1. What characteristics are needed to identify blue and white porcelain from folk kilns of the Qing Dynasty?
Identification of blue and white porcelain from folk kilns of the Qing Dynasty. Thank you
(1) Body glaze: The carcass of blue and white porcelain in the early Qing Dynasty was thick and gray-white or gray-yellow, with a good degree of porcelainization, and the body glaze was closely combined. Most glazes were duck egg blue, with poor transparency and gloss. The strength is not strong, some glazes have shrinkage, and most of them have glaze openings. At the same time, the bottoms of many large cutters are not glazed, and the repairs are not regular. The bottoms of dishes and bowls are thick, the rims gradually become thinner, and the ring feet are slightly inward. After being carefully trimmed by craftsmen, the feet of some utensils still have a loach-back phenomenon, which is relatively smooth, and the bottom edge also has kiln red, that is, flint red.
(2) Green material: Most of the blue and white porcelain in the early Qing Dynasty was painted with domestic Zhejiang material. There are roughly green and elegant and gray basket types. The overall color is stable, a few tend to be gray, and there are also some blue and white halos. The phenomenon of scattering and blurring of patterns.
(3) Shape: In the early Qing Dynasty, blue and white porcelain was mostly made of daily utensils, supplemented by furnishing utensils. The shape focused on practicality, basically continuing the traditional style of the Ming Dynasty, and many of the shapes had the simplicity of the Ming Dynasty. A rich legacy.
(4) Decoration: The blue and white decoration of blue and white porcelain in the early Qing Dynasty is simple and natural. The painting is contrary to the single-line flat painting method in the past, but uses the multi-line flat painting technique, which pays attention to symmetry and density. They complement each other, are rough and bold, and have rich decorative themes, such as animal patterns, plant patterns, landscape pictures, ancient pictures, etc. The dragon pattern is tall and majestic, vigorous and powerful, with the potential to soar into the clouds and ride the mist, and the unicorn pattern is often combined with the tall banana leaf paintings. Together, they complement each other interestingly, and there is often white space in the banana leaf pattern.
2. How to identify porcelain from folk kilns in the Qing Dynasty
How to identify porcelain from folk kilns in the Qing Dynasty? To appreciate the collection value of a piece of porcelain, you must understand the history, culture and technical level of the porcelain at that time. First of all, we need to look at whether the overall shape of the porcelain is grand and dignified, then we need to look at the craftsmanship of the base, as well as the drawing of the pattern of the porcelain, and whether its painting techniques are proficient and experienced. Finally, we need to look at some details and whether they can do the details well. The craftsmanship of the porcelain is not bad either.
1. The state power was very stable in the early Qing Dynasty, and *** invested a lot of energy in firing porcelain. At this time, China's porcelain entered a peak period and gradually declined in the late Qianlong period. Production went through the prosperous period of Kangxi and Qianlong. During the Jiadao period, the porcelain fetal bones were slightly thicker and looser than those of the Qianlong period, and the whiteness was not much different. However, the newly imitated fetal bones are either too white and too thin, or too rough, and sometimes granular objects can be seen. Judging from the glaze surface, the glaze surface of Jiadao porcelain generally has the phenomenon of "thin orange peel glaze" and slight "wavy glaze", which is particularly obvious when viewed from the side.
Folk kiln porcelain in the mid-Qing Dynasty
2. From Daoguang to Guangxu porcelain, the lines and curves of the shapes gradually became stiff, and edges and corners were common, without a sense of roundness and beauty, and the carcass became thicker and clumsy. .
3. Although the color of blue and white has various manifestations, the mainstream is still mostly stable and pure blue, with calm and non-floating tones and clear patterns. In the later period, the colors of blue and white include cyan blue, light blue, and gray. Blue and other colors. Anhui Gu Yuzhai teamed up with domestic first-line well-known experts *** to carry out a "treasure hunting and appraisal" activity to conduct palm-to-eye appreciation and escort of collectors' collections, and to exchange collection skills and experiences face-to-face with collectors. More Information "14 75 54 68 08 8 Manager Dou" (Recognition can also be recommended to domestic first-line auction houses, honest cooperation, if you are the one)
4. In the mid-Qing Dynasty, there were more thick glazes and less thin glazes.
5. The color tone of Jiaqing blue and white is relatively stable, but due to the lack of attention paid to porcelain firing, the potency has declined, and the blue and white on the utensils are dim and floating. Moreover, the variety of blue and white has decreased, and the quality has decreased, especially Products with blue and white glaze and red underglaze are generally thin in glaze, gray in color, and blue and white are also blurred.
6. The color of Daoguang blue and white porcelain is basically the same as that of Jiaqing. The blue is not very bright, has no condensed spots and halo, and has a floating feeling.
