Xuande blue-and-white porcelain has beautiful shapes and diverse shapes, mainly household utensils, such as bowls, plates and cans, among which blue-and-white Gao Zuwan has beautiful shapes and is extremely elegant and luxurious. The author collected the opinions of Tibetan friends here, but there is no specific scheme and method for the identification of Xuande blue and white porcelain. Today, the author will talk about the harmony and important characteristics of Xuande blue and white porcelain in my heart. From the perspective of handed down products, I personally think that seeing through whether a blue and white piece is Xuande blue and white can be started from six aspects:
First, the characteristics of blue and white materials
In the Qing Dynasty's Notes on Nanyao, it was written that Xuande blue-and-white kiln is a kind of Xuande kiln, which is extremely elegant and simple, with thick material and light weight, and the ink is innocent and solemn. Blue and white were infiltrated and rusted. "
Contrast effect without flash and with flash.
Xuande blue-and-white porcelain plate is made of imported materials left over from Yuan Dynasty or "Su Ni Ma Qing" brought back by Zheng He's voyage to the West. Ma Su Liqing, an imported green material, is called "high iron and low manganese" because of its extremely high iron content and extremely low manganese content. It is characterized by rich colors and dignity; It can burn a gem-like color in a good fire atmosphere; High iron content tends to make the hair color appear dark blue, and dark brown crystal spots will be formed where the pigment condenses thick. Under certain light, tin will be light-colored and triangular crystals, and the concave surface will penetrate into the fetal bone. Touch the glazed surface with your hands. If the glaze here is thin, it will be dry and dull. The other, light hair color, elegant, no "rust scar", may be that domestic and imported materials are better mixed, but this kind is less; Lu Tao in Jingdezhen by Lan Pu in Qing Dynasty also mentioned that when drawing decorative patterns, there are both single-use and mixed-use, and it is often decided which cobalt material to use to describe that part of decorative patterns according to the different decorative patterns. In drawing, domestic materials are often used to draw lines lightly and imported materials are used to render.
In the picture, regardless of the color depth, Soviet materials can show sapphire-like texture and hair color characteristics, and transmit a faint violet tone (these two characteristics are best observed under sunlight or fluorescent lamp). Because of its own smudge, the brush is often stained with fluffy bean paste everywhere, and the lines are easy to cross-color, the edges are unclear, and they are mutually impregnated, and irregular particles radiate crystallizing point on the lines and thick points (this phenomenon is also very common in Yuan and Yongle pure color blue and white porcelain). In the fetal glaze, it gurgles and sinks like blue ink from bottom to top, and there are tin marks and brown spots recessed into the fetal bone in different degrees where the pigment is heavy. Therefore, strokes with different shades naturally penetrate, just like the effect of pen and ink on rice paper (this is the trace of iron molecules in Soviet materials after being materialized with vanadium, titanium and other trace elements at high temperature).
Imitations are mostly blue-gray, with obvious dark brown spots in the rich, and defective products are hard black paints, which are different from those in the former Soviet Union, such as blue-purple in the dark and grayish brown spots in the smoke stove. In order to cover up the defects that the dark blue hair color is gray and the edges are impermeable to each other, some high imitations often dip the dark blue material in the side pen to make up the color (the lines are obvious), and the effect of off-line dip marks is different from that of Su material.
Second, the characteristics of glaze
In the Ming Dynasty, Zhang's "Qing Mi Cang" recorded that "I made a kiln in the Xuanmiao Temple, and the material was thin and thick, with faint orange peel lines. The person who breaks the blood line of eels is the enemy of Guan Kiln and Ru Kiln. That is, dark flowers, red flowers and blue and white flowers are all ancient and masterpieces of a generation. "
Xuande blue and white porcelain glaze juice is clean, and the ground glaze is blue, commonly known as "bright blue glaze". The glaze is thick and moist, soft and not dazzling, and the glaze is not smooth, like orange peel, commonly known as "orange peel glaze", and there are few glazes. In fact, the orange peel glaze is caused by bubbles in the glaze. If you look at it under a high magnification magnifying glass, the glaze is covered with large and small bubbles, and even small bubbles rub against big bubbles, which are as bright as stars.
