Who knows crystal jade! ?

In terms of firing time, the highest achievement of underglaze tricolor firing was in the Kangxi period of Qing Dynasty. At the beginning of the last century, there were many porcelains that imitated the underglaze color of Kangxi in Qing Dynasty. So how to identify Kangxi's underglaze porcelain?

The underglaze colored porcelain in Kangxi period was complicated in technology and difficult to burn. In contrast, the underglaze colored porcelain after firing not only has great changes in the fetal quality and shape, but also has the flavor of that era. The most important thing is that the hair color of the decoration is not as good as before. Therefore, it is very important to see the hair color of the surface decoration of Kangxi underglaze porcelain.

It can be said that foot is the key to distinguish the authenticity of ancient ceramics.

Observe the characteristics of fetal glaze carefully

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Due to the differences of times and regions, there are more or less obvious differences in the composition and firing methods of fetal glaze, so we must never leave this careful observation when identifying a ceramic.

| m iv% q * ft "0When observing the enamel of ancient porcelain, we should generally pay attention to its thickness, luster, bubble size, density and other characteristics. For example, old porcelain has a luster called "bright light" or "crisp light", and this deep and moist glaze is naturally formed due to age. Most new porcelains are "burning" and harsh, but some imitations can be cleaned up after tea-making, pulping, medicine-soaking and burial (if you look closely with a magnifying glass, you can find flaws and unnatural luster). On the contrary, some well-preserved old porcelain has never been unsealed, but once unsealed, its luster is still as bright as new (if you encounter this brand-new old porcelain, you should consider it in detail from the aspects of shape, enamel, color, decoration and style). Therefore, it is unreliable to rely only on the so-called "loss of light" as long-standing evidence. For example, there are so-called stripes of different sizes on old porcelain, such as willow stripes, ox hair stripes, crab claw stripes, roe stripes, eel blood stripes and ice cracks. Although these have become the natural features of Song Dynasty, Ge Kiln, Ru Kiln and other porcelains, later imitations can also make similar stripes by manpower. Especially in the Yong and Gan dynasties, Jingdezhen's products imitating officials and brothers were the most chaotic, and it was easy to be confused with a little carelessness. Therefore, it is necessary to further observe the size and density of bubbles contained in the glaze, so as not to be dazzled by illusion. For example, the glaze bubbles in Guan and Ge kilns are as dense as beads, while the glaze in Ru kilns is as sparse as the morning star, and the glaze in Xuande has the so-called "brown eyes", which is not easy to imitate and can be used as a clue to divide the times. Phoenix Blog c| yt0A0QsE

In addition, when observing enamel, we should also pay attention to the thickness of glaze layer, glaze shrinkage and dripping state. For example, Song Jun kiln glaze is as thick as fat, Ding kiln glaze has tears, and Ming and Qing glaze is as thin as egg curtain or jade. These are all valuable features, but the imitation of later generations can be roughly similar. If we don't refer to other characteristics, but pay attention to the inside of the container, the mouth, the soles of the feet and so on. , is often one-sided. For example, in the Yuan Dynasty, the surface of the cutter is inconsistent with the glaze of the surface, and there are often defects such as kiln crack, glaze leakage, glaze shrinkage and flat clamping. The mouth, bottom, edge and angle of Yongle white glaze ware are mostly white and yellow, while the thick glaze is light bean blue, and the inner and outer glazes of the blade are uniform. On the other hand, the red glaze of Kangxi Langyao has some characteristics, such as the so-called "lip service", "rice soup bottom" and "apple green bottom". These are the places that later imitations are difficult to emulate.

@ gr | x, m0As was very thick for the enamel of Jingdezhen official kiln in the Ming Dynasty, but in the early Qing Dynasty, the enamel of official kiln was tight. However, there are exceptions in general, and there are many imitations in this respect. Therefore, it is not enough to break the authenticity of porcelain only by enamel, and it is necessary to further study its fetal quality.