The decorative paintings of the Seventh, Jia, and Dao dynasties were similar. There were few layers in the paintings and the paintings were dull, especially the characters were tangible but without spirit.
8. The most frequently painted pattern on blue and white porcelain during the Yongzheng and Qianlong periods was "wrapped lotus branches", which has the representative meaning of "incorruptible" and "green beyond blue". After the Jia and Dao Dynasties, cutting corners and wrapping lotus branches The painting is very simple. The originally winding lotus branches turned into hook-like flowers, referred to as "Hook Lotus".
3. Appraisal of blue-and-white porcelain from Kangxi folk kilns
The appraisal of blue-and-white porcelain from folk kilns in the Qing Dynasty lacks the chronology of the appraisal. Most appraisals are based on the shape of the vessel and the color of the blue-and-white porcelain. The blue and white porcelain of the early Qing Dynasty, that is, the blue and white porcelain of Kang, Yong and Qian, was another peak period of blue and white porcelain production after the peak of Yongxuan blue and white porcelain in the Ming Dynasty. After the middle Qing Dynasty, the production of blue and white porcelain began to decline.
Characteristics of blue-and-white porcelain in the mid-Qing Dynasty:
1. The more popular decorations on blue-and-white porcelain after the mid-Qing Dynasty are mostly lotuses, peonies and double happiness characters, which are unparalleled , ladies in Qing Dynasty costumes, Bogu, eight auspicious ornaments.
2. The painting style of blue and white porcelain after the mid-Qing Dynasty, common double hook and line patterns without color filling.
3. The cobalt material for the color of blue and white utensils after the mid-Qing Dynasty is domestically produced. The color of blue and white is characterized by gray, black, mixed and floating.
4. The blue and white utensils of the middle and late Qing Dynasty have rough and loose texture, and sand grains and eye holes can be clearly seen in the utensils.
5. The circles on the blue and white utensils after the mid-Qing Dynasty were sloppy and irregular.
6. The texture of blue and white utensils in the middle and late Qing Dynasty is rough and loose, and grains of sand and eye holes can be clearly seen in the texture of the utensils. The circles on the blue and white utensils after the mid-Qing Dynasty were sloppily repaired and irregular.
4. What is the main basis for identifying the blue and white porcelain of Kangxi folk kiln?
The early Kangxi blue and white porcelain has a thick body, a fat glaze and a bluish white color. It has shrunk glaze and small brown eyes, and there are also utensils. The glaze color of the body and the bottom of the vessel are inconsistent. The mouth of some vessels is often painted with a layer of sauce glaze. The bottom and feet are not very delicate and have a flint red color. A circle of fine spiral ring marks can be seen at the exposed tire.
Glaze shrinkage, sand sticking, and non-smoothness are common in Kangxi folk kilns. The inner glaze of the soles of the utensils is thin and white, and radial knife marks are common. It is shaped like a circle with a large diameter. Many bottles, goblets, and cans have a step-shaped bottom with extremely straight corners. It is commonly known as a two-story platform or a step bottom. Double-circle feet were also popular during this period, especially Kuilong folded rim washes and printed boxes. The inner circle was shorter than the outer circle, there was no unglazed tire between the two circles, and the circle foot was wide and thick.
Due to the further increase in the firing temperature of the blue and white in the mid-Kangxi period, the carcass is white and hard, and the cross-section is like a glutinous rice cake. There are few impurities, the carcass is moderately thick, and attention is paid to tire repair.
There are two types of glazes: pink white and pulp white. The pink white glaze has high hardness, while the pulp white glaze is slightly loose and occasionally cracked. There is also a bright green glaze. The feet of the blue and white porcelain in the middle period are not as large as those in the early period. Some of the feet are polished and smooth and have the shape of a loach, but they are not as round as the Yongzheng blue and white in the later period. Flint red is rare. The body glaze is very tightly combined, and the glaze color of the inner and outer walls of the vessel and the bottom foot are basically the same.
At that time, there were also porcelain bodies made of finely washed slurry, commonly known as slurry bodies. The products included water bowls, ink pad boxes, etc., and the carcass was relatively light. The blue and white in the late stage have a blue and white glaze, mostly bright blue glaze, and also have a pink and white glaze. The glaze has a deep and subtle luster. The carcass is heavier than the middle stage, with higher hardness. The base is deeper and generally flat-cut, and the cutting is neat.
