Fanjianjun red porcelain
Fan Jianjun was a purple clay teapot maker. He was born in 1971 and his ancestral home was Yixing, Jiangsu Province. Fan Jianjun had a wealth of experience and unique style in the design and production of purple clay pots. His works had sharp lines and tight covers. They were simple, elegant, vigorous, refined, and full of inspiration. Fan Jianjun's works had won many awards at the National Art Exhibition and had been collected by many museum collections. His designs were rich in subject matter and varied in decorative techniques. There were traditional styles, but they were more creative and integrated with the poetry of the ancients. Fan Jianjun's purple clay teapot works were very popular among teapot lovers.
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Fanjiansheng red porcelain
Fan Jiansheng was an outstanding representative of the Fan family, an aristocratic family that made purple sand teapots. Fan Jiansheng had rich experience and attainments in the field of purple clay teapot art. He had been learning pottery from his parents since he was a child, and later received personal guidance from his brother, Fan Dingfu. Fan Jiansheng was diligent and studious. He studied hard and gradually formed a unique style. His works were dignified and generous, simple and concise, well-made, and deeply loved by people. Fan Jiansheng's teapot skills won an international award during the Republic of China, making his works famous overseas. Fan Jiansheng was known as the master of the Fan family's teapot art. He devoted his life to studying the teapot making skills and became an artist with superb teapot making skills.
Zoujie red porcelain
Zou Jie was a contemporary young ceramist and a craftsman. He was a craftsman specially hired by the Fan family's teapot shop. He was also a member of the Yixing Purple Sand Industry Association and the Jiangsu Province Arts and Crafts Society. Zou Jie was born in 1975. He began to learn creation and design from Fan Weiqun in 1993, and received guidance from many famous teachers such as Xu Hantang and Gu Shaopei. He had his own exploration and pursuit of purple sand art, and gradually formed his own unique style. Zou Jie's works were novel in design and unique in shape. They had won many awards in the exhibition competition and were praised by merchants and collectors at home and abroad. He was skilled in light, square, and sculpting techniques. In short, Zou Jie was a well-recognized and appreciated artist of the purple clay teapot.
Yixing xushi red porcelain
Yixing Xu's Purple Sand was one of the most important representatives of China Purple Sand teapot production. Master Xu had a strong interest in the purple clay teapot since he was a child. Under the guidance of his father, he gradually mastered the exquisite teapot making skills. The teapot made by Master Xu was unique in shape, bright in color and rich in patterns. It was deeply loved by the majority of teapot friends. Not only did he pay attention to the beautiful appearance of the teapot, but he also paid more attention to the texture of the teapot to ensure the durability and practicality of the teapot. The works of Master Xu have won many awards at home and abroad, and have been collected by Nanjing City, Wuxi City and other institutions. The talent, skills, and achievements of the teapot master surnamed Xu were highly regarded. He created a new style of contemporary literati, which was to melt pottery, tea pot, pottery carving, and painting in one furnace. He was known as the master of the generation who founded the sect.
Porcelain Red Furnace and Snow
Red furnace with snow was a famous Zen term. Red furnace with snow with pig fat jelly meditation cup's glaze was like the first condensation of pig fat. It was called celadon pig fat jelly by ancient porcelain lovers. However, based on the available information, it was impossible to describe more characteristics of porcelain. The novel " Watching the Moon on Fish Island " is equally exciting. Everyone is welcome to click and read it!
Copper red glazed porcelain was very popular in the history of Chinese porcelain collection.
Copper red glazed porcelain is very popular in the history of Chinese porcelain collection. Copper red glazed porcelain was a kind of underglaze porcelain. The glaze was made of copper ions and copper ions. It showed the copper red color of copper and copper. Bronze red glazed porcelain can be divided into two categories: 1. Underglaze Copper Red Glazed Porcelain: Painting the bottom glaze of the porcelain with copper red color and then cover the glaze with a layer of transparent glaze. The painting skills of this kind of porcelain required a high level of gorgeous colors and delicate strokes. 2. Copper red glaze porcelain: On the basis of copper red glaze, a layer of glaze is usually transparent glaze or colored glaze. This kind of porcelain was more colorful and could show purple, blue, green, yellow and other colors. Copper red glazed porcelain was very popular among Chinese porcelain collections. It was a bright pearl in Chinese traditional porcelain culture.
