Chapter 997: The road is consecrated, the icing on the cake
Why did Chen Wenzhe mention Kangxi pastels before? He also studied Yongzheng pastels?
Mainly the pastel porcelain from the Qianlong period, which must be the masterpiece of the three Qing dynasties.
This is not a mutual compliment, but a new breakthrough in Qianlong pastel porcelain based on Yongzheng porcelain.
Part of the Qianlong pastel paintings inherited the characteristics of the Yongzheng period of painting sparse and bright patterns on rich white glaze.
Such as common flower trays with broken branches, bowls, vials, basins, character pen holders and large items such as deer heads.
Secondly, in terms of decoration methods, there are "consecrated" pastels in various colors, such as red, yellow, blue, green, purple and other colors. On the ground, extremely fine tools are used to roll out continuous branches of honeysuckle or vines.
The patterns are often used together with consecration, which is called rolling road consecration.
The emergence of this craft pushed pastels to a more prosperous and prosperous peak, which lasted until the Republic of China.
A variety of colored glazes are used as the ground, and there can be more than ten kinds. Some are painted with Western-style flowers on the colored ground, and some borrow the enamel rolling process on the colored ground and use a sharper metal tool.
, carving out fine phoenix tail patterns.
This is the so-called “icing on the cake”.
Inside the opening are paintings of flowers and birds, landscapes and figures, and poems inscribed by Emperor Qianlong in calligraphy.
This type of pastel color is delicate and intricate, which is unprecedented, and it is also the most abundant among the Qianlong pastels.
In addition to these, Qianlong pastels also have a unique feature, that is, the mouth and bottom of the utensils are all covered with turquoise green glaze, and the glaze often has tiny flakes.
Moreover, most of the porcelain is mainly made of pastel. It is common for furnishing utensils, study utensils, daily utensils, five offerings (composed of two incense jars, two flower grippers and an incense burner) and ritual utensils.
This time, Chen Wenzhe can be said to have thoroughly studied pastel porcelain.
He started from Kangxi pastel, Yongzheng pastel, and then Qianlong pastel. Finally, he couldn't stop it and made some Jiaqing pastel and Cixi pastel.
I won’t talk about Cixi, but I mentioned it before, and Jiaqing famille rose can be said to be the last glory in the history of Manchu porcelain.
Common patterns on Jiaqing pastel porcelain include flowers, eight treasures, cloud dragons, Arhats, infants playing, pomegranates, etc.
The types of utensils include bottles, pen holders, washbasins, plates, bowls, teapots, halberd bottles, etc.
It is worth mentioning the turquoise green glaze. During the Jiaqing period, this glaze was very light and smooth, and the glaze surface was like porridge skin.
Because it is a low-temperature glaze, the glaze often has tiny flakes.
This feature first appeared during the Qianlong period and continued to be used until the late Qing Dynasty.
At the same time, the porcelain of the Qianlong period often used entangled flowers as the main body, and added Kui dragons, Kui phoenixes, bats or tassels, eight auspicious signs, etc. to form various auspicious and auspicious patterns, good wishes and longevity.
It can be said that during the Qianlong period of the Qing Dynasty, the artistic achievements in porcelain reached its peak.
It inherited all the essence of the Song, Yuan and Ming dynasties, and finally achieved great fame in the three generations of the Qing Dynasty.
This time, Chen Wenzhe has mastered all the skills, integrating and mastering all the porcelain-making techniques he knows.
After making all kinds of porcelain, select some large plates, soup bowls, and salad plates for delivery.
The other porcelain is his collection. If he encounters a suitable opportunity, it is not impossible to enter the market.
Of course, at this point, there is actually the last step, recognition!
Most of the Qianlong pastel official kiln porcelains are inscribed with "Made in the Qianlong Year of the Qing Dynasty" in six-character seal script, and a few are inscribed with "Made in the Qianlong Year of the Qing Dynasty" in seal script.
Gu Dy
There are also six-character and four-character seal script inscriptions on folk kiln pastelware, but the inscriptions are not neatly written.
The first painted porcelain that Chen Wenzhe started to make is definitely the most produced tea bowl, such as the Qing Qianlong pastel flower pattern tea bowl.
Many others are written: the Qianlong Year System of the Qing Dynasty, the six-character seal script, and the four-character regular script "Qianlong Year System"
Busy and busy, another half month passed quickly. On this day, Chen Wenzhe had already finished all the porcelain.
Not only the custom-made porcelain that needs to be delivered, but also a large number of classic porcelain that he made out of his own hobbies.
After all, as you make porcelain, various variations will emerge.
Or let’s talk about the pastel decorations of the Qianlong official kilns. Porcelain of this level usually has patterns sent by “Ouchi”, and the theme decorations have strict regulations according to different seasons.
In addition to mainly pastel paintings, painted materials, gold colors, or black colors are often added, or combined with blue and white, five colors, and fighting colors on the same vessel.
It is not uncommon to see multiple colors applied to one object, or Qianlong pastels made with various painting techniques at the same time.
However, you will never see a few pieces in the market, because this kind of porcelain can be said to be a masterpiece of porcelain making technology in the Qianlong Dynasty that combines the achievements of various ceramic techniques.
Such pastel porcelain from the Qianlong official kiln in the Qing Dynasty is not very common, or even very rare.
And those rare ones are either in the hands of big collectors or in museums in some countries, making it difficult for ordinary people to see them.
Such porcelain generally combines the porcelain-making techniques of the Kangxi and Yongzheng dynasties. After further development, many novel pastel porcelains of the Qianlong period were created.
Naturally, Chen Wenzhe would not let go of this kind of fine porcelain.
Now that we have reached the threshold and have met each other, how could we not do a few things?
Even if he had to try his craftsmanship, Chen Wenzhe would definitely do it. You must know that this represents the pinnacle of pastel porcelain in modern times.
As for the works, they are very simple, just based on the records of the Construction Office of the Ministry of Internal Affairs of the Qing Dynasty.
The records of the Qianlong period record many historical facts about the Imperial Factory in Jingzhen producing porcelain for the palace during the Qianlong period.
As long as you follow this file, it is absolutely impossible to make a mistake, because it contains detailed records and even drawings and molds.
Among them, Emperor Qianlong often issued imperial edicts on the use, shape, and pattern requirements of some pastel utensils. There must be drawings or wood samples before production, and only after review can they be officially fired.
The inscriptions on the utensils may or may not be included, what kind of inscriptions should be written on them, and the poems that accompany the decorations must be approved by Emperor Qianlong.
In addition, if the porcelain is rough and does not meet the requirements, compensation will be required, which is also recorded in detail in the archives.
Tang Ying, the kiln superintendent at that time, made exquisite porcelain for the palace according to the emperor's orders.
On the other hand, on the basis of retaining the essence of the previous generation, it also absorbed some Western craftsmanship and created many novel pastel porcelains.
Chen Wenzhe's creations are naturally some of the classics, such as the Qianlong pastel moon vase with intertwined branches and floral patterns.
This bottle has a small mouth, a straight neck, symmetrical Kui dragon ears on both sides of the neck, round shoulders, a flat and round belly, and is shaped like a full moon.
The whole body of the bottle is decorated with intertwining patterns, with a fine sand base, delicate texture, glossy glaze, and neat shape.
After this bottle was fired, the whole body was decorated with pure and delicate floral patterns. The color deliberately imitated the effect of Qianlong's pastels. The brushwork still retains the bold and vigorous feeling of the Qianlong period. The composition is clear and bright, no matter how you look at it, it is fascinating.