The method of distinguishing the true meaning of blue and white porcelain

The way to distinguish the true meaning of blue and white porcelain:

(1) Modeling is an important basis for the identification of porcelain

In the Qing Dynasty, there was a significant increase in the shape or type, and it was made ingeniously. Among them, the innovations in the Kangxi period are unique. In the sputum, such as 琵琶尊, Horseshoe 尊, Elephant Leg Respect, Fengwei Zun, Guanyin Zun, Taibai Zun, Apple Zun, Apricot Leaf Zun, Stick Bottle, Bubu Orange, Load, Willow, and Convex Flower They are all rare shapes of the previous generation. During the Yongzheng period, the creation of the shape was also rich and colorful, such as Shuanglu Zun, Sanyang Zun, Querzun, Lutou Zun, Luozi Zun, Niutou Zun, Garlic Shrimp, Ruyi Zun, Mouth Olive Bottle, Taibaitan , chrysanthemum discs, etc. In particular, the imitation of the famous kiln in the Song Dynasty and the Yong and Cheng porcelains are not only glazed, but also more sleek and sleek. The most prominent styles in the Qianlong period include the turning bottle, the turning bottle, the rotating bottle, the flower basket, the fan and the book-type printing box, and the book-style golden bell. During this period, both innovation and antiques reached a climax. The imitation of copper, stone, lacquer, jade, bamboo, wood and elephant creatures were very similar. After Jiaqing and Daoguang, most of them were attacked by the old system, and few innovations were found. The shape has changed from fine to thick, and has gradually lost its excellent tradition. For example, the shape of the jade pot spring bottle is not significant in the Kangxi, Yongzheng and Qianlong three dynasties. Later, it gradually became awkward. In the Tongzhi, Guangxu and Xuantong periods, it turned into a short, thick and thick form, which was far less beautiful than before. It’s beautiful.

After knowing the basic characteristics of the Yuan, Ming and Qing porcelain shapes, it is necessary to master the method of observing the shape. Generally, we must pay attention to the mouth, abdomen and bottom. Many similar vessels look very similar in appearance, and a careful observation of these three parts can lead to different conclusions. For example, in the middle of the Ming Dynasty, the shapes of bottles, pots, and cans were mostly in the abdomen, and after the Qing Dynasty, the products were not obvious because of the fineness of the turning. Such a so-called first-line difference often plays a very important role in the work of distinguishing the falsehood. For example, in the Yuan Dynasty, the disk body was small and shallow, and the Ming Dynasty Yong and Xuan Dapan were slightly larger and slightly curved. The former was small and the latter was large. In particular, the shape of Yongle, no matter the size of the plate, the bowl is mostly concave, the bottom of the device is raised, and the inner wall of the foot is slightly outward, which is about one-half to one-fourth of the outer wall. In the early Ming and early Qing dynasties, many folk kiln plates and bowl bottoms often had obvious wheel-shaped turning marks (so-called "jumping knives"), but they were extremely rare in official kiln porcelain. As for the Kangxi market, some of them are double-circle bottoms. There are many “burlap patterns” under the three-color flat-bottomed objects of the folk kiln, which is also a common feature at that time. Cultural relics use these as part of the identification of new and old.

Some eras are close to or better than the previous generations. Because the pattern painting and the glaze materials are similar before and after, it is often difficult to distinguish. For example, the Yong and Xuan Qinghua mouthwash bowls are painted in a three-layered pattern in a bowl, and the four-layered pattern is painted on the outside of the bowl, and the glaze is similar to the glaze. However, if you compare them carefully, you will find that the important difference between them is that the convergence of the lower part of the bowl is different, that is, the Yongle bowl is fuller and the Xuande bowl is slightly cut. In the Yongzheng period, the Chenghua blue-and-white bowl was also a shortcoming in the shape of the bowl. These subtle differences are based on the physical conditions of the imitation, due to technical conditions such as molding, kiln, or accidental neglect (the shape of the replica is often more or less different from the real shape, because Although the imitation is made according to the original original, it is the same as the original shape before it is burned, but after the high temperature is fired, the shape and the original shape of the real machine are different in some places. This may be due to the preparation and refinement of the raw materials. The coarseness and inconsistency are inconsistent, and the result of the longitudinal and transverse contraction expansion after high temperature is the key to the discriminator shape). As for some imitations made only by rumors or by speculation, such as the so-called "Yongle Hand Cup" which is copied by later generations, the shape is even more and more strange. The beginning of the situation is getting bigger and bigger, and even later it has become a big bowl without a cup.) As long as you have seen the real thing, you will not be cut off.

