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Chapter 1837 The official kiln within the official kiln

The "Gourd Vase with Ten Thousand Flowers Uncovered" from the Qianlong reign has dense flowers all over the body of the vase, giving you a glimpse of its splendor.

The so-called "ten thousand flowers are not exposed" refers to the large patterns of peonies and other flowers painted on the center of the porcelain.

And it is surrounded by chrysanthemums, camellias, roses, lotus, lilies, morning glories and other small flowers as foils.

A painting method that makes the entire picture cover the entire porcelain so that the "blank space" is not exposed.

Of course, the flowers painted are not as many as ten thousand, but they are dense, detailed, colorful, with fine auxiliary patterns, and are known as the "icing on the cake".

It also has the beautiful meaning of "thousands of flowers present auspiciousness, prosperity brings peace".

Xu Zhiheng said in "Yin Liu Zhai Talking about Porcelain": "Porcelain is full of various flowers. Those with different colors and shapes are called thousands of flowers. The ones with black ground are the most valuable, and those with white ground can also be treasured. The shapes and sizes of flowers are opposite.

Everyone does his best.”

Obviously, among Wanhua porcelain, Heidi porcelain is the most expensive.

Among them, what is more precious than the black ground is the "enamel colored gold ground thousands of flowers tea set".

Thousands of flowers are hidden from view, precious enamel color!

According to the records of the Qing Palace, "Ten thousand flowers are not exposed to the ground", which is a porcelain specially used by emperors to appreciate flowers and take advantage of the occasion.

Therefore, compared with other official kilns in the Qing Dynasty, the craftsmanship is more exquisite.

It adopts the enamel color technique, which represents the pinnacle of art in the Qianlong reign of the Qing Dynasty.

From its creation to its decline, this skill was monopolized by the royal family and was almost never spread to the outside world. It was known as the "official kiln among official kilns".

Its cost was high and its materials were expensive, so it was a status symbol at the time.

Even because it was extremely labor-intensive to make, it disappeared after Qianlong.

It is extremely rare for the enamel porcelain used by the royal family to survive.

Most of them are collected in museums, and it is difficult for ordinary people to see them, let alone own them.

This kind of porcelain all continues the traditional enamel coloring technique, with the splendor and splendor of "all the flowers hidden on the ground", showing the appearance of royal gold and noble temperament.

The lines and background are all outlined with gold thread, which makes it glowing and magnificent, showing its grace and splendor.

The color of enamel is elegant, pink and fresh, and the color transition is natural.

What's even more rare is that the enamel colors produced by this process are rich in layers, with hundreds of flowers blooming and competing for beauty.

The flowers, branches and leaves are intertwined with each other, each showing its beauty, making people feel like they are among thousands of flowers, dizzying.

The overall decoration may seem complicated, but in fact the rules and compositions are traceable and show great skill in craftsmanship.

This level of porcelain is obviously inseparable from the solid skills accumulated over decades.

Each stroke is drawn steadily, the lines are realistic and realistic, and the graceful and natural petal lines are drawn with a calm craftsman's heart.

It can be said that it lives up to the beauty of the country and the fragrance of heaven, flowing with clouds and flowing water, and swaying freely.

To describe it in one sentence, it is: Thousands of flowers present auspiciousness, grace and splendor!

One of the classics is the tea can.

The shape of the tea can is extremely ordinary, but what is extraordinary about this one is the craftsmanship used.

This tea can has a diameter of 11cm, a height of 0.cm, and a diameter of 17.cm.

It is shaped like an ancient general jar, and the overall shape is like a general wearing armor, steady and upright.

The rim of the lid, mouth of the vessel, and soles are made of alum red, and are painted with gold to draw auspicious patterns such as landscapes and lotus branches, which have the beautiful meaning of endless life, continuous life, auspiciousness, and peace.

The layout of the body is exquisite and neat, the composition is full and complex, rich in gold and jade, graceful and elegant.

Tea leaves have strong adsorption capacity for moisture and odors, and their aroma is easy to evaporate. If not stored properly, it will easily deteriorate and the aroma will be greatly reduced.

The tea cans have good sealing properties and are suitable for storing tea. They are securely tied and suitable for viewing. They can create a scene of their own when placed.