Early blue and white porcelain was painted with Zhejiang materials or blue materials from Jiangxi and Guangdong. It was grey-blue in color. Some of them had poor color development, thick gray and blue-black, which was very similar to the Shunzhi blue and white porcelain. The mid-term blue and white uses pearl materials from Yunnan Province. This blue and white color is refined and pure. Due to the improvement of the water sedimentation method to the calcination method, the color is bright blue and verdant, without any floating feeling, bright and gorgeous, clear and not muddy, bright but not vulgar. .
Some are sapphire blue, bright blue but not angry. It is very different from the blue and white flowers of other dynasties in the Qing Dynasty, and the characteristics of the times are very obvious. And formed a new artistic outlook.
People often call Kangxi blue and white as green hair blue, Kangxi five colors, and ink divided into five colors. There are five levels of color changes, and the green materials used are divided into first thick, right thick, second thick, straight light, and shadow light.
The ancients spoke highly of the Kangxi blue and white, saying that the blue and white were of the same color, with depth and lightness visible. There were bottles and jars of seven or nine colors, which were so delicate and green. The richness and lightness of the objects, the distinct intensity of light, and the rendering of different levels are entirely due to the craftsmen's skillful use of color techniques, that is, the water separation method, to consciously create a variety of different shades of tones, even in one stroke. Different shades of rhymes can also be distinguished in the painting, such as blue and white landscapes with figures, flowers and birds, etc. No matter the mountains are far away or near the water, or the mountains are overlapping, they all have a rich sense of rhythm and three-dimensionality. Combined with the use of sfumato, they are closer to each other. Heda's method of expression of traditional Chinese painting themes is like an ink flower, which is very ornamental. This is one of the important reasons why Kangxi blue and white flowers are highly praised by the world.
The color of late blue and white tends to be light and elegant, some are gray-blue, some are faint and scattered, and some are painted blue and white, which account for a small proportion. They are mostly painted on cups, plates, dishes and other small utensils. . In addition to the traditional white ground blue and white, the Kangxi Dynasty also produced pulp-embedded blue and white, Ge glazed blue and white, Langyao blue and white, blue glazed blue and white, yellow glazed blue and white, sprinkled blue and consecrated blue and white, blue and white ground, bean green glazed blue and white, and outer sauce. Derived varieties such as blue and white under glaze, blue and white red color, blue and white under glaze red, blue and white with yellow, blue and white with purple, blue and white with gold, blue and white with carving, etc. Although the quantity of firing is not large, they are unique and interesting.
Kangxi blue and white imitating Ming Dynasty blue and white hair color is also very popular, accounting for a small proportion, mainly imitating Yongle and Xuande blue and white Su Nibo, which creates an artistic effect of heavy, bright and scattered green materials. Secondly, there are light drawings imitating Chenghua blue and white and equal blue materials, and imitating Jiajing blue and white blue and white materials with purple in the blue.
This period was the best at imitating Xuande blue and white porcelain. Since it used domestic cobalt material with low iron content and good stability, the flowers painted showed black crystal spots, which were artificially repainted and dotted. It is caused by intentional dyeing. The sinking and texture of the blue and white are not enough. The glaze is also bluish, and some individuals also have orange peel lines. If you touch the glaze with your hands, it is relatively smooth and the unevenness is not obvious. However, the Yongxuan blue and white glaze often has a wavy shape. , overall, the level of imitation is still very high. The shapes of Kangxi blue and white porcelain were the richest period among the blue and white porcelains of the Qing Dynasty. The forms were even more varied and emerge in endlessly. One type of vessel often has many different styles, based on people's real life needs and conditions. , antique innovation, not only furnishing porcelain, but also a large number of porcelain for daily use, as well as various stationery, tea sets, elephant porcelain, porcelain sculptures, antique bronze style sacrificial vessels, export porcelain, etc.
Export porcelain occupies a very important position in foreign trade at that time. There are mainly two varieties: surface flower and multicolor. They are basically folk kiln wares. The colors are thicker, the shapes are tall, and the decorations are also adapted to foreign countries. The demands of the market are complex and there are many innovative styles. The production of large-piece cutters in the Kangxi Dynasty was also second to none in the Qing Dynasty. This is closely related to the increasingly perfect molding methods and the maturity of the technology.
Such as: large mallet bottles, large incense burners, large bottles with Wanshou characters, large plate-mouth bottles, phoenix tail statues, flower pots, large fish tanks, embroidered piers, large lidded jars, etc. The overall characteristics are simple, steady, and quite unique. The intensity of masculinity. Despite their large size, some of which are as high as centimeters, they are rarely deformed and the body interface is not obvious, reflecting the advancement of molding and tire repair technology.
The external contours and turning points of the object are clear, neat and energetic. The style is tough, straight and upward, simple, powerful, rough and bold, full of masculinity, the production is very clear and standardized, and there is no sense of clumsiness at all.