(2) Different patterns and colors in different periods

The ornamentation on the ceramics has the same characteristics of the times as the shape, and because of the continuous enrichment and improvement of the materials and techniques of porcelain painting, it has become the era of division regardless of the level and characteristics of the different contents and forms of expression. A powerful clue to identify the authenticity.

Generally speaking, the development process of porcelain ornamentation is nothing more than simple to complex, from scratching to carving and depicting, from simple color to colorful. For example, the deformed lotus petals (commonly known as "eight big yards") patterns used in the porcelain are evolved on the basis of the Jinhua ornamentation, especially the appearance of the glaze under the blue and blue glaze of the Yuan Dynasty, which opened up the porcelain decoration. The new era broke the monotony of the past glaze. The invention of various colors after the Ming and Qing dynasties enriched the decoration of porcelain, and the emergence of each decorative method has its own process of production, growth and development, so it can also be used to infer the age of the artifacts. For example, in the early blue and white, glazed red, because the characteristics of the raw materials have not been fully grasped, the color is less beautiful in the Yuan Dynasty products, and the glaze red often has the disadvantage that the color tone is dark or becomes brown or grayish black or even scattered. However, most of the mature Yuan Dynasty blue and white glaze red embossed layouts are very beautiful, the pattern not only pays attention to the primary and secondary coordination, but also the use of multi-layer continuous lace pattern, no matter whether the mountains and stones, flowers leave a circle of blank edges not filled with color, Forming a unique style (until the middle of the Ming Dynasty, this kind of painting gradually disappeared, although it was adopted or not, but there are not many. In addition, due to the limitation of raw materials, there are different characteristics of the times in the painting, such as Yuan Mingming. At the beginning, some porcelains that imported green materials, although they were rich in color, were extremely unstable, and they were not suitable for painting characters. Therefore, there were fewer characters in the Yuan Dynasty ornamentation, and there were also so-called "Yuan Dynasty people, Yongle No one, Xuande has more women than men. As for Chenghua Dou Cai, although the color is bright and crystal clear, but also limited by raw materials and technology, there are so-called "flowers without shading, leaves without anti-side" shortcomings, and painting Characters, regardless of gender, young and old, have a single coat in the four seasons, and there is no representation of the clothing and the different colors. These are similar to the characteristics of the times on the ornamentation, often ignored by future generations of imitations. Being able to pay attention to it will naturally help to identify the authenticity.

In addition, some differences in the era can be found in the color of application. For example, according to the physical data currently available, there is no black color in Chenghua painting. At that time, in addition to using the underglaze cobalt blue line, it also uses red and ochre. Draw outlines. If we encounter a glazed black outline of the Chenghua color porcelain, we should doubt whether it is true or not, because the application of the black outline is not more than the beginning of Zhengde. Others, such as the appearance of pastels, are known not to be earlier than the late Kangxi. Of course, it is hard to believe that the imitation porcelain with pastels is not a fake.

As for the Qianlong period, due to the large amount of use of foreign colors, and the method of decoration of western decorative patterns, some works have been made with fine lines and singularity, so that some patterns have lost the inherent national style. This kind of porcelain has more products after the middle of the Qianlong period. Others, such as the official kiln porcelain in the Zhengde period of the Ming Dynasty, are mostly decorated with Arabic characters. In the Qing Dynasty, there are also Western-style decorative patterns in the exported porcelain. They are all relatively unique and have distinctive characteristics of the times.

In terms of the use of words as a decorative part of porcelain, the products of the Ming and Qing dynasties are still different. For example, Ming Dynasty porcelain has written Sanskrit, Jingyu, Baifu, and Baishou characters, while the use of large poems, words, songs, Fus, and watches, pipa, etc. for decorative texts is the creation of the Kangxi period. For example, "Chibi Fu", "Tengwang Pavilion", "Before and after the teacher", "The Lord is the sage of the Lord", etc., such a dish with only words and no pictures is rarely copied. To clarify this point is also very valuable for judging the era and identifying the specific work of authenticity.

