-bellied people, and two immortals in harmony, etc.
Daily necessities include plates, bowls, cups, saucers, bottles, jars, vials, soap boxes, cigarette bottles, buckle boxes, knot boxes, etc. that we are familiar with.
There are also ornamental porcelain such as narcissus plates, wash basins, hat tubes, flower pots, pen holders, basins, pen holders, teapots, fish tanks, porridge jars, medicine bottles, vases, general jars, etc.
In addition to normal porcelain for daily use, a large number of imitation oddballs also appeared during the Republic of China.
It is characterized by its large quantity and wide range. It not only imitates famous kiln ceramics from past dynasties, but also imitates porcelain from the late Republic of China and the early period.
Common imitations of ancient porcelain include imitations of celadon from the Three Kingdoms, Two Jin, and Southern and Northern Dynasties periods;
There are also imitations of white porcelain from the Sui, Tang and Five Dynasties, and porcelain from the five famous kilns of the Song and Yuan Dynasties: Guan, Ru, Jun, Ge, and Ding.
The production process of imitation porcelain from the Ming, Qing and early Republic of China is quite rough.
If the edge of the pen barrel is not rounded, it will feel hard to the touch.
The lines and outlines of the bottle-type vessels are different from Tongzhi, but are distinct during Guangxu.
The two ears of the vase have been simplified from the front-facing double lion ears to round ears and flower ears. The decorative nature of the ears is getting worse and worse.
During this period, decaled porcelain appeared. Some porcelains were all decaled, and some were porcelain with alternating decals and watercolors.
In other words, it is part decal and part painting watercolor, and the two are blended into one.
Another thing to note is that in the late Qing Dynasty and the early Republic of China, "company" symbols appeared on porcelain.
For example, "Xijiang Porcelain Company", "Tonghua Company", "Yicheng Company", "Liu Rongsheng", "Tang Yiyuan", "Chen Heshun" and other names appeared.
The development of porcelain in the Republic of China was a difficult journey.
At that time, the economy was depressed and the current situation was turbulent, which greatly hindered the development of the porcelain industry.
However, during this period, the production of antique porcelain reached its peak in the history of Chinese ceramics, and its scale, output and quality exceeded any dynasty before the Republic of China.
The types of antique porcelain during the Republic of China were mainly colored glaze, blue and white porcelain, painted porcelain, carved porcelain, and Hongxian porcelain.
Color-glazed porcelain was the most strictly controlled variety during the official kiln period, and it was also the variety with the highest technological content.
Moreover, it is very difficult to bake, especially the vat red glaze from the Kangxi period. By the Yongzheng period, it had lost its formula and was difficult to bake.
During the Republic of China, imitations had already appeared on the market, to the point where they looked like fakes.
Langyao red porcelain was also produced during the Kangxi period. By the late Qing Dynasty and the Republic of China, it was difficult to tell the authenticity of the imitations on the market.
There are also various colors of blue and white. Since the country is open, various raw materials are easier to purchase.
Therefore, cobalt materials were cheap to import during the Republic of China, so blue and white porcelain flourished everywhere.
The blue and white porcelain that is mainly imitated is a product from the late Ming and early Qing dynasties.
They are almost similar in terms of shape, painting, and color.
The imitations of painted porcelain are mainly works from the late Ming and early Qing dynasties.
However, most of these works spread overseas.
In terms of styling and painting techniques, these works have inherited the charm of the previous dynasty.
There are also a large number of imitations of pastel and enamel porcelain, and the painters are all masters in the official kilns.
Therefore, the paintings are delicate, vivid and dexterous. When appraising, it is necessary to compare them with the authentic ones to determine the age.
It is because of the participation of masters that the enamel-colored porcelain of the Republic of China cannot be spared once encountered.
Because those who dare to make enamel must be masters.
As for the work of someone who is not a master, you can tell it right away because you can't see it.
Enamel porcelain has always been a high-end porcelain, and Li Jinli certainly couldn't buy it.
However, he did buy a piece of engraved porcelain.
The art of porcelain carving is a traditional handicraft art. In the Qin and Han Dynasties, there was a method of peeling and chiseling porcelain glaze, which was called "peeling jade".
Starting from the Wei and Jin Dynasties, with the development of the ceramic industry, a large number of exquisite porcelains appeared.
Emperors, officials and some literati, while admiring porcelain, wanted to leave ink marks of poems and inscriptions on it for permanent preservation.
So the artists at that time used a straight knife to carve the outlines of poetry, calligraphy and paintings in a single line on the porcelain blank before glazing, which formed the first porcelain carvings.
The decoration of Ding kiln porcelain in the Song Dynasty is a typical example of carving patterns on the porcelain blank and then applying glaze and firing.
The real carving of porcelain, that is, carving on the glaze, began in the early Qing Dynasty.
According to records, in the early Qing Dynasty, the private sector began to specialize in porcelain carving.
However, most of them are mainly flat carvings, and the artistic expressions such as dotted and line compositions appear monotonous and plain, and have not attracted much attention from the world.
Until the late Qianlong period, due to the prosperity of the economy and the needs of the rulers' cultural life, the imperial court specially set up a "manufacturing office" in the palace to specialize in manufacturing handicrafts for the palace.
Due to the high praise from all walks of life at that time, the art of engraving calligraphy developed further.
At that time, there were even people who could use knives to carve lifelike landscapes, flowers, birds, grass and insects on porcelain plates or other utensils.
During this period, porcelain carving truly developed into a new porcelain decorative art.
At the beginning of the last century, porcelain carving was widely spread in the Central Plains. Although the artistic level varied, many folk artists mastered this set of porcelain carving skills.
Later, due to the war, this skill was gradually lost.
After liberation, few people have mastered the art of porcelain carving.
The piece Chen Wenzhe saw obviously could not be authentic, because it was a Ru kiln celadon three-legged wash.
Three-legged washbasins are common, but Ru kiln wares are not common, let alone Ru kiln wares with inscriptions.
This is a C-shaped three-legged washbasin. If it is authentic, it is an authentic palace display porcelain.
Unfortunately, the authentic piece cannot appear in Chen Wenzhe's hands because the authentic piece is hidden in the Forbidden City.
However, this one is a pretty good imitation. It has an open mouth, straight walls, a flat bottom, three curved legs underneath, and five tiny nail marks on the outer bottom.
The shape imitates the copper wash style of the Han Dynasty, simple and elegant.
The whole body is covered with azure glaze, with fine grained flakes. The glaze color is soft and clear, as green as jade.
The pure glaze color and surface contrast with the specially made fine grained pieces.
This makes the single green glaze add a sense of rhythm.
This alone shows the artistic style of the Song Dynasty that pursued rational beauty.
So, this is definitely a fine imitation.
Although this Ru kiln three-legged brush washer with an imperial inscription in C characters is an imitation, it has exquisite craftsmanship, beautiful shape, and is compact and exquisite.
In particular, the azure glaze is rich and moist, elegant and pure, and has a unique style.
This glaze color is obviously made of precious agate.
Only in this way can the pure azure color be produced.
This color is very unique and can change with the light.