The overall glaze color of most imitations is light gray or lime white or reddish. Some high imitations add elements such as zinc to the glaze in order to remove the thief light in the glaze and achieve the effect of blue on white background. However, the glaze color of this kind of imitation is mostly white with green rather than flashing blue. The texture is different from the real jade.
Third, the appearance characteristics
In terms of modeling, Xuande Blue and White Gao Zuwan is mainly for daily use, and its modeling is meaningful. It looks round and soft, feels slightly heavier than Yongle, and has a narrow mouth and a curved wall. The high-foot handle is glazed, the bowl wall is smooth, the handle is short and thick, the bottom is slightly outward, and the exposed part of the circle foot is delicate, which feels like baby's skin with hands.
The ratio of authentic bowl to foot is about 6.5: 4.5. In addition to being steady and generous, it is a bit top-heavy and looks unstable, so some old palaces have the habit of adding plaster to the bottom. Compared with the Yuan Dynasty, the bowl mouth is larger and thinner from the center of the bowl to the mouth edge, so the upper edge of the bowl is prone to slight warping and deformation during baking. The imitation of the later dynasty can completely avoid the defects in this process. But modern imitations are blunt and clumsy, and the bottom of the bowl feels thick and hard. Moreover, the place from the shin of the bowl to the edge of the mouth is slightly abrupt and inclined, which is not as good as the authentic beautiful belly arc. In addition, the genuine heel is slightly prominent, and the imitation is limited by the lack of hemp soil. In addition, the tire scrubbing process is different, so the handle is thickened and enlarged from top to bottom, and the heel is either not missing or too left. Different from the thin toughness and similar grade charm of genuine carcasses.
This kind of Gao Zuwan can be seen in the soles of the feet with a few traces of cracked glaze and faint chords, and some soles have umbilical marks. The inner glaze of the handle is blue and yellow, which is also a major feature that distinguishes it from other common blue and white Gao Zuwan handles in Xuande. Most of the imitations are well combined and seamless, with flat and smooth fetal glaze and blue glaze in the handle. Occasionally, you will see a high imitation similar to the drawing, but there are still subtle differences in the micro-chord mark and glaze connection of the drawing blank.
Fourth, the characteristics of fetal quality.
Xuande blue and white fetal quality is delicate, white and hard. Plum bottles, large plates and large cans are mostly plain white with fine sand bottom, with smooth hands and red spots on their feet. Small and medium-sized devices are glazed bottoms.
In Gao Zuwan, the extremely fine wood warehouse soil is used as the tire, and the weight of the tire blank and the effect that the bowl wall is close to Yongle sweet white are thin, bright and transparent when the tire is repaired. Therefore, this kind of Gao Zuwan is about 1/5 lighter than other similar ordinary blue and white Gao Zuwan in Xuande. Compared with imitations of similar size, many people think it is too heavy. Some imitations are close to the weight of the real thing, and the whole carcass is deliberately thinned to make it close to eggshell porcelain, which has a suitable thickness with the carcass of the real thing along with the radian of different parts.
Verbs (abbreviation for verb) decorate the characteristics of patterns.
In terms of ornamentation, Xuande blue-and-white porcelain wins by ornamentation, and the ornamentation is very regular and never leaves the sideline. Brushes can be divided into solid brushes and sketch rendering. The solid brush is mostly thin line, and the sketch rendering is mostly thick line and decorative pattern. Smooth lines, clear lines and a sense of unity. The decorative patterns are painted regularly and never leave the sideline. The main modes are bundle and broken branches. Such as lotus, peony, camellia, loquat and ganoderma lucidum; Vanilla dragon often contains ganoderma lucidum in its mouth and its tail is rolled into grass; If you need to participate in the collection, please consult Kong Sheng:130,4988,4883. Dragon patterns include Yunlong, Tuanlong, Solanum nigrum, Jilong, Haishui Dragon, Zhu Long, Feilong, Longhua, Lotus Pond Dragon and Dragon Peony. The dragon pattern has five claws and four claws, but there is no four-claw dragon pattern in the handed down products, and three-claw dragons are more common. There is often a bird dragging its long feathers and pecking at the pattern of loquat, which is very artistic. In addition, Xuande blue-and-white porcelain plate successfully applied painting art to porcelain plate, focusing on freehand brushwork. Full patterns, dense patterns, neat patterns, lines often appear thick and light. The dragon's mouth is like a pig's mouth. It must be upturned and its body will become thicker. Draw rhinoceros looking at the moon or fish in the center of Xuande blue-and-white plate; Lotus flowers are mostly bilateral petals.