According to the brushwork of the ornamentation, the characteristics of the era can also be seen. For example, due to the importance attached to the porcelain painting method at the time, the official and folk kiln porcelains were very impressive in this respect, and the pattern on the porcelain was mostly imitated by the famous painter's brushwork. In terms of painting trees, Kangxi branches like to use paralysis, and it seems that the old pen is draped and powerful. However, the painted branches of Yongzheng are only depicting the defects. Although the work is fine, the pen is weak and boring. If you can carefully see the brushwork from its turn-offs, etc., it will naturally help our identification work. As for the Ming and Qing dynasties, the kiln decoration is more neat and sturdy, and the kiln ornamentation is vivid and unobtrusive. These are all well-known features. However, there are so-called "limits and limits" in the official kiln, and there are often works of the official kiln in the porcelain of the kiln. This is the case with the private house in the Qing Dynasty.

When it comes to the official and folk kiln porcelain, it is easy to reminiscent of the so-called "official kiln dragon five claws, folk kiln dragon three claws or four claws". The typical ornamentation of this feudal society, in general, also provides us with a clue to judge the authenticity and distinguish the kiln mouth, but it is not absolute. On the contrary, in the folk kiln porcelain, there are both five-jawed dragons, and the works of the three-claw and four-claw dragons in the official kiln porcelain are not without. For example, "Xuandeguan kiln blue-and-white dragon-shaped celestial bottle" and a large number of "Kangxi official kiln blue-and-white fish dragons change along the wash" are painted three-jawed dragons, "Kangxi Guanyao green land three colorful Yunlong stationery box" painting four claws Dragon. The blue-patterned utensils of the Yuan Dynasty folk kiln are all three-claw, four-claw, and five-claw, and there are also such examples in the Ming and Qing dynasty kiln porcelain.

The ornamentation on the official kiln porcelain is often inseparable from the hobbies and wishes of the supreme rulers of the time. For example, the Emperor Jiajing of the Ming Dynasty taught the channel, so he liked to decorate with the patterns of gossip, fairy, and Yunhe. The Qing Daoguang Emperor loved birds, dogs, and grass worms, and this type of picture appeared more. For example, in the Qing dynasty, there was a porcelain-recognized style. The porcelains of the ancestors who were given by the emperors of the dynasty, the dry, the Jia, the Tao, and the Five Dynasties were, as usual, the white-spotted blue-and-white-flowered scented scented scented scented scented (This bottle has a nine-layer pattern throughout the body). The meaning of using this kind of ornamentation is said to mean that the official is clear (green, clear, homophonic) white is heavy, lotus is cheap (Lian, Liantongyin) clean, sea water is the symbol of the four seas rising. Others such as a barrel (system) Wannian (wannianqing), two crabs (a) pass Lu (胪), Sanyang (yang) Kaitai, forty-six sons, Wulun map, six countries seal, seven treasures, eight treasures, Jiu Lian Deng, Bai Fu, Bai Shou, Red Bat (Hong Fu) Qi Tian, ​​etc., similar to these patterns filled with feudal superstition, many appear on the Ming and Qing porcelain, if you can further contact the background of the time, for us to master Its development law is of great benefit.

In addition, it is not uncommon for some commonly used porcelain ornaments to be circumstantially proven in the silverware, lacquerware, bronzes and even weaving of contemporary contemporaries. If we can give inferences to each other and prove each other, we can often find the characteristics of the times and find common rules. Especially for the more prominent characteristics of the times in the porcelain ornamentation of the past generations, we need to know them in particular. For example, the metamorphic lotus petals and the mountain flowers are not filled with color, Yong, Xuan porcelain's morning glory and seawater buds, Zhengde porcelain's palindrome's dragons wear flowers, Jia, Wan porcelain's floral style And Taoist paintings, Kangxi porcelain's double-peony peony and moon-shadow plum, Yongzheng porcelain's flower and flower ball, as well as Qianlong porcelain's Wanhuadui and Jinshangtianhua, etc., play an important role in the identification of falsehood.

In short, the observation of porcelain ornamentation should take into account its development process from simple to complex, from color to color, as well as its subject matter, brushwork structure, time style and materials used, and more reference to other circumstantial evidences. I know, of course, I can't hold this end and I will lightly draw conclusions, because the later generations use the so-called complex kiln to add color, the old tires to fill the color, and the dark flowers and other methods to make imitations, often enough to be chaotic. It must be combined with other aspects of the characteristics for a comprehensive analysis and research.

