The relevant information is as follows:
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 skilled craftsmen gathered in Jingdezhen, forming a prosperous situation that "craftsmen came from all directions and made the world a success". Inherit the Ming Dynasty systematically, continue to set up imperial kiln factory to burn palace porcelain in Jingdezhen, and implement the method of burning palace by 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.
Generally speaking, the style of Qianlong blue and white has reached a state where everything is ready. Exquisite wall bottles, elegant appreciation bottles, exquisite hollow rotating bottles, and paired bottles, statues and other large-scale display porcelain are all gorgeous and spectacular. Small utensils are innovative, while large utensils are dignified and simple, luxurious and elegant.
Jingdezhen Imperial Kiln Factory is mostly described according to the drawings sent by the imperial court, and its decorative style is characterized by meticulous, complicated and gorgeous, reflecting the life content of the people.
The most striking patterns of dried blue and white flowers, such as twining lotus, Yunlong and babao patterns, appear in large numbers. In addition, there are: lotus pattern, three-fruit diagram, hook connection, folded lotus, lotus flower, bound peony, folded peach, four seasons flower, Hua Die, flower and fruit, sea pomegranate, nine peaches, cloud bat, Baohua, flower "Shou", fish algae, chrysanthemum butterfly, bamboo stone, peach bat, banana leaf and pine bamboo plum.
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.
There are landscape figures, Liu Xia fishing, fisherman's music, eight immortals crossing the sea, landscape grazing, pavilions of figures, 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 plates and bowls painted and decorated inside and outside, such as bucur's flower plate folded outside in blue and white, blue and white peony flower bowl wrapped inside and outside, blue and white hanging clouds, blue and white wrapped outside, etc. This decorative technique also often appears on porcelain in the late Qing Dynasty. Among the decorative patterns of Qianlong blue and white, the increase of auspicious patterns is also one of its characteristics, that is, using the homophony of various animals, plants and objects to draw decorative patterns symbolizing auspiciousness or blessing, such as the bat's "blessing", the fish's "jade", the pine crane's "longevity" and the mandarin duck's "pair". 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".
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, Gao Zuwan, Shuanglian and Bottle generally wrote six-character cross-section seal scripts in their feet. The official style of Qianlong dynasty is compact and neat, horizontal and vertical, and the blue and white colors are rich and deep. One thing we should pay attention to when distinguishing true and false Qianlong blue-and-white porcelain is that the "concave" in the lower half of the word "zhi" is generally "concave", that is, it is early and has distinct characteristics of the times.
The imitation styles are: "Ming Xuande Year System", "Ming Chengdai Year System" and "Ming Jiajing Year System".
Tang Mingkuan: More than Tang Mingkuan of Yongzheng Qinghua. There are Hehuitang, Xu Huatang, Baiyishan, Ningjinzhai, Lianningzhai, Caixiutang, 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.