The small and medium-sized utensils are full of originality, rigorous and generous, and pay attention to the overall effect. They are not rigid, and they are dignified and elegant. During this period, many square utensils also appeared, such as square plates, square bowls, square mallet bottles, square statues, square flowerpots, etc. Comparatively speaking, it was much more difficult to make square utensils than round ones, which fully reflects the craftsmanship of the craftsmen at that time. There are many types of Kangxi blue and white porcelain due to the superb level of modeling design and the advancement of porcelain making technology. According to some common utensils, the selected categories are introduced as follows: Bottle type: The Kangxi blue and white porcelain has the most abundant shapes and is mostly used for display and appreciation.
There are long-necked bottles. The early bottles are tall and have thick necks, while the later bottles are short and short. Plum vases have small lips, short necks, and plump bodies. Most of them have jade-shaped bases, while a few have ring feet and no style.
5. What are the key points for identification of porcelain from the five major folk kilns of the Song Dynasty
The porcelain of the Song Dynasty has made new improvements in terms of body quality, glaze and production technology. The technology has reached full maturity.
In terms of process technology, there is a clear division of labor, which is an important stage in the development of my country's porcelain. There were many famous kilns in the Song Dynasty that were famous both at home and abroad. Yaozhou kiln, Cizhou kiln, Jingdezhen kiln, Longquan kiln, Yue kiln, Jian kiln and Ru, Guan, Ge, Jun and Ding kilns, known as the five famous kilns of the Song Dynasty, all have their own unique products. style.
The products of Yaozhou kiln (Tongchuan, Shaanxi) are exquisite, with very thin fetal bones and uniform glaze layers; Cizhou kiln (Pengcheng, Hebei) uses magnet mud as the base, so the porcelain is also called porcelain.
Cizhou kiln mostly produces white porcelain and black flower porcelain; Jingdezhen kiln's products are thin in quality, smooth in color, exquisite in light, and their high whiteness and light transmittance are promoted as one of the representative works of Song porcelain; Longquan kiln's products are mostly pink Green or emerald green, the glaze color is beautiful and bright; the porcelain fired by the Yue kiln is thin, delicate and beautiful in luster; the black porcelain produced by the Jian kiln is one of the famous porcelains of the Song Dynasty, and the black glaze is as bright as paint; the Ru kiln is one of the five major porcelains in the Song Dynasty. The crown of the famous kiln, the porcelain glaze color is mainly light blue, and the color is clear and moist; the existence of the official kiln has always been a controversial issue. Generally, scholars believe that the official kiln is the Bianjing official kiln. The kiln was located in Bianjing and fired porcelain for the palace; Brother Where the kiln was fired has always been a matter of controversy.
According to the analysis of various data, the Ge kiln was most likely produced together with the official kiln of the Northern Song Dynasty; Jun kiln fired more colored porcelain, with rouge red being the best for green and ink-colored porcelain. Not bad; the porcelain produced by Ding kiln has a fine body, thin and shiny quality, moist porcelain color, and white glaze like powder, so it is called Fending or Baiding.
6. What characteristics should be looked at to identify blue and white porcelain from folk kilns in the Qing Dynasty
Characteristics of blue and white porcelain from folk kilns in the Qing Dynasty: (1) Body glaze: The body of blue and white porcelain in the early Qing Dynasty was thick and gray or white. Grayish-yellow, with a good degree of porcelainization, the body glaze is closely combined, most of the glazes are duck egg blue, with poor transparency and low gloss. Some glazes have glaze shrinkage, and most of them have glazes. At the same time, many large pieces of cutters have bottoms. There is no glaze, and the repair is not regular. The bottom of the bowl is thick and heavy, the rim gradually becomes thinner, and the ring foot is slightly drawn inward. After the craftsmen carefully trimmed the foot edge of some utensils, there is also a loach-back phenomenon, which is relatively smooth. The bottom edge also has kiln red or flint red.
(2) Green material: Most of the blue and white porcelain in the early Qing Dynasty was painted with domestic Zhejiang material. There are roughly green and elegant and gray basket types. The overall color is stable, a few tend to be gray, and there are also some blue and white halos. The phenomenon of scattering and blurring of patterns. (3) Shape: The blue and white porcelain of the early Qing Dynasty was mainly used for daily use, supplemented by display utensils. The shape focused on practicality and basically continued the traditional style of the Ming Dynasty. The shape also has the simple and simple legacy of the Ming Dynasty.