1. The porcelains of the Qing Dynasty were rich in content, with common styles and different characteristics.

2. The shape of porcelain in the Qing Dynasty

When Shunzhi and Kangxi were old, they were full of hustle and bustle, and they were full of enthusiasm and enthusiasm. When they were in the middle of Qianlong, they were clear and regular. After Jiaqing and Daoguang, they were young and clumsy.

3, carcass, sputum, generally thin and moderate, round and thick and thin. At Kangxi, the carcass weighed and the texture was hard and fine. At the time of 雍 有, the cartilage is light and thin, and the whiteness is high. After the road light, the carcass is thick and loose. In the Qing Dynasty, the abdominal and neck joints of the sputum were extremely rare. In the Ming Dynasty, the place where the device was exposed, the red spot of the firestone often disappeared in the Qing Dynasty.

4, the glazed surface is not as bright as the Ming Dynasty, the glaze is thin, and the color is slightly green. Shunzhi and Kangxi both sides, the glazed surface is smooth and delicate, the glaze is tightly combined, and the glazed surface is white, white, white, hard and bright. The glazed surface of the enamel is smooth and radiant, and there are many orange peels. At the time of Qianlong's flatness, the Qing Dynasty was not flat enough and the waves were obvious. In the late Qing Dynasty, the glaze was thin and the enamel was loose and not strong enough.

5, the ornamentation is deeply influenced by the paintings of the same period, the folk kiln porcelain, freehand and realistic, coexist with the pen. The royal kiln is connected with the device, the pattern tends to be standardized, and the pen is meticulously used, and the composition is limited and restrained. In the early period, the landscapes and trees in the ornamentation are mostly made of axe, and the plating points are added. The costumes are beautiful in the high police, and the soft flowers are painted without bones. In the late ornamentation, the characters have no face and the nose is large. During this period, the shape of the dragon pattern is different. There are large squares, strong and vigorous, and also delicate and delicate. They are generally lion heads and more dragons. The dragon's foot is prominently prominent, the two feet are strong in three-dimensional sense, and the dragon body is thick and stupid. Generally, it is painted as four claws and five claws, like a chicken claw.

6. In the Qing Dynasty, because the porcelain craft was influenced by Western painting art, a pattern with western painting style appeared on the porcelain. For example, in the enamel porcelain and some export porcelain, you can often see some western characters, buildings, boats and dogs.

7, the Qing Dynasty Babao pattern for the wheel, screw, umbrella, cover, flowers, cans, fish, intestines.

8, large utensils and early utensils, mostly smooth sand bottom. The porcelain feet of Shunzhi and Kangxi were more diverse. There are double-layer bottom, slanted bottom, two-layer table bottom, lying foot, rounded muddy back shape and so on.

9, Jingdezhen official kiln is mostly the emperor's year, the folk kiln has a dry year, auspicious language, private money and drawings. There are printing, engraving, blue and white, red glaze, gold color, material color, and so on. Emperor Kangxi has more and less, and he is using it together. In the late Tongzhi, Guangxu, and Xuantong three dynasties, there were many more sacred books, and the periphery was in the form of a circle or a square. The folk kiln is more casual and confusing, and the font is sloppy.

1. Shunzhi porcelain is in the transitional stage of the late Ming and early Qing dynasties. The carcass is thick and delicate, white and firm, and the shape is simple.

2, the glazed surface is more than the lack of bright orange color, some of the glaze of the glaze is thick, often makes the pale blue and white flowers are blurred, and maintain the characteristics of the yellow glaze in the mouth of the Ming Dynasty.

3, blue and white tones are roughly divided into four types, of which the green color is similar to Kangxi blue and white, and there are more and more colorful instruments without blue and white.

4, pattern decoration, the content is novel. Popular patterns include travertine flowers, unicorns, plantains, character stories, and in-picture sentences.

5, the foot evolved into a rounded muddy back, visible spiral at the bottom, at this time has been popular in the end of the bright circle of the foot of the double circle foot.

6, the section of the section, the kiln section and the branch of the branch, there are scripts, libraries and scripts.

Kangxi

1, the shape of the ancient and heavy, the new creation of a variety of shapes. The neck of the device is slender compared to other periods, and the round is mainly a pier.

2, the tire is firm and fine, like a jade, repairing the tires, and generally have a heavy feeling.

