(1) Shape is an important basis for identifying porcelain
In the Qing Dynasty, the number of shapes and types of porcelain increased significantly, and the production was exquisite. 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 cudgel bottle, the Bubu Orange, the reverse load, the willow leaf, and the protruding belly flower goblet. They are all rare utensil 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 famous kilns of the Song Dynasty and Yongcheng porcelain not only have lifelike glazes and patterns, but also are more realistic in shape. The more prominent shapes in the Qianlong period include revolving neck bottles, revolving heart 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 a climax, and the imitations of copper, stone, lacquer, jade, bamboo, wood 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 changed from exquisite to clumsy, and the excellent tradition of the early period has gradually been lost. 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 appear very similar in appearance 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 during chronology. 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, they are mostly concave in the center and convex in the bottom, and the inner wall of the base is slightly tilted outward, which is about one-half to one-quarter shorter than the outer wall. 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 skimmed bowls are often painted with three layers of decoration on the inside of the bowl and four layers of decoration on the outside of the bowl. At first glance, the glazes are generally similar, with the edges of the bowls being skimmed. However, if you compare them carefully, you will find that the important difference between them is the degree of convergence of the lower part of the bowl, that is, the Yongle bowl is fuller, while the Xuande bowl is slightly thinner. The Chenghua blue and white skimming bowl imitated during the Yongzheng period also has the disadvantage of a slightly tapered bowl belly. These subtle differences are flaws caused by technical conditions such as molding and kiln firing, or accidental neglect when imitating the real thing (the shape of the imitation is often more or less different from the original, so Although the imitation is made according to the original product, it is identical to the original shape before being fired. However, after being fired at high temperature, its shape is different from the original shape in some places. This may be due to the preparation and refining of the raw materials. The fineness and thickness are inconsistent, and the result of vertical and horizontal shrinkage and expansion after high temperature is the key to identifying the shape of the device). As for some imitations made based only on rumors or speculation, such as the various so-called "Yongle Pressed Hand Cups" imitated by later generations, their shapes are becoming more and more bizarre (Zijia, Wanwan). The imitation began to get bigger and bigger, and later it even stopped being a cup and turned into a big bowl). As long as you have seen the real thing, you will naturally not make any assumptions.
(2) Different periods have different patterns and colors
The patterns on ceramics have distinct characteristics of the times like the shapes, and due to the continuous enrichment and improvement of the raw materials and techniques for painting porcelain, Improvements, both in terms of subject matter, content and form of expression, have their own levels and characteristics in different periods, and thus become a powerful clue for dividing eras and identifying authenticity.
Generally speaking, the development process of porcelain decoration is nothing but from simplicity to complexity, from marking and engraving to carved depiction, and from simple one color to gorgeous and colorful.
For example, the deformed lotus petal (commonly known as "eight codes") pattern commonly used on Yuan porcelain evolved on the basis of the decoration of Jin porcelain. In particular, the emergence of underglaze colors such as blue and white and underglaze red in the Yuan Dynasty opened up a new era of porcelain decoration. The new era has broken the monotonous situation of one-color glaze in the past. The invention of various colors after the Ming and Qing Dynasties has enriched the decoration of porcelain, and the emergence of each decorative method has its own birth, growth, and development process, so the age of the artifacts can also be inferred. For example, the early blue and white and underglaze red products had less beautiful colors among Yuan Dynasty products because the characteristics of the raw materials had not yet been fully grasped. Moreover, the underglaze red often had the disadvantage of being dark in tone or turning into magenta or gray-black or even dispersing. However, most of the mature blue and white and underglaze red decorative patterns of the Yuan Dynasty are very beautiful in layout. The patterns not only pay attention to the coordination of primary and secondary, but also commonly use multi-layered continuous lace patterns. Regardless of the mountains, rocks and flowers, there is a circle of blank edges outside that are not filled with color. Forming a unique style (after the middle of the Ming Dynasty, this painting method gradually became extinct. Although it was occasionally used, it was only in small numbers. In addition, due to the limitations of raw material composition, the painting methods also have different characteristics of the times. For example, in the late Yuan and Ming Dynasties, In the early days, some porcelains made of imported green materials were rich and dazzling in color, but the tones were extremely unstable and unsuitable for painting figures. Therefore, there were fewer figures in the decorations of the Yuan Dynasty. There is also the saying that "there were few people in the Yuan Dynasty, Yongle" There is a saying that "there are more women than men in Xuande". As for Chenghua Doucai, although it is bright and crystal clear, it also suffers from the so-called shortcomings of "flowers have no shady side and leaves have no negative side" due to the limitations of raw materials and technology, and the painting The characters, regardless of age or sex, all wear the same clothes in all seasons, and there is no distinction between the exterior and interior of the clothes with exaggerated patterns and different colors. These are the characteristics of the times in the decoration, which are often ignored by later imitations. If we can pay attention to them, Naturally, it will be helpful to identify the authenticity.
