The products of this period have obvious transitional characteristics. The carcass is thick, slightly rough, the bottom is generally sloppy, and there are sand particles sticking. It is an important feature of Shunzhi period that the utensils are painted with yellow glaze along the mouth, with different shades and yellowish brown. Shunye experienced 17 years. The porcelain of Shunye dynasty is similar to Chongzhen in embryo, glaze color, modeling, decoration and painting. For example, the carcass is thick, the glaze color is white and slightly green, and the glaze layer is thick. The shape is simple and vigorous, and the painting is heavy. It not only retains the characteristics of Ming porcelain, but also has the common characteristics of Kangxi porcelain. A considerable number of downstream smelters apply different shades of yellow glaze to their mouths. Some people regard it as an important feature of sequential smelting furnace. During the Kangxi period, Jingdezhen Imperial Kiln Factory gradually recovered and improved, and the product quality was improved, slightly better than the previous generation. Therefore, some people think that the ceramics of the Qing Dynasty should be counted from the Kangxi period. Kangxi experienced 6 1 year. Porcelain in Kangxi dynasty is one of the key points of Jingdezhen porcelain in Qing Dynasty. Kangxi porcelain has a high level in shape, variety, glaze color painting and so on. From the modeling point of view, there are many people who are quite tough and magnificent. Especially for large knives and small works, there are many exquisite and beautiful people. The main feature of Kangxi imperial kiln porcelain is colored glass. This is the main theme of Kangxi's early days. In the late Kangxi period, enamel and pastel were burned. Blue and white works have many different styles in the early, middle and late stages. Among them, "grandmother green" and "sapphire blue" are the most important.
This period played an important role in the development of porcelain in Qing Dynasty. In the seventeenth year of Kangxi, officials of the Ministry of Internal Affairs were sent to Jingdezhen to supervise the manufacturing of factories, creating a precedent for calling official kilns by surnames, such as Zang Kiln and Lang Kiln, which represented the porcelain-making level at that time.
Kangxi porcelain has many varieties and shapes, and its shape is generally Gu Zhuo. Its carcass is relatively thick, and objects of the same size are heavier than those in other periods of the Qing Dynasty. Large-scale works adopt the process of sectional molding and integral combination, and the tire patching process is fine, leaving no traces at the joints.
The main colors of Kangxi multicolored are red, yellow, purple, green, blue and black. , and blue and white are rarely used to depict delicately; Another feature is that in Kangxi's later works, people's faces only have outlines and are not painted.
Imitating the famous porcelain of the previous generation is also the production characteristic of this period. For example, it imitates ancient bronzes in shape and glazes of famous kilns in style. This imitation largely depends on the appearance of various colored glasses, such as snakeskin green, eel yellow, auspicious green and yellow painting.
In the forty-fourth year of Kangxi, Lang Ting became the governor of Jiangxi and was also in charge of kiln affairs, which was called "Lang Yao" in history. During his tenure, he vigorously promoted the innovation of porcelain, and many kinds of designs and colors, such as cowpea red, Lang Yaohong, carmine, red sacrifice, blue sprinkling, melon skin green, Kong Quelan, bean green, gold and silver glaze, appeared one after another.
Enamel and pastel are important inventions of this period.
Enamel color is a decorative technique introduced from abroad. In the early stage, the unglazed part of the carcass was painted with enamel color, and then painted with flowers, with flowers but no birds.
Pastel is a new variety influenced by enamel on the basis of Kangxi multicolor. When depicting people's clothes or plants and flowers, "glass white" containing arsenic is used as the base material, and then colored materials mixed with non-sesame oil are used for rendering. Its effect is elegant and soft, softer than multicolored, so it is also called "soft color".
The style of porcelain painting in the late Kangxi period was mostly influenced by the famous painter "Four Kings" at that time, and the decorative contents were mostly landscape turquoise, ancient costume figures, immortal arhats, beautiful women and so on.