L5t]D{:qKi0 The main way to distinguish fetal quality is to observe the foot. Generally speaking, in the Yuan Dynasty, the bottom of the vessels was bare and thick, and the rich porcelain in the Ming and Qing Dynasties hung glaze on the bottom (but there were a few glazed at the bottom and no glaze around), but after the middle of the Qing Dynasty, the number of exposed tires became less and less. However, no matter the vessels of any era, most of them can see the characteristics of fetal cremation on the edge or mouth of the ring foot of the tire dew and glaze on the tire body. For example, Yuan porcelain tires were rough and full of flint red, while Ming and Qing porcelain tires were white and delicate, containing little impurities, and flint red also decreased or even disappeared. On the one hand, these marks the continuous progress of the tire soil scouring method with the passage of time, and at the same time, it naturally forms a watershed between truth and falsehood. Take the sand bottom vessels of Yongxuan in Ming Dynasty as an example. Because the material selection and cooking process is thicker than that of Yuan Dynasty, although it inevitably contains trace impurities and forms dark brown stars, it has few uneven shortcomings and feels moist and delicate by hand. However, in the late Ming and early Qing dynasties, the sand-bottomed vessels and imitations of later generations were relatively rough. For example, Chenghua porcelain has always been known for its purity and delicacy. When exposed to light, it is mostly white or pink, with a luster as fat as milk. Although the imitation porcelain of Yongzheng official kiln has made considerable achievements in modeling, decoration and color tone, its enamel and fetal quality are also very realistic on the surface, but if exposed to light, it will be pure white or slightly blue. Phoenix blog. {Y

This is of course related to the change of raw material quality. For example, Jiajing porcelain is not as good as the previous dynasty, which generally comes down to the gradual exhaustion of "Ma Cang Tu". There was a saying in Introduction to Natural History that "it is very different from the past to forgive the soil gradually". However, we should not be too attached to the theory of tire soil color thickness, because even the porcelain clay produced in Jingdezhen at the same time was never collected from one or two pits, so some were delicate and smooth, some were delicate but not moist, and some were even quite rough. Moreover, the composition of tire soil is also the key to determine tire quality. Moreover, due to the different manufacturing methods and curing conditions, the tire color has some differences, such as pure white, yellowish, slightly gray or slightly blue, so if the carcass itself is used,

-}M|)\BU} x0 Some containers with thin carcasses, such as bodiless porcelain, Yongle porcelain, Chenghua porcelain, etc., are difficult to distinguish the color of tire soil because the exposed part is extremely small. Some of them, even if they are not thin tires, are not exposed because of foot binding and fire, or because of the influence of kiln fire, the color of the exposed tires has changed. For example, there are many examples of so-called "purple mouth and iron feet" vessels in Song, Ming and Qing porcelains. These seem to be important conditions for identification, but if we look sideways, we can find that the color of the inner tube that is not directly calcined by kiln fire is not the case. At the same time, after years of pollution, it is difficult to distinguish the original color of the carcass. Therefore, in order to help identify the tire quality, it is sometimes necessary to use specific gravity and sound listening methods (such as the so-called porcelain tire sound is crisp, the cylindrical tire is heavy and hard, and the plasma tire carcass is light and soft). As for objects with Zhi Ding marks, it is also helpful to carefully check the size, shape, quantity and color of nail marks. Phoenix blog G#Z5{ QK

Generally speaking, Yong, Xuan and Cheng porcelain tires are lighter than Yuan porcelain, and Xuande wares are heavier than Yongle wares. If Yuan and Ming wares are divided into sections, the difference in the thickness of the mouth is not very big, mainly the difference between the body and the bottom. Other black glazed round carved vessels of Song Jizhou Kiln newly imitated by later generations always feel crisp (the so-called sound is "cold" in the terminology of ancient porcelain researchers), but the real voice feels hoarse, which is also an obvious example. Phoenix blog P*kj6{Xb

It can be seen that the method of distinguishing fetal glaze is to distinguish its color with eyes, measure its thickness, examine its grain and observe its bubbles, or to distinguish its thickness by rubbing with hands and to examine its sound by tapping with fingers. It can be said that the use of ears, eyes and hands is not limited to the surface or to one pattern, but includes various imitations such as new colors of old blanks, improvement of glaze, redrawing of old colors, new works of old white glaze, hidden flowers and patterns. In particular, it should be studied carefully. It is one-sided to be satisfied with local characteristics and lose the overall conditions, or to only look at the appearance and ignore the interior, or to only look at the glaze color without asking about the fetal quality. Therefore, the identification methods such as modeling, ornamentation, brushwork, enamel and fetal quality must be used at the same time in order to achieve the same goal through different routes and achieve comprehensive and consistent results.