In addition, some differences in the times can also be found in the colors used. For example, according to the physical data currently available, there is no black color in Chenghua paintings. At that time, in addition to using underglaze cobalt to draw blue lines, red and ocher were also used to draw outlines. If we encounter a piece of Chenghua color porcelain with a black outline on the glaze, we should doubt whether it is authentic because of the black outline. The earliest application of lines was no later than the early Zhengde period. The emergence of other famille rose colors is known not to be earlier than the late Kangxi period. Of course, it is difficult to believe that the imitation Ming porcelain with pastel colors is not a fake.
As for the Qianlong period, due to the extensive use of foreign colors and the absorption of Western decorative patterns, some works only required fine brushwork and unique patterns, so some patterns lost their inherent national style. This kind of porcelain was used after the mid-Qianlong period. There are many products. For example, the official kiln porcelains from the Zhengde period of the Ming Dynasty are often decorated with Arabic characters. The export porcelains of the Qing Dynasty are also painted with Western patterns, which are relatively unique decorations with distinctive characteristics of the times.
There are still differences in the use of text as decoration on porcelain products in the Ming and Qing dynasties. For example, the porcelains of the Ming Dynasty have Sanskrit, scriptures, Baifu, and Baishou characters written on them, while large texts are used. The poems, lyrics, songs, fus, poems, and odes used as decorative text were created during the Kangxi period, such as "Chibi Fu", "Teng Wang Pavilion", "Before and After", "Ode to the Holy Lord as a Worthy Minister", etc. This kind of vessel with only text but no pictures has rarely been imitated in the past. It is also very valuable for the specific work of judging the era and distinguishing authenticity.
The brushwork of the decoration can also be seen. It shows the characteristics of the times. For example, Kangxi porcelain paid great attention to the method of painting porcelain, so the achievements of official and private kiln porcelain were very impressive, and the patterns and decorations on the porcelain mostly imitated the brushwork of famous painters. On the other hand, Kangxi's branches like to be covered with hemp and chapped, which makes them look old and bold, bold and powerful, while the branches painted by Yongzheng's colors only depict chapped spots. Although the workmanship is fine, the brushwork is weak and boring. If we can carefully see the writing style from its ups and downs, it will naturally help our identification work. As for the decorations of official kilns in the Ming and Qing Dynasties, most of them are neat and rigid, while the decorations of folk kilns are vivid and unrestrained. These are well-known characteristics. However, there are so-called "imperial restrictions and ministry restrictions" in official kilns, and porcelain from private kilns often has works similar to those from official kilns. Most of these were produced by private households in the Qing Dynasty.
When it comes to official and private kiln porcelain, it is easy to think of the so-called "dragon in official kiln has five claws, while dragon in folk kiln has three or four claws". This typical pattern of feudal society generally provides us with a clue to judge authenticity and distinguish kiln mouths, but it is not absolute.
On the contrary, there are five-clawed dragon decorations on folk kiln porcelain, and three-clawed and four-clawed dragons are not absent on official kiln porcelain. For example, the Xuande official kiln blue and white sea water dragon pattern celestial sphere vase and a large number of Kangxi official kiln blue and white fish and dragon changes folded edge wash are painted with three-clawed dragons, and the "Kangxi official kiln green ground plain three-color cloud and dragon pattern stationery box" is painted with four claws. dragon. The blue and white patterns on the folk kilns of the Yuan Dynasty have three, four and five claws, and there are also examples of this in the folk kiln porcelain of the Ming and Qing Dynasties.