Yongzheng period is considered to be one of the prosperous times of the Qing Dynasty, and the output of porcelain reached the highest level in history, ranking first in history. The overall style is light and handsome, elegant and round.
Pastel was the most prominent and popular in this period, replacing Kangxi's colorful status and becoming the mainstream of glaze color. Yongzheng famille rose is not only painted on a white background, but also painted in various colors, such as coral red, light green, sauce bottom and ink bottom.
Yongzheng experienced 13 years. The shape of Yongzheng porcelain is different from that of the previous generation, because it changed the vigorous Gu Zhuo style in Kangxi period and replaced it with lightness, handsomeness, elegance, exquisiteness and soft and round lines. Jingdezhen official kiln factory has a very rich variety of official kiln porcelain, and the firing quality of its products ranks first in Qing dynasty porcelain. The reason lies in the emergence of excellent pottery officials like Tang Ying in this dynasty. Yongzheng kiln is much smaller than Kangxi kiln. But there are many well-made porcelains in Yongzheng folk kiln. Such as famille rose, bucket color, blue and white, glass and so on. All have outstanding works, and some are almost the same as official kilns. The most precious enamel porcelain of the official kiln in Yongzheng Dynasty is even more rare. Pastel is the mainstream of the dynasty, and its production is also the crown of Qing porcelain. The production of fighting colors is actually better than famille rose. Kangxi doodle colorful blue and white teasing production. The combination of pastel and blue and white used in Yongzheng Doucai is more elegant and delicate than the works of Kangxi Dynasty. Blue and white is not the representative work of the official kiln in this dynasty, but it is burned in large quantities. On the basis of imitating Xuande blue-and-white flowers, the charm of Xuande blue-and-white flowers is fully exerted by means of "dot", "dye" and "extension". The forgery rate of imitation is the highest in all previous dynasties. The glaze colors of "Coloured Glass", such as imitation of officials, imitation of you and imitation of Jun, initiated the imitation of official kilns in Qing Dynasty. For the first time, the famous products of five famous kilns in Song Dynasty were moved to this dynasty, carefully imitated, combined with the production characteristics of this dynasty, and based on the style of official kilns in this dynasty, Yongzheng porcelain was the cleanest and most exquisite in Qing Dynasty. Imitation Ge kilns were very popular in Yongzheng and Qianlong periods. Baige kiln (white glaze) Huangge kiln (yellow glaze) is more popular than Qingge kiln (blue-gray glaze). Qingge kiln is more common. The red glazed porcelain used for Yongzheng sacrifice was of the best quality and the highest price in Qing Dynasty. The red glaze in Kangxi and Qianlong dynasties was not as fine as that in Yongzheng period, and it was rougher after Qianlong. In the red glaze, there are fewer celestial bottles, and there are more jade pot spring bottles and gallbladder bottles. Blue-and-white and famille rose in Yongzheng period were the mainstream of big burning. Pastel is mainly white ground. A few works appear in color. Blue and white flowers are mainly in the style of dizzy Yongle and Xuande, but also in the style of Kangxi and imitation in the late Ming Dynasty. Folk kiln blue and white also have the above styles.
Its carcass material is extremely fine, the wall is thin and light, and it is symmetrical. It is slightly light blue and translucent from the perspective of Yangon. In terms of decoration, the production of underglaze red of blue and white reached its peak. Blue and white and underglaze red were fired in the same atmosphere, and both colors were very bright. In the sixth year of Yongzheng, Tang Ying went to Jingdezhen Imperial Kiln Factory to supervise porcelain production, and made great achievements. The firing technology of green glaze has reached the highest level in history, and the imitation of famous kiln products such as official kiln, brother kiln, Ru kiln and Jun kiln is also very successful.
Crystalline glaze, such as tea powder and rust flower, which originated in Kangxi period, reached its peak at this time. Later, in the Chronicle of Tao Cheng written by Tang Ying, the main technologies of Jingdezhen Imperial Kiln Factory were summarized and 57 articles were listed. Many colored glasses also matured during this period, such as offering sacrifices to red, blue and pink.