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(1) Modeling is an important basis for identifying porcelain.

By the Qing dynasty, the shapes and types of utensils had increased significantly, and they were beautifully made. Among them, the innovative works in Kangxi period are unique. Knives such as Pipa Zun, Ma Tizun, Elephant Leg Zun, Phoenix-tailed Zun, Guanyin Zun, Taibai Zun, Apple Zun, Apricot Leaf Zun, pestle bottle, cloth orange, upside down, willow leaf and flower bud are all rare in the previous generation. During the Yongzheng period, there also appeared a variety of vessel modeling creations, such as Double Deer Zun, Three Sheep Zun, Qiu Er Zun, Reuters Zun, Luozi Zun, Niutou Zun, Garlic Belt Ruyi Zun, Lip-skimming Olive Bottle, Taibai Altar and Chrysanthemum Plate. In particular, the imitations of the famous kilns in Song Dynasty, harmony and porcelain, are not only vivid in glaze color and decoration, but also more realistic in shape. During the Qianlong period, the outstanding models were rotary neck bottle, rotary heart bottle, rotary belt bottle, flower basket, fan, book-style Yin He and book-style golden bell jar. During this period, both innovation and archaization reached a climax, and the imitations of copper, stone, lacquer, jade, bamboo, wood and elephant products were very similar. After Jiaqing and Daoguang, most of them followed the old system and there were few innovative works. Modeling from exquisite to clumsy, gradually lost the excellent tradition of the early stage. For example, the shape of the jade pot spring bottle was not obviously different in Kangxi, Yongzheng and Qianlong generations, but gradually became clumsy. In Tongzhi, Guangxu and Xuan Tong periods, it became a short and thick shape with a short neck and a full belly, and its shape was far less beautiful than before.

After understanding the basic characteristics of porcelain modeling in Yuan, Ming and Qing Dynasties, we need to master the method of observing modeling. Generally, we should pay attention to the mouth, abdomen and bottom first. At first glance, many similar ships are very similar in appearance. If we carefully observe these three parts, we can draw different conclusions. For example, in the mid-Ming Dynasty, the shapes of knives such as bottles, pots and cans mostly left obvious joint marks on the abdomen, but after the Qing Dynasty, such joint marks were not obvious because of the meticulous rotary cutting. The so-called fine line difference often plays a very important role in dating and distinguishing fakes. Another example is that the radian of the disk in Yuan Dynasty is small and shallow, while that of Yong and Xuan in Ming Dynasty is slightly deep, with the former having a small bottom and the latter having a large bottom. Especially the Yongle style, regardless of the size of the dish or bowl, the center of the vessel is concave and the bottom of the vessel is convex, and the inner wall of the foot is slightly inclined outward, which is about one-half to one-quarter shorter than the outer wall. Others, such as plates and bowls of many folk kilns in the late Ming and early Qing dynasties, often have obvious wheel-shaped cuts (so-called "jumping knives"), but they are extremely rare in official kiln porcelain. As for the Kangxi market, there are plenty of double-ring bottoms, and there are many "hemp lines" under the three-color flat bottom of the folk kiln, which is also a common feature of modeling at that time. Cultural relics workers take these as part of the basis when distinguishing the old from the new.

Some fine products that are close to the previous generation or imitated by later generations are often difficult to distinguish because of the similarity between decorative paintings and fetal glaze raw materials. For example, Yong and Xuan Qinghua left the bowl with three layers of ornamentation painted inside and four layers of ornamentation painted outside. Moreover, at first glance, the fetal glaze is almost the same, all of which are skimming and winding. However, if we compare them carefully, we will find that the important difference between them lies in the different convergence degree of the lower part of the bowl belly, that is, Yongle bowl belly is full and Xuande bowl belly is slightly cut. The imitation Chenghua blue-and-white bowl skimming in Yongzheng period also has the disadvantage of slightly cutting the belly of the bowl in shape. These subtle differences are all based on defects caused by technical conditions such as molding and kiln firing, or accidental negligence (the shape of imitation is often more or less different from that of the original, because although it was made according to the original when copying, it was exactly the same as the original before firing, but after high temperature firing, its shape is different from the original in some places. This may be due to the inconsistency between the preparation of raw materials and the fineness of refining, but the result of vertical and horizontal contraction and expansion after high temperature is the key to identify the shape of the detector. As for some imitations that are just hearsay or speculation, such as all kinds of so-called "Yongle hand cups" copied by later generations, the shapes are becoming more and more strange (from Jia to Wan, the imitations are getting bigger and bigger, and even later they become big bowls without cups). As long as you have seen the real thing, you will naturally not speculate.