The decorations on official kiln porcelain are often inseparable from the hobbies and wishes of the supreme ruler at that time. For example, Emperor Jiajing of the Ming Dynasty was superstitious about Taoism, so he liked to use patterns such as gossip, immortals, clouds and cranes for decoration. Emperor Daoguang of the Qing Dynasty loved birds, dogs, grass and insects, so pictures of this type appeared more frequently. Another example is the trend of porcelain rewards in the Qing Dynasty. The porcelain given to ministers by the emperors of the Yong, Qian, Jia, Dao and Xian dynasties usually had blue and white lotus as the main decoration, and most of the bottles were painted with sea water patterns. (This kind of vase has nine layers of patterns all over its body). The meaning of using this kind of decoration is said to mean that for officials, white (green, homonymous for 清) is the most important, lotus is lian (synonymous for lian, lian) and clean, and sea water symbolizes peace in the world. Others include a barrel (tong) of ten thousand years (dyeffen), two crabs (A) of Chuanlu (Lu), three sheep (Yang) of Kaitai, forty-six sons, five relationships, six kingdoms, seven treasures, eight treasures, Jiulianden, Baifu, Baishou, Red Bat (Hongfu) Qitian, etc., similar to these decorations full of feudal superstition, appeared on many Ming and Qing porcelains. If we can further connect with the background of the time, it will be useful for us to understand Its development pattern is of great benefit.
In addition, it is not uncommon for some commonly used porcelain decorations to have strong circumstantial evidence in contemporary silverware, lacquerware, bronzeware, and even weaving and embroidery. If we can draw inferences from one instance and corroborate each other, we can often discover the characteristics of the times and find out the most common patterns. It is especially necessary to have a thorough understanding of the more prominent characteristics of the times in the porcelain decoration of the past dynasties. For example, Yuan porcelain's deformed lotus petals and rock flowers are painted without filling colors, Yong and Xuan porcelain's morning glories and seawater buds, Zhengde porcelain's palindrome of dragons passing through flowers, and Jia and Wan porcelain's flower holding characters And Taoist paintings, Kangxi porcelain's double peonies and moon shadow plum blossoms, Yongzheng porcelain's branch flowers and leather ball flowers, and Qianlong porcelain's piles of flowers and icing on the cake and other decorations play an important role in identifying forgeries.
In short, when observing porcelain decoration, we must not only consider its development process from simple to complex, from one color to colorful, but also pay attention to its subject matter, brushwork structure, era style and materials used, and refer to other Only through circumstantial evidence can we draw a preliminary understanding. Of course, we should not stick to this one end and jump to conclusions, because the imitations made by later generations using various techniques such as the so-called re-kiln to add color, old tire carvings to add color, and hidden flowers are often enough to look authentic. . It must be combined with other aspects of characteristics to conduct a comprehensive analysis and study.
1. The porcelain of various dynasties in the Qing Dynasty is rich in content, with both the same style and different characteristics.
2. The shape of porcelain in the Qing Dynasty
During the Shunzhi and Kangxi periods, it was simple, plump, and vigorous; during the Yongzheng period, it was delicate and meaningful; during the Qianlong period, it was regular; and after Jiaqing and Daoguang, it was Childish and clumsy.
3. The carcass and cutter ware are generally of moderate thickness, while the round ware can be thick or thin. During the Kangxi period, the fetus was heavy and hard and fine in texture. During the Yongzheng period, the fetus was light, thin, moist, and highly white. After Daoguang, the carcass was thick and bulky, with a rough texture. The abdominal and neck joint marks on cutters from the Qing Dynasty are extremely rare. In the Ming Dynasty, flint-red spots often appeared on exposed parts of the device, which had basically disappeared in the Qing Dynasty.
4. The glaze is not as bright as that of the Ming Dynasty, the glaze is thin and the color is slightly bluish white. During the Shunzhi and Kangxi dynasties, the glaze surface was smooth and delicate, and the body glaze was closely combined. The glaze surface was blue-white, pink-white, sauce-white, hard and bright green, and other colors. The fine glazed mortars of the Yongzheng period were shiny and moist, with many orange peel wrinkles. The ones during the Qianlong period were flat and green, while those after the Jiadao period were not flat enough and had obvious waves. In the late Qing Dynasty, the glaze was thin and the enamel was loose and not strong enough.
5. The decoration is deeply influenced by the paintings of the same period. Folk kiln porcelain, freehand and realistic coexist, and the brushwork is bold and unrestrained. Imperial kiln imperial vessels tend to have standardized designs, meticulous brushwork, and rigid and complex compositions. In the early decorations, the landscapes and trees were mostly painted with axes and dotted with plating. The ancient costumes were elegant and elegant, and the soft flowers were painted using the boneless painting method.
The characters in the late-stage decorations have dull faces and enlarged noses. The shapes of the dragon patterns during this period are different, including those with square heads and large foreheads, solemn and vigorous, and those with slender bodies, usually with lion heads and more dragon hair. , the dragon's legs are obviously prominent, the two legs have a strong three-dimensional effect, and the dragon's body is thick and bulky. It is usually painted with four or five claws, like chicken feet.