3, the glazed surface is smooth and delicate, the glaze is tightly combined, and the glaze has an early white-white color which evolves into a medium-term white and white color. After the mid-term to the Yongzheng period, it changed into a hard glaze.

4, blue and white use of domestic beads Mingliang, blue and white tones, mainly blue, have deep color, close to the characteristics of the fetal bone.

5, multicolored and other color devices, the early colors are thick and colorful, the middle part fades, and the late color is soft.

6, the early mouth of the utensils often coated with yellow glaze, the general mouth is applied with a layer of white glaze containing powder, giving people a thicker mouth along the convex feeling.

7. Multicolored is composed of five colors: red, yellow, blue, green and purple. The colorful of the Ming Dynasty consists of red, yellow, green and purple glaze and underglaze blue and white. Replace the underglaze blue and white with the glaze on the glaze. There are also red, yellow, green, blue and black. When Kangxi was colorful, he added gold color to make the picture magnificent.

8. At this time, the three-color device is more prevalent. There are three colors of yellow land, three colors of green land, three colors of purple land, three colors of ink, three colors of white sauce, and three colors of tiger skin. At this time, there are three underglazes, which are composed of three kinds of underglaze colors: blue and white, glazed red and bean green. It is a special variety in the Kangxi period. Kangxi smeared red, its color is Zheng Zhu, bright and dazzling, its official kiln color bowl is the best. The glaze red is also superior.

9. In the late Kangxi period, Lang Yaohong appeared, and the "light grass mouth" along the mouth of the object appeared from the Yongle period of the Ming Dynasty.

10, Kangxi, painted characters, more with a blue pen to hook out the face, very durable, the beauty of the cheeks often dizzy to light, quite quite burnt. Character dresses are the most vivid, and the trees are old and dry, and the flowers are graceful. The painting is loose for the color of the eggplant, and the needle of the ink is hard green, giving the impression of a thick green.

11. The pattern ornamentation has a strong sense of the times, and its painting, brushwork, layout, and color-applied crafts have specific rhythms of the times. The theme is historical allusions, character stories, as well as fishing houses, farming and weaving, sea, hoe, farming, and reading. In addition, there are grass worms, flowers and birds, Yunlong, Shanshui, Baxian people, Baxian Qingshou, Babao, Bogu, tangled flowers, Loutai Diange, Hehe Erxian, and Samsung people.

12, the foot, there are flat feet, wide and thick foot, double circle bottom, two-layer platform, arch wall bottom, circle foot.

13. Kangxi has a double-bottomed market with two circles on the sole. There is a deep groove between the two circles. This double-bottomed market is more typical. At the same time, the pen holder is characterized by thicker upper and lower parts, thinner middle waist and no glaze on the bottom.

14, Kangxi Palace kiln style is mainly written, mostly written at the bottom of the device, there are a few written on the body, generally "Da Qing Kangxi year system" has six characters and two lines, six words and three lines, the general kiln utensils are generally no money Some utensils have only blue and white double circles or an autumn leaf, a plate and so on.

1. The styling characteristics of Yongzheng Porcelain are: 隽秀尔雅, small and exquisite, mainly based on plates, bowls, cups, saucers and small utensils. The proportion of the type is coordinated, and there is a so-called "curve beauty".

2, the thin body is light, the large body is regular and not heavy.

3, a variety of glaze colors, glazed orange peel, this is the prominent feature of the sputum.

4, the kiln turns red glaze, which begins to appear at this time, is the two colors of red and blue intertwined, more blue than red.

5, furnace glaze, also from this time, is composed of two colors of sorghum red and turquoise green.

6, blue and white tones are white and white. The color level of blue and white is not as good as that of Kangxi. Generally, there are only 2 to 3 shades of color.

7, the color of the color porcelain is soft and not glamorous. The characters painted in pastels, multicolored, and fascinating, and the scenery, are obviously reduced, and the pictures are gathered. The pastel pattern is delicate, the color is light and the three-dimensional effect is strong. Around the pattern of Shicai, the side view often shows a circle of colorful "color halo" at the side of the white glaze.

8, the pattern has a meticulous style, the characters are beautiful, the flowers are especially delicate and charming.

9. The color of the fighting machine is improved compared with that of Kangxi. Both the color and the pattern are more fine than before. The color is thinner and the color tone is very soft and elegant.