(2) There are different patterns and colors in different periods.

The decoration on ceramics, like modeling, has distinct characteristics of the times, and due to the continuous enrichment and improvement of raw materials and techniques for painting porcelain, it has its levels and characteristics in different periods in terms of theme, content and expression, which has become a powerful clue to divide the times and identify the authenticity.

Generally speaking, the development process of porcelain decoration is nothing more than from simple to complex, from carving, printing, pasting, carving to description, from simple color to colorful. For example, the abnormal lotus petal (commonly known as "No.8") pattern commonly used in Yuan porcelain evolved on the basis of gold porcelain decoration, especially the appearance of underglaze colors such as blue and white and underglaze red in Yuan dynasty, which opened up a new era of porcelain decoration and broke the monotonous situation of monochrome glaze in the past. After Ming and Qing Dynasties, the invention of various colors enriched the decoration of porcelain, and the appearance of each decoration method had its own process of production, growth and development, so it can also be used to infer the age of objects. For example, the early blue-and-white and underglaze red were not so beautiful because they didn't fully grasp the characteristics of raw materials in Yuan Dynasty products, while underglaze red often had the shortcomings of gray tone, reddish brown or grayish black or even scattered. However, most of the mature blue and white and red ornamentation in glaze in Yuan Dynasty are very exquisite. The pattern not only attaches importance to the coordination of primary and secondary, but also adopts multi-layer continuous lace decorative patterns. No matter how many stones and flowers are left outside, the blank edges of a circle are not filled with color, forming a unique style (this painting method gradually disappeared after the middle of the Ming Dynasty, although it was occasionally used, it was rarely used. In addition, due to the limitation of raw material composition, painting also has different characteristics of the times. For example, some porcelains imported at the end of Yuan Dynasty and the beginning of Ming Dynasty have unstable colors and are not suitable for painting figures. Therefore, there were fewer people in the Yuan Dynasty, and there were also fewer people in Yongle, and there were more women and fewer men in Xuande. As for Chenghua Doucai, although it is bright and lovely, it is also limited by raw materials and technology, and has the disadvantage of "flowers have no shady side and leaves have no negative side". Moreover, the painted figures, regardless of men, women and children, wear light clothes all year round, and there is no difference between the inside and outside of the rendered clothes. Similar to these, the decorative patterns are characterized by the times and are often ignored by later imitators. If we can pay attention to it, it will naturally help to identify the authenticity.

In addition, we can also find some differences in color application in the times. For example, according to the physical data we have now, Chenghua paintings are not black. At that time, in addition to drawing blue lines with underglaze cobalt, red and ochre were also used to draw outlines. If we encounter a Chenghua colored porcelain with a black outline on the glaze, we must doubt whether it is true and reliable, because the application of black outline did not exceed Zheng De's early days at the earliest. Others, such as pastels, are known to have appeared before the late Kangxi period, and it is hard to believe that pastel-painted imitation porcelain 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 seek meticulous lines and peculiar decorative patterns, so some patterns have lost their inherent national style. This kind of porcelain has more products after the middle dry period. Others, such as the official kiln porcelain of Zhengde period in Ming Dynasty, are also decorated with Arabic characters. There are also western decorative patterns painted on export porcelain in the Qing Dynasty, which are unique decorations with distinctive characteristics of the times.

The products of Ming and Qing dynasties are still different in the characteristics of using words as porcelain decoration. For example, some porcelains in the Ming Dynasty wrote Sanskrit, Confucian classics, and the words of longevity, while those with big poems, big words, big songs, big fu, big tables and big fu as decorative words were works in the Kangxi period. For example, this kind of vessel with only words and no pictures is rarely copied in past dynasties. Understanding this point is also of great reference value to the specific work of judging the times and distinguishing authenticity.