In the early days of official kilns, regular script with six characters, three lines, double circles or vertical frames was popular, and enamelware was mostly written in "Yongzheng Year System" or "Yongzheng Imperial System". People's kilns are sloppy, and they prefer Kyrgyz ones.
Qianlong period was the peak of social development in Qing Dynasty. The Imperial Kiln Factory gathered a large number of management talents and skilled craftsmen, which improved the firing level of porcelain in the Qianlong Dynasty. Qianlong experienced 6 1 year. Qianlong period is the peak period of porcelain firing, and it is also the peak period of Jingdezhen in Qing Dynasty. The official kiln porcelain in this period is famous for its rich variety and exquisite production. From the first year of Qianlong to the twentieth year, there were still outstanding pottery officials such as Tang Ying and a large number of management talents and skilled craftsmen. The firing level of official kiln porcelain in the early Qianlong period was almost the same as that in Yongzheng period. It's hard to tell the difference without paying. Twenty-one years of Qianlong. After Tang Ying's death, the quality of official kilns declined day by day. Since then, the burning of the official kiln has begun to decline. The firing of Gan Long folk kiln porcelain and official kiln porcelain basically developed simultaneously. Although the quality is not as good as the official kiln porcelain, there are also distinctive works from time to time. Many works are difficult to distinguish between official kilns and private kilns without careful debate. From the variety point of view, except enamel is processed and fired in the imperial palace kiln, its other varieties are also imitation. At that time, there were so-called "official ancient porcelain" and "fake official ancient porcelain". In fact, it is the first-class porcelain fired in the folk kiln, and such works are constantly fired in the local area. Generally speaking, their production level is between official kiln and private kiln. It is a representative work of Gan Long folk kiln. The biggest feature of Jingdezhen porcelain in Qianlong period is the collection of ancient literary plays. All kinds of ancient porcelain are imitated by this dynasty, with high quality and lifelike. Some varieties of official kiln porcelain in Qianlong period have time differences. Such as blue and white, the first generation, such as Yongzheng, mainly imitated Xuande's faint work. The works fired in the middle and late period are stable in color and bright in tone. In pastel porcelain, there are more colored pastels than white pastels.
Technically, the products of this period were meticulous, but in artistic style, they were cumbersome and piled up, showing signs of decline compared with the previous generation, which became the turning point of the porcelain industry in the Qing Dynasty.
While absorbing western art, Qianlong porcelain retains the essence of ancient times, and its appearance is mostly regular. In addition to the common shapes, there are some grotesque objects, which are mainly used for viewing. They are called "not as rich as Kangxi and not as beautiful as Yongzheng".
At this time, it is popular to use technical means such as turning the center and neck on the tool, and the manufacturing process is extremely exquisite. Elephant porcelain has exquisite craftsmanship, imitating wood grain, bamboo ware, lacquer ware, metal ware and so on. This is inseparable from the superb skills of porcelain artists at that time. They mastered the preparation of glaze and temperature control with high precision, and even imitated the effects of other materials vividly.
Pastel replaced multicolored in Qianlong period, but the product quality was not as good as that of the previous generation. Pay attention to the decorative means of hollowing out and laminating on pastel utensils, supplemented by "rolling process" and opening and engraving. Precious porcelain with "Guyuexuan" is named after Guyuexuan in Qianlong Palace. It is made of well-made plain tires selected from Jingdezhen, ordered by the imperial court to enshrine the paintings of master painters and baked in Beijing. Blue and white porcelain is one of the most representative excellent varieties of ancient ceramics in China. Originated in the Tang Dynasty, developed in the Yuan Dynasty, matured in the Ming and Qing Dynasties, and became the mainstream, which has been in use ever since.
The Qing Dynasty was a period of high development of blue and white porcelain in China, and it was a golden age in the history of ceramics. All kinds of craftsmen with special skills gathered in Jingdezhen, forming a prosperous situation of "craftsmen coming from all directions and making things into the world". Inheriting the Ming Dynasty systematically, we continued to set up a royal kiln factory in Jingdezhen to burn palace porcelain, and implemented the method of co-burning by the government and the people.