6. In the Qing Dynasty, because porcelain craftsmanship was influenced by Western painting art, patterns and patterns with the characteristics of Western painting styles appeared on porcelain. For example, on enamel porcelain and some exported porcelain, you can often see patterns and patterns depicting Western figures, buildings, boats, and dogs.
7. The eight treasure patterns of the Qing Dynasty are wheels, snails, umbrellas, lids, flowers, pots, fish and intestines.
8. Large artifacts and early artifacts mostly have smooth sand bottoms. During the Shunzhi and Kangxi periods, porcelain foot shapes were more diverse. There are double-circle bottoms, sloping bottoms, two-layer table bottoms, lying feet, rounded loach-back-shaped feet, etc.
9. Most of the official kilns in Jingdezhen are inscribed with the emperor's reign, while the folk kilns have the yearly inscriptions of the zodiac, auspicious words, private and pictorial inscriptions, etc. There are many kinds of printing, engraving, blue and white, red glaze, gold color, material color, etc., all of which are regular script and seal script. During the reign of Emperor Kangxi, there were more regular scripts and less seal scripts. During the reign of Emperor Yongzheng, both regular scripts and seal scripts were used together. After the Qianlong reign, there were more seal scripts and less regular scripts. In the late Tongzhi, Guangxu, and Xuantong dynasties, regular script inscriptions were mostly used, with a circle or box format on the outside. The inscriptions on folk kilns are often written randomly and the fonts are sloppy.
1. Shunzhi porcelain is in the transitional stage from the late Ming Dynasty to the early Qing Dynasty. The body is thick, smooth, white and firm, and the shape is simple.
2. The glaze is mostly egg-green which is not bright enough. The glaze of some cutters is thicker, which often blurs the light blue and white. It also maintains the Ming Dynasty's characteristic of applying sauce-yellow glaze on the mouth of the vessel.
3. Blue and white tones are roughly divided into four types, among which the emerald green is similar to the Kangxi blue and white. There are more and more colorful wares without blue and white.
4. Pattern decoration and novel content. Popular patterns include travertine flowers, unicorns, plantains, character stories, and inscriptions in paintings.
5. The feet evolved into round loach-like backs, with spiral patterns visible at the bottom. At this time, the wide-circle feet and double-circle feet that appeared in the late Ming Dynasty were already popular.
6. The inscriptions are divided into official kiln inscriptions and stem and branch year inscriptions, including regular script, official script and seal script.
Kangxi
1. The shape of the utensils is solemn and simple, and there are many newly created utensils. The necks of the carved vessels are slender than those of other periods, and the round vessels are mainly in the pier type.
2. The fetus is firm and thin, as meticulous as jade, the fetus is neatly trimmed, and generally feels heavy.
3. The glaze surface is smooth and delicate, and the body glaze is closely combined. The glaze surface has an early bluish white color and evolves into a medium-term pinkish white and paste white color. From the middle period to the Yongzheng period, it changed to hard and bright celadon glaze.
4. The blue and white are made of domestically produced pearls. The blue and white are mainly emerald blue, with deep tones and the characteristics of being close to the fetal bones.
5. For multicolored and other colored utensils, the colors are strong and bright in the early stage, gradually fade in the middle stage, and have soft tones in the late stage.
6. The mouths of early utensils were often coated with sauce-yellow glaze. Generally, the mouths of utensils were coated with a layer of powdery white glaze, giving the impression of a thickened and protruding rim.
7. Five colors are composed of five colors: red, yellow, blue, green, and purple. In the Ming Dynasty, the five colors were composed of four kinds of overglaze colors: red, yellow, green, and purple, and underglaze blue and white. Use overglaze orchid instead of underglaze blue and white. It also consists of red, yellow, green, blue and black. During the Kangxi period, some of the five colors were added with gold, making the picture magnificent.
8. At this time, three-color wares were more popular, including three-color wares with yellow ground, three-color green ground, three-color pottery with purple ground, three-color pottery with black ground, three-color pottery with sauce-white ground, and three-color pottery with tiger skin. At this time, there were also underglaze three colors, which were composed of three underglaze colors: blue and white, underglaze red and bean green. It was a special variety during the Kangxi period. Kangxi painted red, the color is true vermilion, bright and eye-catching, and the official kiln color bowls are the best. The underglaze red is also excellent.