Porcelain plate painting of the Dream of the Red Chamber and twelve golden hairpins
The porcelain plate painting 'The Twelve Golden Beauties of the Dream of the Red Chamber' was based on the twelve beauties of Jinling in 'Dream of the Red Chamber'. From the perspective of creators, there were Zhao Huimin, Wang Dafan, and others. Zhao Huimin's 12 Gold Hairpins series of color plates won the highest award, the " Crystal " Cup Award, from the American collection organization in 1988. He had been an artist for more than 60 years. His painting style was fresh and beautiful, exquisite and elegant. He was good at using props to exaggerate the atmosphere. His paintings of beautiful women were vivid in shape. Wang Dafan was also an outstanding representative of the application of traditional Chinese painting art, poetry, calligraphy, painting, and seal to ceramic decoration. His 12 golden hairpins porcelain plate painting style was lively, and the overall appearance of the ladies was different and lifelike. In the 39 years from 1901 to 1940, he completed the transformation from ancient color and pattern to traditional literati painting. He was a prolific master of porcelain plate painting. His nearly 1,000 works of art reflected the artistic style of combining poetry and painting. The images of the twelve golden hairpins in these porcelain paintings vividly reproduced the characters in the Dream of the Red Chamber. They each had their own characteristics, such as Lin Daiyu's "two curved eyebrows that seemed to be frowning but not frowning, and a pair of eyes that seemed to be happy but not happy." These works not only displayed the artistic charm of the characters in 'Dream of the Red Chamber', but also reflected the integration of porcelain plate painting technology and the culture of' Dream of the Red Chamber'. They had high artistic value and were treasured by ceramic lovers and collectors from all over the world. <a href="/?from=ask_words" style="color:red" target="_blank">Read more exciting novels for free</a>
Jiade porcelain
The Jiade porcelain showed a very high value in the auction. For example, in the 2018 Spring Auction of China Guardian, the Qing Emperor Qianlong's imperial blue and white flower vase with the "Peach Blossom Spring" painting was sold for 50.6 million yuan; the 2018 Autumn Auction of the early Ming Jun kiln was sold for 48.875 million yuan; the 2021 Spring Auction of the Qing Emperor Qianlong Blue and White Blue Dragon Teaching Children was sold for 32.2 million yuan. On October 8,2024, China Guardian Hong Kong's autumn auction of porcelain crafts officially closed, with a total turnover of 210 million Hong Kong dollars. Among them, the collection of "Rising Dragon and Rising Clouds" sold a total of 56.41 million Hong Kong dollars, a pair of Qing Qianlong turquoise green pink peach-patterned jars sold for 25.83 million Hong Kong dollars, and another pair of Qing Qianlong blue and white red cloud dragon pen sold for 4.68 million Hong Kong dollars after 24 bids; The local and overseas private collection of "Reflecting Water and Hidden Mountains" sold a total of 30.7 million Hong Kong dollars; the permanent antique viewing session sold a total of 36.33 million Hong Kong dollars; and the two jade specials,"Huaijian Shayu" and "Xuanli Sifang" sold a total of 85.8 million Hong Kong dollars. In the "Yingshui Tibetan Mountain" special session, different porcelain also had their own transaction prices. For example, the Qing Yongzheng kiln changed glaze ribbon ear, the Qing Qianlong imitation white glaze string pattern four series, the transaction price of 2,040,000, and many other porcelain were sold or unsold. The novel " Glittering Four Seasons " is equally exciting. Everyone is welcome to click and read it!
porcelain peony
The peony pattern on the porcelain was a classic decorative pattern. From the perspective of historical development, peony patterns gradually became popular since the Tang and Song Dynasties. During the Tang and Song Dynasties, peony patterns were widely used in porcelain decoration. Ding Kiln and Yaozhou Kiln had carved peony patterns, while Cizhou Kiln had black flowers on white ground. The decorative techniques included engraving and painting. The composition methods were suitable, symmetrical, balanced, etc. There were many forms such as folding branches, crossing branches, and winding branches. The patterns on the utensils increased in level. The decoration of Liao Dynasty porcelain was influenced by Song culture, and the peony pattern also occupied an important position. In the Liao three-colored glaze, the peony pattern mostly appeared in the form of imprinting. In the Yuan Dynasty, the porcelain peony pattern was large and plump. The blue and white peony pattern was the mainstream. The composition was full and there were many layers. It was often combined with auspicious phoenix and peacock to symbolize "wealth and good fortune" and "happiness". There were many artifacts decorated with peony patterns in the Ming Dynasty, and the styles changed in different periods. For example, the petals of peony flowers became slender and the stems were no longer thick during the Hongwu period; the style of peony flowers was more sparse during the Yongxuan period; the layers were richer in the middle period, and the color levels were rich; the layers became fewer in the later period, and the effect of blooming was obvious. In the Qing Dynasty, the decorative techniques of porcelain painting peony patterns were rich. Pink color, wide color, and multicolored became common decorative techniques. The decorative patterns were more full and realistic. Different periods also had their own styles and characteristics. For example, in the early years, the style of the late Ming Dynasty was continued. During the reign of Kangxi, the peony could be three-dimensional with multi-colored colors. During the reign of Yongzheng, the powder color could be finely painted. During the reign of Qianlong, the powder color was more mellow and mature. After the reign of Jiaqing, the precision gradually decreased. In addition, there were also peony porcelains that were created based on peony. For example, Luoyang peony porcelain was made of kaolin from western Henan. After many processes such as grinding raw materials and mixing pulp, it was carefully made. It absorbed the advantages of many traditional ceramic techniques and was completely handmade. Heze City in Shandong Province also had a unique peony porcelain production process. Peony porcelain had a variety of shapes, including nine series such as peony flower baskets and peony flower plates. There were more than a hundred specifications and a complete range of colors. The characteristics of peonies were perfectly presented on the porcelain, and it was known as the "Peony Flower that Never Fades". " Fairy Dream of Tang Shi: Fate of Peony " is equally wonderful. Everyone is welcome to click and read it!