(4) Decoration: The blue and white decoration of blue and white porcelain in the early Qing Dynasty is simple and natural. The painting is contrary to the single-line flat painting method in the past, but uses the multi-line flat painting technique, which pays attention to symmetry and density. They complement each other, are rough and bold, and have rich decorative themes, such as animal patterns, plant patterns, landscape pictures, ancient pictures, etc. The dragon pattern is tall and majestic, vigorous and powerful, with the potential to soar into the clouds and ride the mist, and the unicorn pattern is often combined with the tall banana leaf paintings. Together, they complement each other, and there is often white space in the banana leaf pattern. The production style of folk kilns that lasted for more than 260 years in the Qing Dynasty cannot remain unchanged.
Thank you.
7. How to identify the age of folk kiln porcelain
(1) Shape is an important basis for identifying porcelain. Imitation of ancient ceramics often results in a similar shape but loses its charm and elegance. You may not be able to learn from his ancient clumsiness.
Because the creation of an artifact is closely related to people's living habits, aesthetic standards and technical conditions at that time. Generally speaking, ceramics can reflect the characteristics of each era in terms of decoration, glaze, etc., but the shape is more prominent in this aspect.
Therefore, if you can be good at identifying its shape and expression, you can master a more reliable method in identification work. The observer shape must first have a basic concept of the shapes of the past dynasties.
The shapes of ceramics were generally simple in ancient times, but gradually became more complex with the evolution of the times. In terms of the shapes of the Yuan, Ming and Qing dynasties, the shapes of the Yuan Dynasty are mostly blunt, heavy and childish, and both green and white porcelain are more prominent than the general Song and Ming porcelain.
In particular, common utensils such as jars, jars, bottles, pots, plates, and bowls used in daily life are often quite large in shape. For example, the diameter of the blue and white and underglaze red bowls handed down from the Yuan Dynasty is 42 cm, and the diameter of the blue and white and underglaze red bowls is also about 45 to 58 cm.
Due to the thick body and difficulty in firing, it is inevitable to have deformation defects such as warped edges, flattening, concave centers, and convex bottoms. Therefore, many literatures in the past have talked about the roughness of Yuan porcelain. In fact, this is not comprehensive enough. of. The richness and variety of Yuan porcelain decorations cannot be overemphasized. In terms of the shape of the large plate, most of the twelve-petal plates along the flower mouth are flower mouths and flower bottoms (the mouth and bottom are both in the shape of twelve petals), which shows that the production was careful at that time. , even if the foundation is small, he will not let it go easily.
This practice disappeared after Yong and Xuan of the Ming Dynasty (Yong and Xuan only saw bowls and medium-sized bowls and washers with flowered mouths and feet, but no plates with flowered feet). In the Yongle period, the bottoms of plates and bowls were mostly convex on the outside and concave on the inside, and the circle was enlarged compared to the Yuan Dynasty, making them appear extra stable.
In particular, the fetal soil is finely refined and the shape is of appropriate weight. During the Yongle period, there was another pure white vessel with hidden flowers. The carcass was very light and thin. People in the Qing Dynasty once described it with a poem: "I am only afraid of being blown away by the wind, but also worried about being sold by the sun."
This kind of "thin as an egg curtain" porcelain has exquisite shapes, such as plates and bowls. Although there were imitations in later generations, they still fell short of the techniques of dark flower decoration. Xuande porcelain has a wider variety of shapes. No matter plates, bowls, cups, pots, cans, bottles, etc., they are all very exquisite. They can be original and innovative. For example, "Wuzhan Zun" can be said to be an unprecedented work, except for the Qianlong period. Except for imitations, there are very few such imitations in later generations.
The common shapes of the Yong and Xuan periods among the handed down products include: chicken heart bowl, flower watering pot, monk hat pot, long round belly pot (the mouth is gourd-shaped), celestial sphere bottle, flat belly ribbon gourd bottle , Four Seasons Horned Beast Ear Bottles and Linghua-style washers, Linghua-style handle bowls, etc. During the Chenghua period, great efforts were made to improve the quality of porcelain, and the shapes were only delicate and delicate, and there were no large vessels.
Although there are not many porcelains handed down from Hongzhi, they are famous for their yellow-glazed amphora and bowls. The most prominent shapes in the Zhengde period include pen stands, screens, pier-shaped bowls, millstone-style incense boxes, seven-hole halberds, round-bellied tall-footed bottles, etc.
After the Jia and Wan dynasties, the shapes gradually became more complex, and there were many innovative works in the shape of the vessels. There is a record in the literature that "the production is easy to test, and everything is included". Taking stationery as an example, there are pen holders, pen boxes, pen washers, wash basins, inkstones, color plates, color bins (commonly known as warm bowls), printing boxes, etc.