According to the brushwork of decorative patterns, we can also see the characteristics of the times. For example, Kangxi porcelain attached great importance to the method of painting porcelain at that time, so the achievements of official kiln and private kiln porcelain in this respect were very impressive, and the patterns and decorations on porcelain mostly imitated the brushwork of famous artists. As far as the method of drawing trees is concerned, Kangxi's branches like to use leather whip, which looks old-fashioned and powerful, while Yongzheng Cai's branches only depict points. Although the technique is fine, the brushwork is delicate and boring. If we can see the brushwork carefully from its ups and downs, it will naturally help our appraisal work. As for the decorative patterns of official kilns in Ming and Qing dynasties, most of them are neat and dull, while the decorative patterns of folk kilns are vivid and extensive, which are all well-known characteristics. However, there is a so-called "limited respect and limited department" in the official kiln, and there are often works similar to the official kiln in the porcelain of the folk kiln, mostly in the Qing Dynasty.

When it comes to official kiln and folk kiln porcelain, it is easy to think of the so-called "official kiln dragon five claw, folk kiln dragon three claw or four claws". Generally speaking, this typical decorative pattern of feudal society certainly provides us with clues to judge the authenticity and distinguish the mouth of the kiln, but it is not absolute. On the contrary, there are five-claw dragons in folk kiln porcelain, and three-claw and four-claw dragons in official kiln porcelain. For example, Xuande Imperial Kiln Blue-and-White Sea Water Dragon Spherical Bottle and a large number of Kangxi Imperial Kiln Blue-and-White Fish Dragons are all painted with three-claw dragons, and Kangxi Imperial Kiln Green Space Su San Cai Yun Dragon Pencil Box is painted with four-claw dragons. In Yuan Dynasty, there were three-claw, four-claw and five-claw blue-striped wares in folk kilns, and there were many such examples in Ming and Qing porcelain.

The decorative patterns on the 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 decorate it with gossip, immortals, clouds and cranes. Daoguang in Qing Dynasty liked birds, dogs and insects, so this kind of pictures also appeared more. Another example is that there is a tendency to appreciate porcelain in the Qing Dynasty. As usual, the porcelains given by emperors of Yong, Gan, Jia, Dao and Xian dynasties are mainly blue-and-white lotus flowers on a white background, and most of them are painted with sea water patterns (this bottle has nine layers of patterns). The meaning of using this decorative pattern is said to mean that officials attach importance to purity (harmony of purity), lotus is clean (harmony of lotus base), and sea water symbolizes peace in the world. Others, such as a barrel (series) of ten thousand years (evergreen), two crabs (one) spreading reeds (one), three sheep (Yang) opening Thailand, forty-six sons, five-LUN map, six-country seal, seven treasures, eight treasures, nine climbing lotus, hundred blessings, hundred longevity, red bat (Hongfu) and Qitian, are all full of feudal colors.

In addition, it is not uncommon for some commonly used porcelain ornamentation to get strong circumstantial evidence in contemporary silverware, lacquerware, bronzes and even embroidery. If we can draw inferences from one example and confirm each other, we can often find the characteristics of the times and find out the laws of * * *, so we need to know the outstanding characteristics of the times in porcelain decoration in past dynasties like the back of our hand. For example, Yuan porcelain's twisted lotus petals and stone flowers are not filled with color, Yong and Xuan porcelain's morning glory and sea water buds, porcelain's palindromes wear flowers, Jia and Wan porcelain's flowers hold figures and Taoist paintings, Kangxi porcelain's double peony, moonlight plum blossom, Yongzheng porcelain's bouquets, and Qianlong porcelain's flowers hold the icing on the cake, which plays an important role in distinguishing authenticity.

In a word, observing porcelain ornamentation should not only consider its development process from simple to complex, from one color to colorful, but also pay attention to its theme content, brushwork structure, style of the times and materials used, and refer to other circumstantial evidence, so as to get a preliminary understanding. Of course, we can't jump to conclusions, because the imitations made by so-called re-kiln coloring, old tire carving and adding dark flowers are often confusing enough. We must further combine the characteristics of other aspects and conduct a comprehensive analysis and research.