10. Since the beginning of the Fazheng porcelain, the “Guiyuexuan” is more elaborate than the production process of Kangxi. At this time, there is a significant difference between Yucai and Kangxi: when Kangxi was used, it was generally a more regular pattern painting with colored ground. At the same time, it is a painting without color, especially for painting, and the theme of painting is also increased, such as flowers, birds, landscapes, pines, bamboo, plums, etc., which is extremely vivid.

11. The enamel pattern is still based on painting, and the pattern is particularly uniform. The flowers and animals in the sketches are very vivid, and the yin and yang faces of the paintings are also obviously the same as the paper-painting style at that time.

12, the paintings are decorated with tangled flowers, broken flowers, flowers, pine bamboo plum, leather ball, eight peaches, flowers and birds, butterflies, Yunlong, Yunfeng, Tuanlong, Tuandie, Babao, Zhuangdan, Magpie Dengmei, Landscapes, figures, the West Chamber, the baby play, the sixteen sons, the lady figure, the Eight Immortals and the Loutai Pavilion.

13, the foot is regular, the feet are rounded, and the tires are narrow and thin.

14. The official kiln has a “big Qing dynasty system” six-character and two-line 楷 book, and there are also six-character and three-line 楷 books, all of which have blue and white double circles, blue and white boxes, and some have no borders, and “big "The Qing Dynasty is the system of the year" and the "Yu Zhengnian system" stamp.

Identification of the weapon in the Qianlong period

1. The shape is regular, the proportion is appropriate, although the appearance curve is not as beautiful as the time of the gong, but it is still more beautiful than the Jia and Dao period, and the small pieces are especially delicate. The pre-stage type is just as good as the 雍 timing, and it is sluggish in the later stage. Since then, the styling style of each dynasty, in addition to Jiaqing's early can still guard the Qianlong day, the longevity of the day is declining in turn, and the situation is getting worse.

2. The carcass in the early stage is fine and gradually becomes rough in the later stage.

3. Although there are many manifestations of blue and white color, it is mostly stable and pure blue. In the beginning, there are black brown, gray gray and light blue, the color is calm and the pattern is clear.

4. When the furnace glaze reaches the dome, it is different from the 雍 time. Its color is composed of turquoise green and dark blue.

5, Fa Yucai is also known as "Gu Yue Xuan" or "porcelain tire painting", generally have the "Qianlong Year System" four-character letter of the blue material.

6, bronze color is the use of pastels and gold color, painting on porcelain, used to imitate the red, green and blue rust spots of ancient bronzes, this is the invention of the color of porcelain in the Qianlong period.

7. In the Qianlong porcelain, there are popular paintings in red, yellow, blue, green, and other color fields, which can be called color painting.

8, some of the colored ground to open a circle of light for painting, called the opening painting.

9. The color rolling tunnel began to appear in Qianlong. This kind of rolling road was drawn by tools, like rolled out, so it was called rolling.

10. There was a porcelain with a lot of flowers painted in pastels.

11, glazed glazed, often with a uniform full of small wrinkles.

12, the production process level is extremely high, exquisite, beautiful, no strange, not rare for the history of porcelain.

13, pattern decoration, the characteristics of the times are clear, the painting is fine, the level is clear, the painting is rigorous and delicate.

14. The feet are thicker than the front, the feet are rounded, and some are painted with yellow or black glaze. Near the glaze of the foot, there is a small scraping of the carcass leaving a small sawtooth mark.

15. The annual amount of the official kiln is mostly the six-character seal of the "Qing Qing Emperor Qianlong System", and there are also four-character seals of the "Qianlong Year System". There are fewer money for the book. The family collection on the kiln utensils is not popular

1. The fetal bones of the Jia and Dao periods did not change much compared with the Qianlong period, but the fetal quality appeared to be loose. The degree of whiteness of the fetal bone is a little worse, and the fetal bone is slightly thicker than the front. From the time of Daoguang, the shape of the lines is blunt, often seeing the edges, no round and beautiful, it seems stupid.

2, porcelain enamel is thick, glazed surface generally appears "fine orange glaze" and a slight "wave glaze". The color of the enamel is still flashing in white, but the degree of whiteness is not as good as that of the Qianlong period, and then gradually becomes gray. In the bean green blue and white porcelain, there are piles of blue and white flowers, commonly known as "blue flower pile powder" or "blue and white plus white". The firing method is to apply a layer of white powder on the bone under the blue and white flowers according to the general shape of the pattern. Quality, and then painted with a blue and white pattern on the white powder, and finally glaze. The powdered blue and white embossed embossed, the color is clear, the appearance is elegant, and it has a three-dimensional effect. This kind of powdered blue and white flower first began in the Kangxi period. When it was in Yongzheng and Qianlong, it was burned, but the quantity was not much, but it was more prevalent during the Jia and Dao periods.