Chenghua porcelain
Chenghua porcelain had the following characteristics: 1. ** Styling ** - The overall shape was solemn and round, exquisite and handsome. Most of them were small pieces, but there were exceptions. The typical shape was light and light, like the common small cups. They were light and beautiful, and the shape was relatively simple. For example, the joints of bottles, jars, pots, etc. were not obvious, the plates had collapsed bottom, and the feet of bowls and plates were straight and high. 2. ** Fetal quality ** - The fetus was pure and smooth, extremely delicate and pure. Most of the fetus was thin and light. When exposed to the light, the carcass appeared white or red, like fat or milk, lustrous and smooth. Carefully repair the tire, dig the feet neatly, the foot wall is relatively thin, the inner wall is upright, the bottom of the bowl and plate may have jumping knife marks. The matrix of Chenghua folk kiln was also thinner, the texture was white and delicate, and the degree of porcelainization was good. Compared with the folk kiln in the early Ming Dynasty, it was obviously thinner. 3. ** Glaze ** - Enamel thick, bright and clean crystal bright, fine and moist can be seen. The surface of the glaze was smooth and glossy, with a slight flash of cyan or grayish cyan, containing small and dense bubbles. Chenghua official kiln porcelain was divided into two types: glazed bottom and sand bottom. Most of them were glazed, and some of the sand bottom was brownish-yellow, commonly known as "rice paste bottom". It felt warm and smooth, without any rough feeling. The glaze of the kiln was smooth and thick. The heel of the bowl was thin and round, and the diameter of the foot became smaller. There was a faint yellow kiln red color on the heel, with more glaze. 4. ** Blue-and-White Porcelain Characteristics ** - ** Use of green material **: Some of the early official kiln porcelains continued to use Su Ma Li green material. The blue and white porcelain had a strong hair color, with shades and dark brown crystal spots. It was close to the blue and white porcelain of the late Xuande period and coexisted with most of the light colors. In the middle and late stages, it mainly used the pond green (equal green) produced in Leping County, Jiangxi Province. The color was refined and contained less impurities. The hair color was soft and elegant, and the blue flashed gray. The color was stable and calm, and it had the style of ink painting. - ** Pattern Painting **: The pattern is mostly painted with two lines, and the lines are slender. A large proportion of decorative patterns were painted with patterns. Dragon patterns were common in the blue and white porcelain of the official kiln. The mouth of the Kui dragon was upturned, holding a lotus or flower branch, and the dragon tail curled into a flower leaf shape. - ** Overall style **: Chenghua blue and white porcelain color tone is light and elegant, quiet, often because of the thick glaze, blue and white color is light and there is a phenomenon of clouds and fog barrier looming, especially the bottom of the blue and white color tone is the most prominent. 5. ** In terms of style ** - It was generally made in the Chenghua Year of the Ming Dynasty, and there were many forms of recognition. For example, the six-character double-line regular script of "Chenghua Year System of Ming Dynasty" was surrounded by double-line square columns, mostly written at the bottom of the cup, and a few plates, bowls and washing were also available;"Chenghua Year System of Ming Dynasty" six-character double-line double-circle regular script was mostly found at the bottom of plates, bowls, bottles and cans, and a small part of it was written in the heart of the bowl;"Chenghua Year System of Ming Dynasty" six-character regular script horizontal style, mostly used in the outer mouth of blue and white plates and high-foot cups; There was also a special can with the word "Heaven" written on it, without a circle frame, commonly known as" Heaven Can". The handwriting was basically the same, and there was a certain standard of writing. 6. ** Doucai Porcelain's characteristics (Chenghua innovative variety)** - The decorative lines were slender, and the double-line outline filling method was often used. The filling color was relatively light. It was only painted flat, only divided into shades and not divided into yin and yang, without any rendering contrast. When painting people's clothes, only single-color outerwear was painted, and there was no underwear as a foil. There was a saying that "a piece of clothing was made into a kiln". The novel "Gilded Palm" is equally exciting. Everyone is welcome to click and read it!
antique porcelain
Antique porcelain was a kind of porcelain that was made in the later stages by imitating the famous porcelain varieties of the previous dynasty. The trend of imitating the ancients had already prevailed in the Song Dynasty. At that time, there were a large number of imitation Shang and Zhou bronzes. Some local porcelain kilns also deliberately imitated the ancients, but the scale was smaller than that of the Qing Dynasty. Antique porcelain could imitate glaze color, shape, decoration, or both. This phenomenon basically existed in the second half of the development of ancient China porcelain. It sprouted in the Song Dynasty, formed in the Yuan Dynasty, matured in the Ming Dynasty, flourished in the early Qing Dynasty, and declined in the late Qing Dynasty. In ancient China porcelain, whether it was in the folk or in the official, there were a lot of antique porcelain. It played a great role in promoting the development of porcelain in this period and occupied an important position. The novel " Shou Zang " is equally exciting. Everyone is welcome to click and read it!