There are also large fish tanks, large jars, large bottles, large plates (the Jiajing yellow ground blue and white plate has a diameter of up to 80 cm), etc. The shape of the vessels is even larger than that of the Yuan Dynasty; others such as hollow bottles and wall bottles , holding boxes, square cups, lampstands, embroidered piers, etc. are too numerous to mention. It can be said that the style is both heavy and clumsy as well as light and gorgeous, but compared to the works of the Yong, Xuan and Cheng periods, it is a bit shoddy.
In the Qing Dynasty, the number of utensils in terms of shape and type increased significantly, and they were exquisitely made. Among them, the innovative works of the Kangxi period are unique.
Among the carved utensils are the Pipa Zun, the Horseshoe Zun, the Elephant Leg Zun, the Phoenix Tail Zun, the Guanyin Zun, the Taibai Zun, the Apple Zun, the Apricot Leaf Zun, the stick vase, the Bubu Orange, the reverse load, and the Liu Zun. The leaves and convex-belly flower cups are rare vessel shapes in previous generations. The Yongzheng period was also rich in the creation of vessel shapes, such as Shuanglu Zun, Sanyang Zun, Qiuer Zun, Deer Head Zun, Luozi Zun, Niutou Zun, Garlic Mouth Ribbon Ruyi Zun, Skimmed Olive Vase, Taibai Altar , chrysanthemum plate, etc.
In particular, the imitations of the famous kilns of the Song Dynasty and the Yong and Cheng porcelains not only have lifelike glazes and patterns, but are also more realistic in shape. The more prominent shapes in the Qianlong period include revolving neck bottles, revolving bottles, revolving belt bottles, flower baskets, fans, book-style printing boxes, book-style golden bells, etc.
During this period, both innovation and antique imitation reached its peak. The imitations of copper, stone, lacquer, jade, bamboo, woodware and elephant products were all very similar. After Jiaqing and Daoguang, most of them followed the old system, and there were few innovative works.
The shape has transformed from exquisite to clumsy, and has gradually lost the excellent tradition of the early period. For example, the shape of the jade pot spring bottle was not significantly different during the Kangxi, Yongzheng, and Qianlong dynasties. Later, it gradually became clumsy. In the Tongzhi, Guangxu, and Xuantong periods, it turned into a short and thick form with a short neck and a plump belly. The shape was far less exquisite than before. Beautiful.
After knowing the basic characteristics of Yuan, Ming and Qing porcelain shapes, you need to master the methods of observing the shapes. Generally, we should first pay attention to the mouth, abdomen and base.
Many similar vessels look very similar at first glance. If you look closely at these three parts, you can draw different conclusions. For example, in the mid-Ming Dynasty, the shapes of carved vessels such as bottles, pots, and cans often left obvious seams on the abdomen. However, after the Qing Dynasty, the seams were often not obvious due to the detailed turning of the products after the Qing Dynasty.
Such a so-called thin line of difference often plays a very important role in the work of identifying forgeries. Another example is that the curvature of the body of the Yuan Dynasty market is smaller and shallower, while the curvature of the Yong and Xuan market in the Ming Dynasty is slightly larger and slightly deeper. The former has a small base and the latter has a large base.
Especially in the Yongle style, no matter how large or small the plates and bowls are, most of them have a concave center and a convex bottom center, and the inner wall of the foot is slightly tilted outward, which is about one-half to four quarters shorter than the outer wall. one part. Others, such as the bottoms of many folk kiln plates and bowls in the late Ming and early Qing dynasties, often have obvious wheel-shaped turning marks (the so-called "jumping knives"), which are extremely rare in official kiln porcelain.
As for the Kangxi large plates, some have double-circle bottoms, and the three-color flat-bottomed wares of folk kilns often have "linen patterns" on the bottoms, which was also a common feature of the style at that time.
Cultural relic workers often use these as part of the basis when identifying the authenticity of old and new artifacts.
In some eras, the fine works of the previous generation are similar or imitated by later generations. Due to the similar decorative painting methods and glaze raw materials, it is often difficult to distinguish them. For example, Yong and Xuan blue and white skimming bowls are mostly painted with three layers of decoration on the inside of the bowl and four layers of decoration on the outside of the bowl.
8. What are the methods for identifying Ming and Qing folk kiln porcelain?
First, observe whether the Ming and Qing porcelain conforms to the shape characteristics of that dynasty. Those that do not conform are imitations. For example, the blue and white melon-edge round jars from the Ming Dynasty are mostly short, fat and thick in shape, while the blue and white melon-edge round jars from the Qing Dynasty are slender from top to bottom and have a grinded mouth. Another example is the colorful chicken jar cup from the Chenghua period of the Ming Dynasty and the mallet bottle from the Kangxi period of the Qing Dynasty. Although there were imitations in later dynasties, the shapes of the vessels are somewhat different from those of the previous dynasties. By grasping these differences, you can tell whether it is the original or a later imitation.