4, the pattern decoration is still based on painting, but retains the legacy of the Qianlong period. The paintings are smooth and meticulous, and the painted patterns are not as lively as the Qianlong. They become more rigid patterns and less freehand paintings. Daoguang Day can only bring celebrity paintings and calligraphy into the porcelain cup. One inch can draw five or six characters, and the eyebrows are as vivid as life.

5, the main themes of painting: Yunlong, Yunfeng, Longfeng, Sanyang, Lion Ball, flowers and birds, butterflies, grass worms, flowers, four seasons flowers (strengthen, lotus, chrysanthemum, plum) three fruits, hooks, landscapes, characters ( Eight Immortals, ladies, Tianhe, infant play), scenery (10 scenes of Lushan, Shihu Shijing, Yanjing 10 scenes), as well as hi word, Shouzi, Yu sentence poetry and other text decoration.

6, hi words are often decorated with blue and white on a piece of utensils. This kind of blue and white talk about the double-happiness of the characters began to appear from the time of Qianlong, and gradually increased during the Jiadao period.

7. During the Jia and Dao periods, the iron ornament of the eagle carving began to increase. Although it appeared in Qianlong, it was rare. This kind of iron pattern decoration is generally decorated on the mouth, ear, waist and other parts of the porcelain utensils, commonly known as "Gui porcelain iron flower".

8, belonging to the shadow painting, moving the rolling road, color floor lighting, green bottom and earrings, etc., in the Qianlong period, the various forms of porcelain pattern decoration method, more popular in Jia and Dao.

9. Some changes have taken place in the shape of the utensils, which are due to the increase in the number of dishes and bowls. There are fewer large-scale three-dimensional objects belonging to bottles and statues. At this time, there were forms such as sunflower mouth, Sifangkou, Liufangkou and Bafangkou.

10. From the time of Daoguang, there appeared a set of five pieces of utensils used as dowry, that is, one bottle, two pieces of generals, two pieces of flowers, commonly known as "five pieces."

11, Jiaqing, Daoguang form of money; 1 official kiln year is the "Da Qing × × year system" six-character seals stamps, there are also "× × year system" four-character stamps, the number of scripts is less. 2 folk kiln utensils, most of which are unpaid, and only a very small number of writing years. The form is the "Da Qing × × Year System" six-character seal stamp, or "× × year system" four-character script. 3 Shendetang is Daoguang Kiln, with three characters straight. They are all red and sturdy, and there are also gold models. The folk kiln is also prevalent in the collection of households. There are “retreats” and “Hangtang”, most of which are blue and white and red. 4 Jia and Dao periods also prevailed in the imitation period of the year. At the bottom of some utensils, the "Beans in the Year" is slashed (that is, after the annual payment, the sauce glaze is applied to the section, shaped like a bean-like shape), on the iron-iron utensils of the porcelain, This is the "dry bean" concept.

1. The bones of Xianfeng to Xuantong's porcelains are basically the same, and they are not comparable to Jia and Dao in terms of fetal quality. At this time, the fetus is getting thicker and thicker, and the fetal bones are thicker accordingly.

2. From the beginning of Xianfeng, the enamel gradually became thicker, and the enamel and the fetal bone were not tightly combined. Therefore, the phenomenon of “wave glaze” and “orange glaze” appeared more serious than Jia and Dao.

3. On the glazed surface of porcelain, there are even bubbles and deglazing. White glaze is not as good as Jia, and when it is white, it gradually turns into a white, slightly flashing gray color.

4, the kiln turned red glaze, then there has been a big change. The glazed blue-purple color spots are getting less and less, and the red color is more and more, and some even become completely red, and almost no blue purple spots are seen. When it came to Guangxu and Xuantong, another kind of kiln red glaze composed of red and black colors appeared.

The evolution process of kiln red glaze is: 雍 is more blue than red: when the 乾 是 is blue is less than red; Jia, dao is red more than blue; after Xianfeng is basically turned into red; to Guangxu, Xuantong It is composed of two colors of red and black.