1. Porcelain in Qing Dynasty is rich in content, consistent in style and unique in each.

2. Porcelain modeling in Qing Dynasty

Shunzhi, Kangxi and Gu Zhuo are plump and vigorous, while Yongzheng's delicacy is smart and meaningful, and he is neat when he is prosperous, naive and tedious after Jiaqing and Daoguang.

3. Generally, the thickness of the matrix and cutter is moderate, and the circular cutter is thick and thin. In Kangxi, the carcass was heavy, hard and thin. During Yongzheng period, fetal quality was thin, moist and white. After Daoguang, the carcass is thick and loose. In the Qing dynasty, abdominal and neck cutting was extremely rare. Flint red spots often appeared in the exposed parts of containers in Ming Dynasty, but basically disappeared in Qing Dynasty.

4. Glaze is not as bright as Ming Dynasty, with thin glaze and slightly bluish white color. During Shunzhi and Kangxi periods, the glaze was smooth and delicate, and the fetal glaze was closely combined. Glaze is blue-white, pink-white, sauce-white, hard and bright blue. During the Yongzheng period, the glaze was delicate and the orange peel was wrinkled. It was flat and green when it was dry, but the flat and waves after jiadao were obvious. In the late Qing Dynasty, the glaze was thin, loose and not strong enough.

5. Decorative patterns are deeply influenced by paintings of the same period. Freehand brushwork and realism coexist in folk kiln porcelain, and the pen is unrestrained. The kiln coupler tends to be standard in design, meticulous in brushwork and inflexible and complicated in composition. In the early ornamentation, mountains and rivers and trees were mostly chopped with axes and plated. The ancient costume is tall and beautiful, and the soft flower painting has no bones. The characters in the late decorative patterns have dim faces and large noses. The dragon patterns in this period have different shapes, such as big head, strong and slender. Generally, it is a lion's head, with more dragon hair, prominent dragon feet, strong three-dimensional feet and clumsy dragon body. They are usually painted with four claws and five claws, just like chicken feet.

6. In the Qing Dynasty, because the porcelain craft was influenced by western painting art, patterns with western painting style appeared on porcelain. For example, on enamel porcelain and some export porcelain, you can often see some patterns depicting western figures, buildings, boats and dogs.

7. The patterns of the eight treasures in Qing Dynasty include wheels, snails, umbrellas, lids, flowers, cans, fish and intestines.

8. Large artifacts and early artifacts are mostly smooth sand bottoms. During Shunzhi and Kangxi periods, there were many kinds of porcelain feet. There are double-ring bottom, inclined bottom, double-layer table bottom, lying feet, round loach hind feet and so on.

9. Jingdezhen official kilns mostly belong to the emperor's year number, while private kilns have official year numbers, auspicious language numbers, private money, map money and so on. There are printing, engraving, blue and white, red glaze, gold color, material color and so on. All these are open and sealed. Kangxi seal more than seal, Yongzheng seal and seal, after Qianlong seal more than seal. In Tongzhi, Guangxu and Xuan Tong, regular script was the most, and the periphery was in circle or box format. Folk kilns are often scribbled at will, and the fonts are scrawled.

1, Shunzhi porcelain, in the late Ming and early Qing dynasties, has a thick and thin carcass, white and firm, and its shape is simple and clumsy.

2. Most of the glazes are egg blue with insufficient light, and some knives have thick glazes, which often blur the light blue and white, keeping the characteristics of applying yellow glaze to the knives in the Ming Dynasty.

3. Blue and white colors can be roughly divided into four kinds, among which turquoise is similar to Kangxi blue and white, and there are more and more colored wares without blue and white.

4, pattern decoration, novel content. Popular decorative patterns include cave stone flowers, unicorns, plantains, character stories, sentences in paintings and so on.

5. The organ foot evolved into a round loach with a spiral at the bottom. At this time, in the late Ming dynasty, there appeared the double-circle foot with wide circle foot.

6. Money is divided into official kiln money and official money, including regular script, official script and seal script.

Kangxi

1, the shape of the device is heavier than that of Gu Zhuo, and there are many new devices. The neck of the knife is slender compared with other periods, and the round knife is mainly pier-shaped.