9. In the late Kangxi period, Langyao red appeared, and the "dengcao mouth" on the edge of the utensils appeared from the Yongle period of the Ming Dynasty.
10. During the Kangxi period, the faces of painted figures were often outlined with blue pens, which were very durable. The cheeks of beauties were often faint and delicate, making them look delicate. The clothes of the characters are the most vivid, the trees are like old trunks with long branches, and the flowers are like graceful branches. The painted pine has eggplant-colored stems and ink-colored needles, rendered with hard green, giving people a lush green feeling.
11. The pattern decoration has a strong sense of the times, and its painting style, brushwork, layout, color application technology, etc. all have a specific rhythm of the times.
The themes include historical allusions, character stories, fisherman's entertainment, farming and weaving pictures, sea, woodcutting, farming, reading, etc. In addition, there are grass and insects, flowers and birds, clouds and dragons, landscapes, eight immortals, eight immortals celebrating their birthdays, eight treasures, Bogu, twining flowers, towers and palaces, two immortals combined, three stars, etc.
12. The feet of the vessel include flat feet, wide and thick ring feet, double ring bottoms, two-story platform bottoms, buttress bottoms, and ring feet.
13. During the Kangxi period, there was a double-bottomed dish with two circles on the sole and a deep groove between the two rings. This kind of double-bottomed dish was quite typical. The characteristics of the pen holder at this time are that the upper and lower parts are thicker, the middle waist is thinner, and there is an unglazed circle on the bottom.
14. Kangxi palace kiln inscriptions are mainly written in writing. Most of them are written on the bottom of the vessel, and a few are written on the body. Generally, they are "Kangxi Year of the Qing Dynasty" with six characters in two lines and six characters in three lines. , folk kiln utensils generally have no style, and some utensils only have a double circle of blue and white or an autumn leaf, pan intestines, etc.
1. The shape characteristics of Yongzheng porcelain are: elegant, small and exquisite, mainly plates, bowls, cups, saucers and small utensils. The shape of the vessel is well-proportioned and has the so-called "curvy beauty".
2. The tire is thin and the body is light, and the large device is regular but not heavy.
3. There are many kinds of glaze colors, and the glaze surface has orange peel pattern, which is the outstanding feature of Yongzheng ware.
4. The kiln becomes red glaze, which begins to appear at this time. It is composed of two colors: red and blue, with more blue than red.
5. Lujun glaze also started from this time. It is composed of two colors: sorghum red and turquoise green.
6. The colors of blue and white are blue-white and pink-white. The color levels of blue and white are not as many as those of the Kangxi period. Generally, there are only 2 to 3 shades of colors.
7. The color of colored porcelain is soft but not bright. The characters and scenery painted in pastels, five colors, and French colors are all significantly reduced, and the pictures are condensed. The pastel decoration is delicate, the color is light and elegant, and the three-dimensional effect is strong. Around the colorful decorations, a side view often shows a colorful "halo" against the white glaze.
8. The decoration is in the style of gongbi painting, the figures are handsome, and the flowers are especially delicate and charming.
9. Doucai ware has improved compared to the Kangxi period. Both the colors and patterns are more refined than before, the colors used are thinner, and the tones are very soft and elegant.
10. Starting from Yongzheng, the French Langcai porcelain was called "Gu Yuexuan", which was more sophisticated than the production technology of Kangxi period. There is a significant difference between the enamel paintings at this time and those of the Kangxi period: during the Kangxi period, they were generally more regular pattern paintings with colored ground. In the Yongzheng period, paintings were all done without color, with particular emphasis on pictorial meaning, and the subjects of paintings also increased, such as flowers and birds, landscapes, pine, bamboo, plum, etc., which were extremely vivid and vivid.
11. During the Yongzheng period, the decorations were still mainly paintings, and the patterns were particularly neat and unique. The flowers and animals in the sketches are very vivid, and the yin and yang shown are obviously the same as the paper and silk painting style at that time.
12. Painting decorations include twining flowers, broken-branch flowers, over-branch flowers, pine, bamboo and plum blossoms, ball flowers, eight peaches, flowers and birds, flowers and butterflies, cloud dragons, cloud phoenixes, group dragons, group butterflies, eight treasures, Zhuangdan, magpies climbing plum blossoms, landscapes, figures, Romance of the West Chamber, pictures of babies playing, sixteen sons, pictures of ladies, eight immortals, towers and palaces, etc.