5, the color of blue and white, only one or two levels, in the end of the same period of the ring appeared a blue purple blue and white. After the Tongzhi treatment, there are fewer piles of blue and white flowers. At this time, the pile of powder under the blue and white is extremely thin and the color is light.

6. During the period from Xianfeng to Xuantong, the pastels changed significantly. The color of the pastel material changes from fine to rough, and the color of the pastel changes from rich to light.

1 Xianfeng, Tongzhi, the content of pastels is more, the color powder is relatively thick, and in the fine pastels, often also painted gold, so the pastels are very beautiful at this time: 2 Guangxu, Xuantong, pastels The amount of powder is reduced and the powder is very light.

7, soft color, is the emergence of the late Tongzhi. It is more popular when it comes to Guangxu and Xuantong. Soft color artifacts, only the folk kiln, the palace kiln soft color has not been seen.

8, watercolor, is the end of the Guangxu period, this color is not powdery, with the characteristics of thin color, light color. It is a color used in Xuan Tong porcelain at the end of Guangxu.

9. The decoration is mainly based on painting, but the painting is becoming more and more sloppy, lacking the rules, and it is extremely unimaged and not beautiful. Painting characters are more dull and lifeless. Painting flowers and birds, animals are not angry and lively.

10. The vast majority of official kiln ornaments are pattern paintings of meticulous paintings and rules; most of the folk kiln are freehand paintings. In the late Tongzhi and Guangxu periods, soft and freehand brushwork was prevailed. The drafts were from famous artists such as Shen Shitian, Tang Liuru, Xinluoshan, and Badashan people in the Ming and Qing dynasties, but they were very different.

11, at this time there are five maps, twenty-four filial piety, Sima Guangcing cylinder, Zhu Zizhijia motto, five sons Dengke, champion and brother, immediately sealed, Samsung, Fu Lushou and so on.

12, painting themes are: characters, landscapes, flowers and birds, butterflies, lions, animals, cloud bats, dragon clouds, dragons and phoenix, cabbage, three fruit, eight treasures, gossip, Bogu, Zhongding, Jiu Tao, tangled lotus, tangled Peony, technology flower, hi word, birthday word, etc.

13. The hi word in the ornamentation is extremely popular in the Weifeng, Tongzhi and Guangxu periods. This blue-and-white double-hit character has different expressions in several periods. 1 In Xianfeng, the font of double-hit characters, the writing is more neat, the writing is also finer. In the Tongzhi period, the fonts of double-hit characters are not neatly written, and the writing is getting wider; 3 in the Guangxu period, double happiness writing The extremely negligible, not only the wide writing, but also the font has become blurred.

14, the earrings of this period are mainly: lion ear, animal ear, elephant ear, creeping tiger ear and so on.

15. The varieties of painted paintings, colored grounds, colored ground rolling, and green and green bottoms are not fashionable.

16, Xianfeng, Tongzhi period, on the porcelain artifacts, especially popular with iron flower decoration, less light.

17. During the Guangxu and Tongzhi periods, the pattern decoration of chickens and Xiaobogu was more prevalent.

18, the golden word of the hi word and double happiness words, more popular in Tongzhi.

19, Guangxu, Xuantong period, Dabogu, Zhongding flower arrangement, school flower, rich white head, Tiannian scattered flowers are more common.

20. Starting from Xianfeng until Xuantong, except for a small part of the porcelain production is finer, and most of the utensils are thicker than before, not as detailed as the instruments of Yongzheng and Qianlong. The shape of the objects in this period is different from before. Various types of furnishings, such as bottles and statues, are reduced, and most of the utensils are daily necessities, such as bile bottles, celestial bottles, string bottles, general cans, porridge cans, bird food cans, incense burners, fish tanks, flower pots, Narcissus pots, washbasins, pots, cups, joints, oils, buckets, kettles, seals, pen washes, pen holders, caps, teapots, tea bowls, tea cans, wine, wine cellars, plates, saucers , buckle bowls, spoons, smokers, porcelain pillows, embroidered piers, hanging screens, as well as Samsung, Eight Immortals, Guanyin and so on. During the period of Tongzhi, Guangxu and Xuantong, bile bottles, tea cans, hats, teapots, tea bowls and sets of dishes, bowls and other utensils were more popular. There are not only 150 pieces, 300 pieces, 500 pieces, but also 1000 pieces of earth bottles.

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