2, the tires are hard and thin, meticulous as jade, and the tires are repaired regularly, which generally has a heavy feeling.

3. The glaze is smooth and delicate, and the fetal glaze is closely combined. The glaze has an early bluish white color, which evolved into a medium pink and milky white color. From the middle period to the Yongzheng period, it became a hard bright blue glaze.

4, blue and white use domestic pearl material, blue and white color is mainly turquoise, which has the characteristics of dark color and close to fetal bone.

5. Multicolored isochromatic devices are thick and bright in the early stage, faded in the middle stage and soft in the later stage.

6. Early utensils were often painted with yellow glaze. Generally, the mouth of utensils is coated with a layer of white glaze containing powder, which gives people the feeling of thickening and protruding the mouth.

7. Multicolor consists of five colors: red, yellow, blue, green and purple. Multicolor in Ming Dynasty consists of red, yellow, green and purple underglaze colors and underglaze blue and white. Use underglaze blue instead of underglaze blue and underglaze white. There are also red, yellow, green, blue and black. During the reign of Emperor Kangxi, some colorful pictures were filled with golden colors, which made them magnificent.

8. At this time, tricolor wares are popular, including yellow tricolor, green tricolor, purple tricolor, ink tricolor, sauce tricolor and tiger tricolor. At this time, the underglaze colors are blue and white, underglaze red and bean green, which are special varieties in Kangxi period. Kangxi painted red, its color was bright and dazzling, and its official kiln color bowl was the best. Glaze red is also excellent.

9. Lang Yaohong appeared in the late Kangxi period, and there was a "Dengcaokou" along the mouth of utensils, which appeared in Yongle period of Ming Dynasty.

10, Kangxi, painted figures, and used a blue pen to hook his face, which is very durable, and the beauty's cheeks are often faint and quite charming. People's dresses are the brightest, the trees are old and withered, and the flowers are graceful. Painting is loose and dry eggplant color, needle ink color, thick green shade, giving people a feeling of thick green.

1 1, patterns and ornamentation have a strong sense of the times, and their painting meaning, brushwork, layout and color-setting techniques have a specific rhythm of the times. The themes are historical allusions, people's stories, fishermen's music, farming, sea, firewood, farming and reading. In addition, there are insects, flowers and birds, Yunlong, landscape, Eight Immortals, Eight Immortals' Birthday, Babel, Bo Gu, Twisted Flowers, Loutai Diange, Hehe Erxian and Samsung.

12, foot, including flat foot, wide circle foot, double circle bottom, second floor platform bottom, arch wall bottom and circle foot.

13, Kangxi has a shallow dish with two circles on the bottom and a deep ditch in the middle. This kind of double bottom platter is typical. At this time, the pen container is characterized by thick top and bottom, thin middle waist and a circle of unglazed bottom.

14. The wares of Kangxi Palace Kiln are mainly written, most of which are written on the bottom of the wares, and a few are written on the wares. Generally speaking, the "Kangxi Year System in Qing Dynasty" has six characters and two lines, and six characters and three lines. Generally, folk kilns have no utensils. Some utensils only have blue and white double circles or an autumn leaf, a plate of intestines and so on.

1. The modeling features of Yongzheng porcelain are: elegant and generous, small and exquisite, mainly plates, bowls, cups, saucers and small utensils. The proportion of the device is coordinated, which has the so-called "curve beauty".

2, the tire is thin and light, and the big device is neat and not heavy.

3. There are many kinds of glaze colors, and there are orange peel lines on the glaze, which is the outstanding feature of Yongzheng porcelain.

4. The kiln turned to red glaze, which began to appear at this time. It is interwoven with red and blue, and blue is more than red.

5, furnace glaze, also started from this time, staggered by sorghum red and emerald green.

6. The colors of blue and white are blue and white and pink. Blue and white color levels are not as many as Kangxi, generally only 2-3 shades.

7. Colored porcelain is soft but not bright. The figures and scenery painted in pastel, multicolored and French colors are obviously reduced, and the pictures are gathered. Pastel decoration is delicate, the color tone is elegant and the three-dimensional sense is strong. Around the decorative patterns of colored paintings and in the background of white glaze, you can often see a colorful circle of "color halo".