13. The feet of the device are regular, the edges of the feet are rounded, and the exposed tires are narrow and thin.
14. The official kiln year mark includes the "Yongzheng Year System of the Qing Dynasty" six-character two-line regular script, and there are also six-character three-line regular script, both with blue and white double circles and blue and white double frames, and some without them. On the border, there are also the seals "Yongzheng Year System of the Qing Dynasty" and "Yongzheng Year System".
Identification of utensils during the Qianlong period
1. The shape is regular and the proportions are appropriate. Although the appearance curve is not as beautiful as the Yongzheng period, it is still more beautiful than the Jia and Dao periods. Small utensils Especially exquisite. In the early period, the shape of the vessel was just as perfect as in the Yongzheng period, but in the later period, it appeared sluggish. After that, the styling styles of each dynasty, except for the early Jiaqing period, which still adhered to the same style as the Qianlong period, the rest of them gradually declined and got worse.
2. The carcass is fine and moist in the early stage, but gradually becomes rough in the later stage.
3. Although the color of blue and white has various manifestations, most of them are stable and pure blue. In the early stage, there were black brown, green gray and light blue colors, all with calm tones and clear patterns.
4. The Lujun glaze in the Qianlong period was different from that in the Yongzheng period. Its color consisted of turquoise green and dark blue.
5. Falangcai is also called "Gu Yuexuan" or "porcelain body painting enamel". It generally has the orchid version of the four-character regular script "Qianlong Year System".
6. Bronze color is to use pastels and gold colors to paint on porcelain to imitate the red, green, and blue rust spots of ancient bronzes. This was the invention of porcelain color during the Qianlong period.
7. Among the Qianlong porcelains, it is popular to paint on red, yellow, blue, green and other colored grounds, which can be called colored ground painting.
8. Some paintings use a round light on the colored ground, which is called consecration painting.
9. Since Qianlong, the colorful rolling track began to appear. This kind of rolling track is drawn out with tools and looks like rolling, so it is called rolling track.
10. Porcelain with flowers painted in pastels appeared.
11. There are often even small wrinkles on the glazed surface of colored materials.
12. The production technology is extremely high, exquisite, beautiful and full of surprises, which is rare in the history of porcelain making.
13. The patterns and decorations have distinct characteristics of the times, the painting is meticulous and the layers are clear, and the phoenix painting is rigorous and delicate.
14. The feet are wider and thicker than the front, and the ridges of the feet are rounded. Some are painted with yellow or black glaze. Near the glaze of the foot, there are many small saw marks left by scraping the carcass.
15. Most of the official kiln year stamps are the six-character seal script "Made in the Qianlong Year of the Qing Dynasty" in seal script, and some also have the four-character seal script stamp "Made in the Qianlong Year of the Qing Dynasty" in seal script. Regular script money is relatively small. Family collections on folk kiln utensils are not very popular
1. The fetal bones of the utensils in the Jia and Dao periods did not change much compared with those in the Qianlong period, but the texture was a bit looser. The whiteness of the fetal bones is a little worse, and the fetal bones are slightly thicker than the front. Since the Daoguang period, the lines of the vessels have been rigid, often angular, without roundness and beauty, and they appear clumsy.
2. The porcelain glaze becomes thicker, and "fine orange peel glaze" and slight "wavy glaze" generally appear on the glaze. The color of the mortar glaze is still white with flashes of cyan, but the whiteness is not as white as that of the Qianlong period, and later gradually turns gray. Lying in the bean blue and white porcelain, there is a pile of pink blue and white, commonly known as "blue and white pile of powder" or "blue and white with white". The firing method is to first apply a layer of white powder on the fetal bone under the blue and white according to the general shape of the pattern. The texture is then painted with blue and white patterns on the white powder, and finally glazed and fired. The pattern of piled pink blue and white is raised, bright in color, beautiful and generous, and has a three-dimensional effect. This type of piled pink blue and white first began in the Kangxi period. It was fired during the Yongzheng and Qianlong periods, but in small quantities. It became more popular during the Jiayuan and Daoist periods.
4. The pattern decoration is still mainly based on paintings, but the legacy of the Qianlong period is retained. The paintings are smooth and detailed, and the decorations painted are not as lively and lively as those during the Qianlong period, becoming more rigid patterns with fewer freehand paintings. Only in the Daoguang period could the calligraphy and paintings of famous people be copied onto porcelain cups. Five or six figures could be painted in one inch, with lifelike features and extraordinary workmanship.