Blue and white flowers in Qing Dynasty reflected the political, economic and cultural conditions at that time from different aspects. High-quality official kiln products are still the best representative of Jingdezhen porcelain-making technology, which mainly undertakes the demand for royal furnishings and household utensils, as well as internal and external rewards and exchanges. On the other hand, the blue-and-white style of folk kiln shows nature, simplicity, fluency and artistic temperament.
Sixty years of Qianlong (1736 ~ 1795) was the heyday of feudal society in Qing dynasty, and porcelain production reached unprecedented prosperity. Textual research on ancient bronzes praised the porcelain industry at that time as "there was no beauty since there was pottery". Porcelain-making industry is a collection of famous kilns in China, which has produced many exquisite porcelains. Not only the official kiln has made remarkable achievements, but also the private kiln has flourished. At this time, Jingdezhen Imperial Kiln Factory was huge. Under the management of Guan Tao, hundreds of thousands of pieces of porcelain are burned and sent to the palace every year. The burned porcelain has reached the level of perfection in both craft and decorative arts. In the Qing Dynasty, Xu Zhiheng described the porcelain at that time as "extremely dry and exquisite, almost ingenious".
Qianlong blue and white was still the mainstream of porcelain production at that time, which inherited the characteristics of Kangxi and Yongzheng blue and white, and continued to develop, innovate and improve on this basis, reflecting unprecedented achievements in production techniques. From the point of view of process production, carcass forming, raw meal drawing, etc. Every working procedure is meticulous, meticulous and strive for perfection.
Through sorting out and studying the blue and white porcelain of Qingganlong collected by the Palace Museum in Beijing, the following characteristics are summarized:
First, fetal glaze
The carcass is white and delicate, the porcelain is firm and dense, and the sidewall is slightly thicker than Yongzheng blue and white. The glaze color is even, mostly blue-white glaze, with a small amount of pink-white glaze, and the luster is bright.
Second, green materials.
Qianlong blue and white is known as "stable, vigorous and calm" in the Qing Dynasty, and it is made of domestic superior Zhejiang materials. The hair color of blue and white in the early Qianlong period is not much different from that of Yongzheng blue and white. Many blue-and-white porcelain wares are painted with orange peel, halo and black spots, which mainly imitate the artistic effects of Yongle and Xuande blue-and-white in Ming Dynasty. In the middle and late period of Qianlong, the hair color of blue and white flowers is also dense and gorgeous, but the halo phenomenon gradually decreases. There are also some light or pure blue and plasma blue and white, but the number is not much.
In addition to the traditional white blue and white flowers, many new varieties have been derived from Ganlong blue and white flowers, which has promoted the original traditional technology to a brand-new stage. Such as blue-and-white red color, blue-and-white plus purple, blue-and-white rouge color, blue-and-white oil red, blue-and-white bucket color, blue-and-white pastel color plus gold, blue-and-white gold painting, blue-and-white glazed blue-and-white glazed blue-and-white glazed blue-and-white glazed blue-and-white glazed blue-and-white glazed blue-and-white glazed blue-and-white glazed blue-and-and-white glazed blue-and-and-and-white glazed blue-and-
Third, modeling.
It not only inherits the blue-and-white styles of Kangxi and Yongzheng in the previous dynasty, but also imitates the blue-and-white styles of Yongle and Xuande in the Ming Dynasty, antique bronze styles, export styles, and diverse and innovative shapes. Mainly porcelain for daily life, decorative porcelain for display, stationery for study, etc. The whole pays attention to symmetry and rules. Because of the pursuit of exquisiteness, strangeness and cleverness in creation, the level of profundity is not as good as that of Kangxi blue and white, and the level of femininity is not as good as that of Yongzheng blue and white, but it is far superior to Kang and Yong blue and white in craftsmanship.