8. The design is meticulous, the characters are delicate, and the flowers are particularly delicate.

9. Compared with Kangxi, the color fight has been improved. Both the color and pattern are finer than before, and the color is thinner, and the tone is very soft and elegant.

10, since Yongzheng, enamel porcelain has been called "Guyuexuan", and its production process is more elaborate than that of Kangxi. At this time, there is a significant difference between enamel and Kangxi: Kangxi is generally a relatively regular pattern painting, using colored land. During the Yongzheng period, all paintings were colorless, with special emphasis on painting meaning, and there were many painting themes, such as flowers and birds, landscapes, pines, bamboos and plums, which were extremely vivid.

1 1. Painting was still the main decorative pattern in Yongzheng period, and the pattern was particularly neat and chic. The flowers and animals in the sketch paintings are very vivid, and the yin and yang aspects are obviously the same as those in the paper and silk paintings at that time.

12. The painting patterns include boughs, broken branches, crossed branches, pines, bamboos, plums, cones, eight peaches, flowers and birds, Hua Die, Yunlong, Yunfeng, Tuanlong, Tuandie, Babao, Zhuangdan, magpies, landscapes, figures, the West Chamber, baby play pictures, sixteen children and scholars.

13, regular foot shape, rounded foot edge, narrow and thin exposed tire.

14, the official kiln year has six characters and two lines of regular script, and there are also six characters and three lines of regular script, all of which have blue and white double circles and blue and white frames, some of which have no frames, and the seals of "Yongzheng Year of Qing Dynasty" and "Yongzheng Year".

Identification of capital ships in Qianlong period

1, the shape is regular and the proportion is appropriate. Although the appearance curve is not as beautiful as Yongzheng, it is still more exquisite than the exquisite gadgets in Jiadao period. The early model is as good as Yongzheng, but it is flat in the later stage. Since then, the modeling styles of past dynasties, except those that can abide by the L-style of Qianlong in the early years of Jiaqing, have decreased in turn and gone from bad to worse.

2. The carcass is fine in the early stage and thick in the later stage.

3. Although there are many forms of blue and white coloring, most of them are stable pure blue. At first, there were dark brown, blue gray and light blue, with calm colors and clear decorative patterns.

4. Jun kiln glaze is different from Yongzheng, and its color is composed of emerald green and dark blue.

5. Enamel color, also known as "ancient" or "porcelain tire painting enamel", generally has the blue material of "Qianlong year system".

6. Bronze color is painted on porcelain with pastels and gold, imitating the red, green and blue rust spots of ancient bronzes. This is the invention of porcelain color in Qianlong period.

7. In Qianlong porcelain, red, yellow, blue, green and other colors are popular for painting, which can be called color painting.

8. Some color fields are drawn with a round lamp, which is called painting.

9. From Qianlong, colored raceways appeared. This kind of raceway is drawn with tools, just like rolling, so it is called raceway.

10, there is a pastel porcelain with a hundred flowers.

1 1, colored glaze, there are often even small wrinkles that seem full.

12, the production process is extremely high, exquisite and beautiful, which is rare in the history of porcelain making.

13, patterns and ornamentation, distinctive characteristics of the times, meticulous brushwork, distinct layers, and rigorous and delicate painting of Phoenix.

14, the foot is wider than the front, the foot is round, and part of it is painted with yellow glaze or black glaze. Near the foot glaze, there are many small sawtooth marks left by scraping the carcass.

15, the year of the official kiln, most of which are printed with six characters of "Qing Gan Long Year System", and some of which are also printed with four characters of "Gan Long Year System". There are fewer regular scripts. Family collection of folk kiln furniture is not popular.

1, Jia and Dao periods, the fetal bone of the capital vessel changed little compared with the Qianlong period, but the fetal quality was a little loose. The whiteness of fetal bone is poor, and the fetal bone is slightly thicker than the previous one. From the time of Daoguang, the lines are stiff, often angular, clumsy and without mellow beauty.

2. Porcelain glaze becomes thicker, and there are generally "fine orange peel glaze" and slight "wave glaze" on the glaze surface. The color of the mortar glaze is still white and blue, but the whiteness is not as good as that in the dry period, and then it gradually turns gray. bend down