5. The main themes of painting include: cloud dragon, cloud phoenix, dragon and phoenix, three sheep, lion ball, flowers and birds, flowers and butterflies, grass and insects, flowers, four seasons flowers (strong elixir, lotus, chrysanthemum, plum blossom) and three fruits , hooks, landscapes, figures (Eight Immortals, Ladies, Tianhe Matches, Baby Play Pictures), scenery (Ten Scenes of Lushan Mountain, Ten Scenes of West Lake, Ten Scenes of Yanjing), as well as various text decorations such as the word "happy", the word "longevity", and imperial poems. .
6. The word "happy" is often decorated on an object with light blue and white drawings. This kind of blue and white decoration with double happiness characters first appeared during the Qianlong period, and gradually became more common during the Jiadao period.
7. During the Jia and Dao periods, the number of embossed iron patterns began to increase. Although they appeared during the Qianlong period, they were very few in number. This kind of iron flower decoration is usually decorated on the mouth, ears, waist and other parts of Ge porcelain objects, and is commonly known as "Ge porcelain iron flower".
8. Various forms of porcelain pattern decoration methods, including shadow painting, off-site rolling, colored ground consecration, green lining and earrings, were more popular during the Qianlong period and were later adopted by the Jiaqing and Daoist dynasties. time, more commonly used.
9. The shapes of utensils have undergone some changes, and the number of plates and bowls has increased. There are relatively few large three-dimensional objects such as bottles and statues. At this time, forms such as sunflower mouth, square mouth, six square mouth, and eight square mouth appeared.
10. From the Daoguang period, a set of five utensils for dowry began to appear (i.e. one vase, two general jars, and two flower goblets), commonly known as the "Five Big Pieces".
11. Jiaqing and Daoguang inscription forms; ① The official kiln year mark is the six-character seal script mark "made in the ×× year of the Qing Dynasty", there are also the four-character seal mark "×× year mark", and the regular script mark mark less. ② Most of the folk kiln utensils have no inscriptions, and only a few have the year inscriptions written on them.
Its form is a six-character seal script inscription "made in the ×× year of the Qing Dynasty" or a four-character regular script inscription "made in the year × × of the Qing Dynasty". ③Shendetang is a Daoguang kiln, and the three-character straight style is the best. All are in red regular script, and some are in gold. Folk kilns are also popular in family collections, such as "Tuisitang" and "Xingyouhengtang", most of which are blue and white and red in regular script. ④ During the Jiayuan and Daoist periods, it was also popular to imitate the year models of the modernization period. On the bottom of some utensils, the "Chenghua Year System" "Dou Yu Style" (that is, after carving the year mark, is applied on the style with sauce glaze, shaped like a dried bean), on the Ge porcelain iron flower utensils, many It's this kind of "dried bean curd" style.
1. The fetal bones of porcelain from the Xianfeng to Xuantong dynasties are basically similar, and their fetal quality is not as good as that of the Jiayuan and Daoist dynasties. At this time, the fetal texture becomes more and more loose, and the fetal bones become thicker accordingly.
2. Starting from the Xianfeng period, the porcelain glaze gradually became thicker, and the porcelain glaze and the fetal bone were not tightly combined. As a result, the phenomena of "wavy glaze" and "orange peel glaze" were more serious than those in the Jiayuan and Daoist periods.
3. Bubbles and deglazing often appear on the glaze of porcelain. The white glaze is not as white as Jia and Daoshi, and gradually turns into white with a hint of gray.
4. The kiln turned to red glaze, and there were major changes at this time. The blue and purple spots on the glaze become less and less, while the area of ??red color becomes more and more, and some even become almost completely red, and the blue and purple spots are almost invisible. By the time of Guangxu and Xuantong, another kiln-changing red glaze composed of red and black appeared.
The evolution process of kiln red glaze is: Yongzheng period was more blue than red; during Qianlong period, it was blue than red; during Jia and Dao period, it was more red than blue; after Xianfeng period, it basically changed to all glazes. Red; by the time of Guangxu and Xuantong, it was composed of two colors: red and black.
5. The color of blue and white has only 1 to 2 levels. At the end of Tongzhi period, a kind of blue and purple blue and white appeared. After Tongzhi, there were fewer piles of pink and blue flowers. At this time, the pile of pink under the blue and white was extremely thin and light in color.
6. During the period from Xianfeng to Xuantong, pastels underwent significant changes. The material of pastel changes from fine to rough, and the color of pastel changes from rich to light.