Fourth, ornamentation
Jingdezhen Imperial Kiln Factory is mostly described according to the drawings sent by the imperial court. The decorative style is characterized by meticulous, complicated and gorgeous, and the content reflecting people's lives is rare.
The most striking thing about Qianlong blue and white is the appearance of a large number of lotus flowers, Yunlong and babao patterns. In addition, there are lotus patterns, three-fruit pictures, goulian, Ji Zhe lotus, Balian, branch-bound peony, broken peach, four-season flower, Hua Die, flower and fruit, sea pomegranate, nine peach, cloud bat, treasure flower, flower with the word "longevity", fish algae, chrysanthemum butterfly, bamboo stone, peach bat, banana leaf, pine bamboo plum, peach bat.
The decorative patterns of antique bronzes include: palindrome, real prose, animal face pattern, gluttonous pattern and so on. Most of them are used in cutting tools.
Character patterns: there are landscape figures, Liu Xia fishing, fisherman's music, eight immortals crossing the sea, landscape grazing, figure pavilions, baby play patterns and so on. Portraits of people are often rendered.
Gan Long blue and white decorative patterns have a wide range of themes, mainly plants and flowers, which are rich, dense and meticulous. Each object is decorated with multiple layers of patterns, some of which are as many as dozens of layers. Whether it is freehand brushwork or deformation, the painting is neat and delicate, the pattern is clear, the arrangement is neat, and it has the effect of pattern painting. In addition, we often see some dishes and bowls painted and decorated inside and outside, such as flowers wrapped in blue and white, branches wrapped inside and outside the blue and white peony bowl, blue and white hanging clouds, and precious flowers wrapped in blue and white. This decorative technique often appears in late Qing porcelain. Among the decorative patterns of Qianlong blue and white, the increase of auspicious patterns is also one of its characteristics, that is, the decorative patterns symbolizing auspiciousness or blessing are drawn with the homonyms of various animals, plants and objects. For example, bats communicate with "Fu", fish communicate with "Jade", pine cranes represent longevity, and mandarin ducks represent pairs. It can be said that the plan must be intentional and the implication must be auspicious. In addition, there are often words that mean longevity, such as "high mountains and high waters" and "endless life".
Five, money knowledge
Most of the Qianlong blue-and-white paintings are written on the foot of the utensils, and the six-character seal script of "Qing Qianlong Year System" is written in blue-and-white. It is rare to see four-character seal script and regular script. Gao Zupan's,, and double bottles are generally written at the foot with a six-character horizontal seal. The official style of Qianlong dynasty is compact and neat, horizontal and vertical, and the blue and white colors are rich and deep. When distinguishing true and false Qianlong blue-and-white porcelain, we should pay attention to the "concave" in the lower half of the word "zhi", which is generally "concave", that is, early. This writing method has distinct characteristics of the times.
The styles of imitating the Ming Dynasty are: the year of Xuande in Ming Dynasty, the year of Chenghua in Ming Dynasty and the year of Jiajing in Ming Dynasty.
Tang Mingkuan: More than Tang Mingkuan of Yongzheng Qinghua. There are Hehuitang School, Xu Huatang, Baiyishan House, Ningjinzhai, Lianningzhai, Caixiutang School, Yanghetang, Caihuatang, Yuyan Bookstore, Zhiqintang, Muqingtang and Zhongyitang. The name of the hall is mainly written on small utensils such as plates, bowls and saucers.
The artistic achievement and influence of Qianlong blue and white flowers deserve our in-depth study and discussion.
During the Jiaqing period, the country was peaceful, and all walks of life inherited the old system and did not seek progress. Jingdezhen Imperial Kiln Factory has been replaced by local officials. Since the late Jiaqing period, the technology has been declining, and the products are mostly rough and clumsy. Jiaqing has gone through 24 years. Jingdezhen porcelain making is obviously not as good as Qianlong Dynasty. At present, the number of products handed down from Jiaqing Imperial Kiln is relatively reduced, and the production quality is not very high. In the early years of Jiaqing, the official kilns all signed the "Qing Gan Long Year System". Until the fourth year of Qing Dynasty, Qianlong "died". Everything starts from scratch. This is a legend. Compared with the previous dynasties, the varieties in Jiaqing period were greatly reduced, and the styles of each variety were basically similar to those in Qianlong dynasty, with little innovation.