The second is to observe whether the proportions of various parts of Ming and Qing porcelain are coordinated. The proportions of various parts of Ming and Qing porcelain are just right, which is generally difficult to achieve with imitations.
The third is to observe whether the appearance lines of Ming and Qing porcelain are smooth, overly natural, and give people a sense of beauty. If the appearance lines are stiff, the processing is sloppy, and it is excessively unnatural, it can basically be judged as an imitation. To identify the authenticity of ancient porcelain from the shape of the vessel, it is best to compare the object to be identified with typical vessels of a certain historical period, and carefully observe whether the rim, ears, shoulders, belly and feet are consistent, so as to obtain the basis for identification.
9. What are the key points for identification of blue and white porcelain?
1. The relationship between official and private kilns and the staging of Kangxi blue and white porcelain. Blue and white is one of the main varieties in the Chinese ceramic kingdom.
It is not only known as the "Four Famous Porcelains" of Jingdezhen along with exquisite, colored glaze and pastel, but also enjoys the reputation of "National Porcelain". During the Ming and Qing Dynasties, both official and private kilns produced large quantities of kilns.
Official kiln production does not spare any cost, and the value lies in precision. Folk kilns, on the other hand, have many changes and lively decorations, and are designed for commodity production.
The products are available in both thickness and thickness, and the output is large. Not only does it meet the needs of the domestic market, but it is also exported in large quantities.
Official kilns are the refinement and sublimation of folk kilns, which in turn will influence and promote the development of folk kilns. The complementary and mutually reinforcing relationship between official and private kilns has resulted in a situation where both the styles of the same era and each have their own characteristics.
It is the most contemporary style among them that provides the basis for the dating of folk kilns. Folk kilns usually change and transition naturally according to objective factors such as the development of productivity, the advancement of usage methods, and the gradual change of folk art concepts. This is a common inheritance characteristic of folk kilns.
There are almost no reliable records about folk kilns in historical documents. Compared with the research on official kilns, the research on blue and white folk kilns in Jingdezhen is still in the initial stage of obtaining data to solve the dating problem. The diversity of the appearance of blue and white in folk kilns and the complexity of its development and evolution determine the difficulty of chronological research on folk kilns.
In the porcelain production in Jingdezhen during the Kangxi, Yong and Qian dynasties of the Qing Dynasty, which was at the highest level in history, the Kangxi folk kilns had an important influence. In the 61st year of the Kangxi Dynasty (1662-1722), the economy was prosperous, foreign trade was prosperous, and the national power was strong.
Due to a series of measures such as tax reduction and exemption, "government-owned private burning" and the abolition of the "craftsmanship" system, private kiln production has been vigorously developed. In view of the long span of the era, current academic circles generally divide it into three periods: early, middle and late.
The early period is from the first year to the twentieth year (1662-1681)), the middle period is from the twenty-first to the forty-fifth year (1682-1706), and the late period is from the forty-sixth year to the sixth year. In the eleventh year (1707-1722), the author will discuss the identification of blue and white porcelain from Jingdezhen folk kilns in the Kangxi Dynasty, hoping to "suggest others to attract more attention". 2. Shape, tire, glaze and craftsmanship The blue and white designs of Kangxi folk kilns are simple and dignified, with coordinated overall proportions, smooth lines and full of masculine beauty.
The models and specifications are too numerous to count. This just reflects what Liang Tongshu said in "An Examination of Ancient Bronze and Porcelain": "The official kiln wares are pure, while the folk kiln wares are miscellaneous."
Mainly found are bottles, square bottles, Guanyin bottles, plum bottles and tube bottles , stick vase, bile vase, jade pot spring vase, pipa vase, flower gob, covered jar, general jar, porridge jar, Gaozang jar, lotus seed jar, plate, six-sided plate, eight-sided plate, flower mouth folded edge plate, saving plate , bowl, bowl with extra mouth, bowl with closed mouth, pier-type bowl, lid-type bowl, covered bowl, goblet, handle kettle, jar, flowerpot, pen holder, wash, inkstone, box, embroidered pier, smoker, bowl-type stove, Tube-type furnaces, washing-type three-legged furnaces, tripod-type furnaces and porcelain plate paintings, etc.
Among them, flower vases, plum vases, cylinder vases, mallet vases, lidded urns, general jars, porridge jars, plates, bowls, kettles with handles, military urns, jars, pen holders and bowl-type stoves are the most common.
In addition to following the cylindrical shape of the Chongzhen and Shunzhi period, the flower goblet also created a new one with two sections shorter at the top and longer at the bottom. The cup with the soles of the feet tilted outward is also known as the "Phoenix Tail Zun" (its height is usually about 45 cm) because its mouth and neck are tilted outwards in the shape of a phoenix tail.