① During the Xianfeng and Tongzhi periods, the content of pastels was relatively high and the color powder was thicker. Moreover, fine pastel objects were often painted with gold color, so the pastels were very gorgeous at this time: ② Guangxu , Xuantong period, the powder content of pastels was reduced, and the powder was very light.
7. Ruancai appeared in the late Tongzhi period. It became more popular during the Guangxu and Xuantong periods. Soft-color utensils are only found in folk kilns, and soft-color utensils have not yet been seen in palace kilns.
8. Watercolor appeared in the late Guangxu period. This color does not contain powder, has the characteristics of thin color material and light color. It is a color used on Xuantong porcelain in the late Guangxu period.
9. The decoration is mainly based on painting, but the painting is becoming increasingly sloppy, lacks organization, and is neither vivid nor exquisite. The painted figures are relatively dull and lifeless. Paintings of flowers, birds, and animals lack life and liveliness.
10. Most of the decorations in official kilns are meticulous paintings and regular pattern paintings; most of the decorations in folk kilns are freehand paintings. Soft color freehand painting was popular in the late Tongzhi and Guangxu periods, and the drawings were from famous painters such as Shen Shitian, Tang Liuru, Xinluo Shanren, and Bada Shanren in the Ming and Qing dynasties, but the paintings were very different.
11. At this time, the decorations also included the Five Lun Pictures, the Twenty-Four Filial Piety Pictures, Sima Guang's jar, Zhu Xi's motto of governing the family, five sons passing the imperial examination, number one scholar and his younger brother, immediate title, three-star people, fortune, wealth and longevity, etc.
12. Painting themes include: figures, landscapes, flowers and birds, butterflies, lions, animals, cloud bats, dragon clouds, dragons and phoenixes, cabbage, three fruits, eight treasures, eight trigrams, Bogu, bells, tripods, and nine peaches , twining lotus, twining peony, crotch flower, happiness, longevity, etc.
13. The word "happiness" in the decoration was extremely popular in the Wei Feng, Tongzhi and Guangxu periods. The characteristics of this blue and white double happiness character were expressed in different ways in several periods. ① In the Xianfeng period, the font of the character "Double Happiness" was written more neatly, and the strokes were thinner. ② During the Tongzhi period, the font of the character "Double Happiness" was not so neatly written, and the strokes became wider. ③ In the Guangxu period, the character "Double Happiness" was written more neatly. The writing is extremely untidy, not only the strokes are wider, but the fonts are also blurry.
14. The earrings of this period mainly include: lion ears, animal ears, elephant ears, tiger ears, etc.
15. Colored ground paintings, colored ground consecrations, colored ground rolling tracks and decorative patterns such as green lining and green background are not very popular anymore.
16. During the Xianfeng and Tongzhi periods, iron flower decoration was particularly popular on Ge porcelain, but was less popular during the Guangxu period.
17. During the Guangxu and Tongzhi periods, the pattern decoration of Xiaoji and Xiaobogu was more popular.
18. The golden characters "xi" and "double happiness" were more popular during the Tongzhi period.
19. During the Guangxu and Xuantong periods, flowers arranged by Dabogu, bells and tripods, school flowers, wealthy whiteheads, and goddesses scattered flowers were more common.
20. From Xianfeng to Xuantong, except for a small part of the porcelain that was more finely made, most of the utensils became thicker than those of the previous dynasties, and were not as detailed as the utensils of Yongzheng and Qianlong. The shapes of the utensils during this period were also different from those before. Various types of furnishings such as bottles and statues are reduced, and most of the utensils are practical items for daily life, such as bile bottles, celestial sphere bottles, string bottles, general jars, porridge jars, bird food jars, incense burners, fish tanks, flower pots, Narcissus basin, wash basin, first-class pot, holding joint, joint joint, oil joint, tie bucket, kettle, seal joint, pen washer, pen holder, hat holder, teapot, tea bowl, tea can, wine warmer, wine cup, plate, saucer , buckle bowls, soup spoons, tobacco bottles, porcelain pillows, embroidered piers, hanging screens, as well as three-star people, eight immortals, Guanyin people, etc. By the Tongzhi, Guangxu, and Xuantong periods, utensils such as gall bottles, tea cans, hat tubes, teapots, tea bowls, and sets of plates and bowls were more popular. There are not only 150 pieces, 300 pieces, 500 pieces of bile bottles, but also 1000 pieces of earth bottles.
21. Guangxu Zhong