In addition to the traditional types of utensils, gaudy and gorgeous ornamental items are gradually decreasing and lack of innovation. Hat tube is an important type in this period, and snuff bottles and stationery are widely popular among literati.
At this time, enamel has stopped burning and pastel decoration is popular, which is also called "Wanhuajin". Monochrome glaze has also reduced some varieties than before, and the style is the same as that of Qianlong porcelain. By the end of the eighteenth century, the rule of the Qing Dynasty obviously began to decline. With the decline of the country, the production scale of ceramic industry in Daoguang period has also dropped significantly, and the product quality has also been greatly worse than before. Daoguang has gone through 30 years. In the history of Jingdezhen porcelain industry in Qing Dynasty, Daoguang Dynasty experienced many twists and turns. Twenty years after Daoguang, the Opium War broke out. Jingdezhen ceramic industry is facing the potential threat of war. Although the imperial kiln factory has not stopped burning, it is obviously affected by the current situation. There are obvious differences in the quality of porcelain fired before and after Daoguang twenty years. Porcelain modeling, glaze color and production all have an unsatisfactory sloppy style. But as a representative of an era, Daoguang kiln still has its own characteristics. Compared with the works of Jiaqing in the previous dynasty and later generations, it is still outstanding. Many works are even far better than Jiaqing porcelain. Daoguang official kiln is divided into two types, one is six-character mode. The light-year system of sweeping the road. One is the "Shendetang system". From the product point of view, the quality of colored porcelain is higher than that of glazed porcelain. This is because the glass has declined during Jiaqing period, and there is nothing to do at this time. Colored porcelain is the mainstream product since Jia. From the technological point of view, colored porcelain belongs to low-temperature painting, and it is relatively easy to make. Therefore, it is naturally superior to colored glass. Blue and white porcelain still retains the style of the previous dynasty in coloring and painting. Some works can keep pace with Qianlong porcelain. On the whole, the production quality of "Shendetang System" is generally high. Therefore, the official kiln of "Shendetang system" seems to be more worthy of reference by future generations. This dynasty burned many "bamboo lords". A few "bamboo" porcelains, the vast majority of colored porcelains are made of high quality, and they are high-grade porcelains in Daoguang folk kiln. From the perspective of handed down varieties, it is more than Jiaqing varieties. Colored porcelain (especially pastel). It is still the mainstream of official kiln porcelain in Daoguang Dynasty.
The modeling characteristics of Daoguang porcelain are obvious. First, the appearance is clumsy and lacks spirituality; Second, the line shape is not round enough, and the board feels stiff; Third, the foot spine is uneven. The characters in decorative patterns are tangible, with messy composition and delicate lines.
But the only exception is the royal famille rose ware in the style of "Shendetang", which is extremely exquisite and different from other products of its time. "Shende Hall" is the name of Daoguang. The utensils produced in Jingdezhen are the most rare in the three-character straight type, most of which are painted red and some are painted gold, and most of them are decorated with broken branches and flowers.