Regarding this, "Yin Liu Zhai Shuo Porcelain" once recorded: "Those with big mouths and small bellies are called flower gobs. Those with Ming system have straight body without any twists and turns. After Kangxi, the waist is slightly bulging like the incense table. It's a tool for arranging flowers. "The plum vase has a lip, a short neck, broad shoulders, and gradually converges to the shin.
The cylinder bottle is also known as the "elephant-leg bottle". The mouth is tilted outwards to close the neck, shoulders are slipped, and the column shape slowly shrinks downward. The stick bottle behind the tube bottle is named after the shape of the stick used by farmers in Jiangnan, China.
There are square and round hammer bottles, with the latter being the majority. The lid of the vat has a straight mouth with an exposed tire, broad shoulders and a swollen abdomen. There are two types of bottoms: glazed and exposed. The lid is in the shape of a steamed bun or has a concave surface.
Jiangjun jars have straight mouths, short necks, plump shoulders, and bulging bellies. They are divided into two types: unglazed flat bottoms and ring-footed ones. The top of the lid is decorated with a pearl button. The porridge pot has a straight mouth, smooth shoulders, round belly, slightly tapered bottom, and flat bottom.
The cover is a round button or has holes, and can be decorated with copper rings. The shoulders have a pair of double holes, and metal rings can be worn for easy lifting.
The disk is usually the lip. The bowl has an extravagant mouth, a round belly, and a rounded belly that slowly tapers downward. The glaze bottom is full of circles.
The military holds a bell mouth, a neck, and a ball belly, and flows like a ***. It is generally an export product. Among teapots with handles, the four most common ones with clear shoulder veneers are used for handles.
The vats are generally made very finely, with straight mouths, rounded lips on both sides, bulging belly and unglazed bottom. The pen holders can be found in straight tubes, skirted waists, bamboo-shaped ones, etc.
The larger caliber can reach 34 cm, which is called "big pen sea". The bowl-type furnace is basically the same as the utensils of the late Ming Dynasty and Shunzhi Dynasty. They are all in the shape of a curled mouth, a bulging belly, a downward convergence, a flat bottom, and a circle foot.
The fetus soil is washed very pure, the carcass is firm and meticulous, the cross-section is like a glutinous rice cake, and the weight is heavier. Also popular are light and soft porcelain bodies made of finely washed slurry, commonly known as "slurry bodies".
This carcass began in the Ming Dynasty and was usually used for fine-line porcelain. The early carcass has the legacy of the late Ming Dynasty, and feels slightly heavier than the middle and late ones.
The glaze juice enjoys the reputation of "hard white glaze", "pink white glaze" and "bright white glaze". The surface is smooth and shiny, and orange peel lines and brown eyes are commonly seen.
The color of the glaze on the inside and outside of the vessel is basically the same, and the glaze on the bottom is mostly white and thin, which is different from the body of the vessel. In the early stage, the glaze color is white with a flash of green, in the middle stage, the glaze is white and bright, and in the late stage, it is hard and bright blue.
Sesame glaze was common on early utensils. There are often natural burrs or glaze spots on the rims and feet of the glaze. This is due to the weathering and cracking of the originally applied layer of convex white glaze containing powder.
The tire glaze is tightly combined, the tire repair is more regular, and the spinning marks are more obvious. A small amount of sand bottom and exposed tires of thick tires show yellowish brown flint red.
Most of the early ring feet are beveled on both sides. In the middle and late stages (especially the fine ones), the ring feet are smooth and are called "loach backs". The rough ones generally have sand on the bottom and are not polished smoothly. Utensil feet are divided into flat feet, wide and thick circle feet (common for plates and bowls), double circle bases (common for pen holders, printing boxes, small dishes, light holders, etc.), two-layer bases (mainly for cutter vessels), There are several types including buttress bottom (mostly pen holders) and circle foot.
3. Decoration The early blue and white decorations of Kangxi folk kilns still retain the painting style of the late Ming Dynasty and Shunzhi period, with bold and rough coexistence with fine workmanship. In the middle and late period, he was influenced by calligraphers and painters such as Dong Qichang, Chen Hongshou, Liu Panyuan and Hua Xi from the late Ming Dynasty and early Qing Dynasty. Qiang ah eight resistant 酢钡热 said scratching 欤? employing Ji 迬 left? 饩成钤丁T缙诨?餍Mechanicalハ咂炂浚?养髂┮欧筭V-shaped 簰簝粤鞒┕は福?based⑷出 Ⅰ扉⒉convergence⒂dream? condyle.