Chapter 1627 The Three Dynasties of the Qing Dynasty
An Siyuan should understand the term "Wei and Jin style", so the old man and the young man ate a bit deliberately. They both wanted to behave like Xie An In this way, "I can't let you see the tension and excitement in my heart", but the sound of the knife and fork touching the plate and the slightly rapid eating speed are just like the broken teeth of Xie An when he passed the door, which will inevitably destroy it. Such a pretentious criminal.
However, the two of them tacitly agreed not to bring up this issue, hastily finished such a "pretend meal", and then entered their respective collection stages.
With four Ming dynasty cups for Ellsworth to play with, the old man no longer looks down on the cups from the third dynasty of the Qing Dynasty.
But just because the old man doesn’t like her, it doesn’t mean that Zhou Zhi doesn’t catch a cold.
Three generations of porcelain Zhou Zhi has collected a lot of fine products, but as a top handicraft "made in a screw shell", Zhou Zhi only owns two sets of Yongzheng Dynasty doucai Sanduo horseshoe cups obtained from Master Cixiang of Fawang Temple.
One of the two sets of cups is a pure imitation of the sustenance money made in Chenghua, with longevity peaches, bergamots and pomegranates on the cups; the bottom of the other set still has the sustenance money made in the Chenghua Year of the Ming Dynasty written on it, but the pattern is actually It is already the creation of Yongzheng craftsmen. The patterns on the cup are persimmon, loquat and lychee.
The craftsmen are very conscious and avoid the Chenghua purple which is the most difficult to imitate.
Zhou Zhi likes those two sets of cups very much and often takes them out to play with.
However, those two sets of cups were a notch behind the ones in front of Zhou Zhi now.
There are three cups with the inscription "Made in the Kangxi Period of the Qing Dynasty" on the bottom. The cups are all as light and as thin as paper, and are snow-white and translucent, to the extent that only the glaze is visible but not the body. One side uses exquisite five colors to depict one of the flowers of the month, accompanied by clumps of rocks, plants, birds and insects; the other side uses blue and white inscriptions to match famous poems of the Tang Dynasty, and has a blue and white square seal with the word "shang", with a full circle at the bottom. The six-character year number is inscribed in two lines inside.
This carefully designed, exquisite and charming cup combines the four arts of poetry, calligraphy, painting and seal cutting. It is full of rich literati artistic flavor. From an aesthetic point of view and fineness, the craftsmanship is outstanding. The level actually far exceeds that of Chenghua Wucai.
In the 19th year of Kangxi, Emperor Kangxi ordered Jingdezhen to restore the imperial kiln factory and began to develop new styles of various porcelains. By the 25th year, the Jingdezhen imperial kiln factory was firing a set of twelve cups for the palace. , each cup is equipped with an application This is the first time in the history of porcelain that "poems, calligraphy, paintings and seals" have been added to the same piece of porcelain at the same time, and the porcelain is still so delicate and compact. This is Kangxi's famous " "December Flower Cup".
The three Kangxi cups should be three of the many Twelve Flower God Cups fired by the official kilns of the Kangxi Dynasty. One is the "Orchid" Flower God Cup, with the poem "Guangdian Qingxiang" on the back. "The sound is blowing from a high platform far away." One is a "peony flower" flower god cup, with a poem on the back: "The beauty of dawn is far away from the dew of golden palms, and the fragrance of dusk is deep in the wind of Yutang." The third is the "Lotus" Flower God Cup, with a poem on the back: "The roots are jade in the mud, and the heart is full of dew."
The three cups are all inverted bell shapes, so their official names should be called Kangxi Doucai Twelve Flower God Bell Cups.
These three cups have completely broken away from the aesthetic constraints of the Ming Dynasty Doucai small cups. From the composition style, they are very clear and fresh, with a lot of white space. There are no borders, brocade and other decorations around the theme flower patterns, which are obviously influenced by He was influenced by Yun Nantian, a famous flower and bird painter in the early Qing Dynasty. In terms of painting techniques, the traditional five-color painting method uses a flat coating method, using colorants to spread the paint evenly, which results in the simple phenomenon of "leaves without side reflections".
But on the Kangxi December Flower Cup, obvious rendering methods began to appear, and attempts were made to deal with the light and dark levels of the pattern.
The color is darker on the flower head, and then gradually lighter from the flower head to the center of the flower. The perspective method is also clearly used in the interweaving of branches, flowers, leaves, and rocks. From the visual effect point of view, it is more real and natural.
This method of processing tones can be said to be influenced by Western oil painting techniques; Europeans have been arriving in droves since the middle and late Ming Dynasty, and most of those who were able to penetrate into the interior of China were missionaries. They brought with them Various types of art products from Chinese traditional culture have an increasingly profound impact on Chinese ceramic art.
Kangxi had a strong thirst for knowledge. He invited many Western missionaries to explain Western learning to him, encouraged the creation of Western paintings and introduced Western painters. He created an exchange and integration of Eastern and Western art for a time, and this style also extended to the production of porcelain.
However, the traditional aesthetics of porcelain have not been lost. The use of underglaze blue and white in this period is no longer the "muscle" part responsible for the blue and white fighting colors of the Ming Dynasty, but after the blue and white craftsmanship can achieve "the ink is divided into five colors" , became the blurred background of the colorful flower patterns in the foreground of the cup, and became the shadows of stones, bamboos, and trees, creating a "blurred background" technique commonly used in photography to highlight the theme of the painting more clearly, which can be called excellent.
The value of the Flower God Cup is nothing more than two points: first, the Flower God Cup integrates poetry, calligraphy, painting and printing, with high artistic attainments and contains the feelings of literati; second, the Flower God Cup is a set With twelve of them, it is quite difficult to put together a set.
But so far, people have not been enthusiastic about it. The auction price of these three cups now is only about 200,000 Hong Kong dollars, which is not comparable to the four cups Ellsworth is admiring. Just compare.
The main reason is that there are quite a lot of them in existence, and they are complete sets. As far as Zhou Zhi knows, there are several sets in the National Palace Museum in the capital.
The funniest thing is that from the 1950s to the 1980s, in order to enhance the quality of the collections of local museums, the Palace Museum allocated a batch of cultural relics to local museums. The protagonist of these was that they were both convenient for transportation and fully reflected the quality and style. cup of flower god.
This is how the Shu Provincial Museum obtained a complete set of December Flower Poetry Cups. In addition, the Hubei Provincial Museum, Jinmen Museum, Hebei Provincial Museum, Dian Provincial Museum and Bianliang Museum all received complete sets. Or part of a colorful December floral cup.
In addition to the above places, the Nanjing Museum also has a very special collection of blue and white December flower cups. Initially, experts thought it was a "missing color", that is, it was originally intended to be colored and fired twice. , but the follow-up link was missed for unknown reasons. Recently, it was overturned by new arguments. It is believed that from the completeness of the composition, it was a set that was intended to be fired into blue and white porcelain. It is estimated that Emperor Kangxi wanted to satisfy his own aesthetic taste. It was specially made by the imperial kiln factory.
The number of scattered Flower God Cups scattered among the people cannot be counted, but it is almost impossible for the people to collect complete sets by their own efforts. Basically, those that appear at auctions are single or complete. right.
But the next pair of Yongzheng small cups are different. Although they were produced later than Kangxi, their value far exceeds those three Flower God Cups.