Xuande's dragon pattern is the most vivid in the whole Ming Dynasty. The dragon head is majestic and high-spirited, the dragon mouth is like a pig, the hair is long and floating upwards, the horns are double, and the dragon body is slender and bold, which reflects the deterrent power of the palace dragon pattern. In addition to using clouds, sea water and lotus flowers to form patterns, dragons were often combined with phoenix at that time.
As far as Gao Zuwan, which is mainly decorated with dragon patterns, occasionally people secretly carve dragon patterns on the interior walls. The outer wall is a combination of two dragons, five dragons and nine dragons. Shuanglong decorative pattern is mainly composed of two Youlong, one chasing after another and the other turning back. In the pattern, both the female dragon looking back at the play in front and the male dragon struggling to catch up behind are all open-mouthed dragons. Therefore, compared with the common closed dragons, they are very likely to swallow mountains and rivers.
(1) The back of the dragon ridge is made of dark green material, and the back of the dragon is drawn with a heavy pen, which makes the back of the dragon full of beauty. (Some large-scale Yongxuan devices add a small triangle with an inner hook to the dragon wing, which is also a more mature painting method of Yongxuan dragon wing than Long Yuan's wing. ).
(2) Long Lin's painting method has also changed the oblique lattice dragon Lin's painting method commonly used on small and medium-sized objects such as Gao Zuwan and Yuhu Spring Bottle in the Yuan Dynasty, and adopted folded fan-shaped and small diamond-shaped scales filled with the twisting of the dragon's back and abdomen. Compared with the forest, the description of Yongxuan Longlin is more in line with the visualization and realism of the dragon's skeletal muscle theory, making the dragon's muscles round, moist and radiant.
(3) In terms of color, in order to show the arrangement effect of the scales of the dragon body and the scales of the belly, the shapes of the carved scales and the nails are dyed in shades of color, while the belly uses thick bamboo joints instead of the common plate-shaped beads, which appropriately reflects the perspective effect of the light-receiving surface of different parts of the dragon body when it changes dynamically. Let the majestic dragon be spotless and shine.
Generally, the dragon patterns of imitations are twisted or clumsy, or their shapes collapse. The proportion of dragons is uncertain, and they take care of each other poorly, so they have a feeling of being held back. The lines are short or thick, stiff and easy to overlap, the adhesion is unclear, the thickness of the pen is consistent, and there is no real center fierceness. The inconspicuous parts of the dragon's body, such as mane wings, sideburns, elbow hair, fingernails, etc. , occasionally related to the thread.
Sixth, the characteristics of money.
Xuande's blue-and-white style was once said to be extreme. In terms of inscriptions, according to the different shapes of objects, there are inscriptions on the mouth, ears, neck, bowl heart, sole, stream and abdomen Among the blue-and-white unearthed objects in Xuande, there are four-character seals in the early stage and royal year numbers in the late stage, which is called "the year system of Xuande in Daming". There are two styles, six-character single-line regular script without borders and six-character single-line regular script with borders. The word "system" is the most common style, and the word "manufacturing" will be used in some cases. In the word "virtue", "four" and "heart" are together, and there is no horizontal in the middle; The horizontal edge of the word "Yi" in the word "Zhi" does not exceed the word "Dao", and the tick of the fourth stroke of the word "Yi" is not connected with the left of the fifth stroke. Pay attention to identification. Xuande's brushwork structure and layout are very regular, and the spacing between words and the thickness of brushwork are moderate, which imitates Xiao Kai's brushwork in Jin and Tang Dynasties and is quite attractive in calligraphy. Strong brushwork, neat handwriting, dignified structure, clear font, rich and concise. Mr. Sun Yingzhou, an expert in ancient ceramics, summed up his understanding of Xuande's style and wrote a song saying: "Xuande's style is perfect, the seal cutting is dark and yin and yang, and the flowers are four pairs of single gardens, with the Jin and Tang Dynasties being the most prominent."