Matching the tea can is a complete set of Gindi Wanhua tea utensils.

There are cups, tureens, teapots, etc.

Each of these tea utensils are exquisite, such as a master cup, which has a diameter of 7.3cm, a height of 4.cm, and a capacity of ml.

The shape of this cup is upright and steady, the details are carefully outlined and every detail is revealed, and the mouth of the cup is closed with gold thread. The whole cup is gorgeous and noble, with a graceful attitude.

Holding the cup as steadily as a mountain, he is calm and unhurried, and his calm temperament exudes from the inside out.

There is also a tureen with a diameter of 10.cm, a height of 8.cm, and a capacity of 10ml.

The bowl has a gold base and a gold edge.

Hand-painted enamel flowers, with peonies as the main flowers, chrysanthemums, roses, lotus, lilies and morning glories complement each other, making them gorgeous and unique.

The vessel has a full belly and gathers the aroma of tea, making it a classic vessel for tea tasting.

The lid button is tilted outward for easy lifting and holding, and the rim of the cup is slightly expanded to avoid burning your hands.

The shape of the container is plump, and the water can be cut off easily. It is elegant and convenient to use with the master cup.

Then there is the teapot, which is 8cm high, 13cm in diameter, and has a capacity of 00ml.

The shape of the vessel is exquisite and exquisite, the curvature of the handle is rounded and elegant, harmonious and natural, the spout is short and slightly tilted, echoing the handle, and the full and round belly collects the fragrance of tea and promotes the aroma of tea.

The tea is poured as if it were poured, and the tea is not leaked.

The vessel is filled with thousands of flowers, just like a flower ball pressed into the eyes. It is used with the host cup, making it elegant and luxurious.

These porcelains all have complex craftsmanship and cannot be made by skilled craftsmen.

The firing process of porcelain of this level is very complicated, and the Ming Dynasty scientist Song Yingxing described it in detail in "Tiangong Kaiwu".

The process of making porcelain: "A total of one blank is used, and seventy-two hands are used to make it into a finished vessel. The details of it cannot be exhausted."

The success of thousands of flowers lies in good work and skillful craftsmen.

The procedures and techniques are all quite complicated.

That strong color shocked the world and also stumped the craftsmen of Jingzhen.

Especially in modern times, some masters of arts and crafts are striving for excellence.

Starting from the selection of materials, they are not simple. For example, when selecting mud, they choose raw ore high-white mud. Compared with Jingzhen kaolin from the Qianlong period, this mud has a harder texture and higher whiteness.

The fired utensils have a delicate texture and are as white as jade.

To practice clay by hand, you first rub it repeatedly with your hands, or step on it with your feet to squeeze out the air in the mud mass. The water and mud are mixed more evenly, so that fine and hard ceramics can be fired.

If you want to make smooth and plump utensils by hand-pulling and trimming the blanks, you need experienced craftsmen.

First of all, you must be able to master the characteristics of the mud material. When making, ensure that the thickness and size of each part of the mud material are the same, and the error is controlled within 3mm.

This not only makes the shape of the vessel consistent, but also makes it easier to control the firing temperature and reduces the risk of bursting.

The next step is glazing. Most ceramic products must be glazed before being fired in the kiln.

The glazing process seems simple, but it is an extremely difficult process to master.

Ordinary round ware generally uses Jiu glaze or Dang glaze, while carved or large round ware uses blown glaze.

When applying glaze, all parts of the body should be uniform and of appropriate thickness.

At the same time, attention must be paid to the different fluidities of various glazes, which is a test of skill.

After glazing, it is fired, and the plain body is fired at a high temperature of 1300°C.

The body should be thin and straight, and high white should be used as the color standard of the porcelain body. The glaze color should be smooth, brown, and the vessel should be beautiful.

Often, enamel cannot be fired successfully in just one go. After the first firing, it comes out of the kiln for the second time and then continues to draw lines.

It means painting on a round white porcelain body, which is different from paper. Every stroke must consider the structure and direction.

One mistake in one stroke will change the whole area, which will test the foundation of copying the drawings.

Once you make a mistake, you have to start over and finish the painting without overdoing it.

End of this chapter


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