During the Xianfeng period, the national strength declined extremely, mutiny occurred year after year, and all industries were abandoned. In the last years of Xianfeng, Eight-Nation Alliance invaded again, which caused great losses to the country, and the ceramic industry was doomed, so there were few fine products handed down from generation to generation in Xianfeng period. Xianfeng experienced 10 years. Jingdezhen is at war. In the early years of Xianfeng, the extensive activities of the Taiping Army in the Yangtze River and Jiangxi made it impossible to transport some porcelain fired by the Imperial Kiln out of Jiangxi. In the fifth year of Xianfeng, Shi Dakai, the Taiping Army, fought against the Qing Army in Jiangxi. Jingdezhen Imperial Kiln Factory was forced to stop burning during the war. Jingdezhen official kiln porcelain handed down from generation to generation should have been burned by Xianfeng five years ago. According to the relevant records of the Qing Dynasty, the official porcelain used by the royal family in Xianfeng in 1912 was a monochrome glazed ritual vessel. In three or four years, Imperial Kiln Factory resumed the firing of traditional products. So the varieties are blue and white, red sacrifice, imitation official, imitation brother, azure glaze and so on. Xianfeng imperial kiln porcelain is very rare. It is also very rare that Xianfeng Chaomin kiln handed down products have money knowledge. The Taiping Army once occupied Jingdezhen and wrote the title of "Taiping Heavenly Kingdom" with porcelain. There is such porcelain in the handed down products. But the production is vulgar and the quality is low. Generally speaking, the porcelain burned by Xianfeng five years ago has the characteristics of porcelain in the middle of Qing Dynasty. It is closely related to Jiaqing and Daoguang porcelain. Xianfeng's works five years later. It tastes a bit like Cecilia Yip and Guangxu porcelain. This stage seems to be the dividing line of porcelain in the middle and late Qing Dynasty.
The products in this period were rough and rash, the carcass was thick and loose, the surface glaze was different in thickness, and orange peel pits often appeared. The most typical clumsy model is the jade pot spring bottle, which has a thick waist and abdomen and a short neck. Xianfeng official kiln porcelain uses regular script with six characters and two lines, with neat fonts and no circles outside the words.
At the end of Xianfeng, Jingdezhen kiln factory was destroyed, and the ceramic industry was destroyed. The decline of the ceramic industry in the Qing Dynasty was nothing more than that.
Cecilia Yip has experienced 13 years. After the fierce war of Xianfeng dynasty, it was five years in Cecilia Yip. Jingdezhen Imperial Kiln Factory finally resumed firing. Due to years of war. The local kiln industry was seriously damaged. Jingdezhen Imperial Kiln Factory fired official kiln porcelain only to cope with a kind of official business of the imperial court. As for Cecilia Yip folk kiln porcelain, it is shoddy. It only maintains the firing quality of commercial porcelain. Since the official kilns of the current dynasty were restored to Cecilia Yip for five years, it can be inferred that all the official kilns handed down from ancient times were products after five years. From Xianfeng to Cecilia Yip for five years, after ten years, the production style of Jingdezhen official kiln porcelain has changed obviously, the most prominent change is Cecilia Yip official kiln porcelain and later. Xianfeng porcelain is becoming less and less. It has obvious characteristics of modern porcelain. Whether it is blue and white, colored glass or colored porcelain, it is close to Guangxu and Xuan Tong porcelain. If many works are not donated, it is difficult to distinguish between "same" and "bright". In Cecilia Yip dynasty, there were some non-money collectors in kiln porcelain, and almost all of them were money collectors. Many money collectors were not written by the Qing Dynasty. Tongzhi porcelain mainly inherits the past dynasties, and pastels are colored, usually pale yellow, light blue, light green or lavender. "Tihetang" porcelain is a display made for the imperial court, and its shape is still regular but slightly dull.
The decorative patterns in this period mostly used auspicious patterns, such as dragons, phoenixes and cloud cranes, with low style.
After the so-called "Tongguang Renaissance", the social situation was stable and the ceramic industry was revived. Although it was not as good as Kang Gan's old appearance, it was still relatively prosperous in the late Qing Dynasty. Guangxu experienced 34 years. Guangxu dynasty was only 100 years ago, and the last year of Guangxu was less than a hundred years. During this period, a large number of porcelains were burned, and the handed down products were extremely rich and the varieties were also very rich. During this period, many books were official. There are works of Palace of Gathered Elegance and Daya Zhai in Cixi's bedroom. Because Guangxu is near, the variety and quantity of porcelain handed down from generation to generation are very rich, which can be considered as compared with the official kiln porcelain handed down from generation to generation. The number of porcelain handed down from Guangxu Imperial Kiln is probably the largest. Judging from the quality of production, it is slightly better than Cecilia Yip official kiln porcelain. Jingdezhen folk kiln industry was very active during Guangxu period. Under the influence of an ancient worship and antique style, a large number of imitations of Yongle, Xuande, Chenghua and later dynasties appeared in local folk kilns. After Kangxi, Yongzheng and Qianlong in Qing Dynasty, they reached Jiaqing and Daoguang. Many imitations are quite real. Porcelain in Guangxu period was basically similar to that in previous dynasties. Pastel and blue and white are still the mainstream.
The products of this period basically include all traditional models before the late Qing Dynasty, but there are also antiques and innovations. For example, the lotus leaf pot cover and the copper beam teapot are all newly made. Blue and white boutiques are rare, and most of them are characterized by light and dull colors. They use a kind of "ocean blue", which is bright but not beautiful, with blue-purple hair and loose threads. The decorative techniques of blue and white with purple are more common.
The official kiln porcelain of "Daya Zhai" made for Empress Dowager Cixi during Guangxu period is a rare product in this period, with delicate painting style and exquisite patterns, and often has chapters such as "Yongqing Shengping", "Heaven and Earth in Spring" and "Yongqing Changchun". The products are mostly crossed with bean green flowers and black lines, and colored objects are also common. The decorative contents are mostly peony, flowering and hydrangea.
Xuan Tong was the last dynasty of the Qing Dynasty. Xuan Tong has experienced four years. Xuan Tong dynasty was only one step away from modern times. The amount burned in this dynasty may be limited, and there are not many varieties. There are mainly blue and white, multicolored, pastel and various glazed products. From the perspective of handed down products. The firing quality of Xuan Tong official kiln porcelain is very high, no matter the variety, style and glaze color, it is almost the same as the previous generation. It is basically similar to Guangxu ware, but similar works are more elaborate than Guangxu ware. Xuantong kiln porcelain has been handed down from generation to generation, which does not mean that it burns less. This dynasty only burned for three years. However, the time is approaching, and the damage surface is not too big. Therefore, there must be many artifacts left in the world. Because many porcelains have no lettering, they may be classified as Guangxu or the Republic of China in the appraisal. There was no special innovation in Xuan Tong dynasty porcelain, but a new variety of colored porcelain, pale red pastel, continued to develop after it became popular in Guangxu period. During the last years of Guangxu to Xuan Tong, Jingdezhen set up a ceramic company and branch factory according to the western system, studied new methods, and improved the technology and quality style, but failed because of the chaotic situation and insufficient funds.
Therefore, the number of products left over from this period is not much, and it is a relatively rare product so far.
The quantity of Xuan Tong porcelain is small, but it is much more regular and fine than Guangxu's. Its carcass material is excellent, the sidewall is bright and uniform, the blank and glaze are well combined, the sintering degree is high, and the knocking sound is crisp. From a technical point of view, Xuan Tong porcelain has a high technical level and has the characteristics of modern ceramic technology.
In the second year of Xuantong, Jiangxi Porcelain Company raised funds to set up China Ceramic School, which is divided into two classes: undergraduate and fine arts, to systematically train professional ceramic talents with a purpose and plan. In addition, kiln factories in Zibo, Shandong Province, Yixing, Jiangsu Province, Jianyang, Fujian Province, Foshan, Guangdong Province, Chengdu, Sichuan Province and Pengcheng, Hebei Province also have products on the market, which continued to be fired during the Republic of China.
In the Qing Dynasty, works devoted to ceramics appeared, such as Zhu Yan's Tao Shuo, Lan Pu's Lu Tao in Jingdezhen, Cheng Zhe's On Kilns, Tang Ying's Four Articles on Kilns, Ji Yuan's Tao Ya, and Xu Zhiheng's Drinking and Talking about Porcelain.