porcelain throne

The auction of porcelain involved many aspects. From the dynasty of the porcelain, there were different dynasties such as the Yuan Dynasty, Ming Dynasty, and Qing Dynasty that participated in the auction. For example, there were many types of porcelain from the Qianlong period of the Qing Dynasty that appeared in the auction, such as turquoise green land, intertwined lotus, longevity, blessing, sea house, folding basin, apple green land rolling road, pink three-star porcelain plate, red glazed jade pot, spring bottle, etc. During the auction, there were different ways to increase the price. For example, some auctions increased the price by 10,000 yuan per bid, and there were also cases where the price increase ladder was temporarily adjusted according to different items. At the same time, different porcelain items would have a range of valuation, such as Ming Zhengde Coral Red Glaze, which was estimated to be 800,000 - 1,500,000 Hong Kong dollars; Qing Qianlong Tea Glazed Melon Edge Ear Vase, which was estimated to be 500,000 - 800,000 Hong Kong dollars, etc. There were many sources of items, some from private collections, some from previous auctions, etc. Moreover, some of the items had publishing records or exhibition experience.

The Abundance of Gold and Jade porcelain symbolized wealth and many children. In ancient times, fish were regarded as auspicious objects. The porcelain patterns related to goldfish implied that there was a lot of gold and jade, while the golden jade full house with the lotus seed vase as the shape of the Great Master implied that there were many children and many blessings. The novel " Gilded Palm " is equally exciting. Everyone is welcome to click and read it!

The following types of porcelain have collectible value: ** 1. From a historical perspective ** 1. ** Ancient Porcelain ** - Porcelains from the five famous kilns of the Song Dynasty (Ru, Guan, Ge, Jun, and Ding) had extremely high collection value. For example, Ru porcelain was rare in the world. Its craftsmanship was exquisite, its shape was beautiful, and its glaze color was unique. It was a treasure in the collection of porcelain. The Song Dynasty porcelain was at a peak in the history of ceramic development. Whether it was the design or the firing process, it had a very high level. - The official kiln porcelain of the Ming and Qing Dynasties was also highly respected. The porcelain produced by the official kiln during the Ming and Qing Dynasties had reached a very high level of craftsmanship. For example, the blue-and-white porcelain from the Yongle period of the Ming Dynasty was exquisite in texture, rich in color, and dignified in shape. The porcelain produced by the official kiln during the Kangxi, Yongzheng, and Qianlong periods of the Qing Dynasty not only had a wide variety of shapes, but also integrated various decorative techniques, such as pastel and glaze, which had extremely high artistic value and collection value. - It was also a good choice to start collecting folk kiln porcelain from the late Qing Dynasty or the early Republic of China. Although folk kiln porcelain might not be as good as official kiln porcelain in terms of craftsmanship and quality, it could also reflect the social culture and folk aesthetics at that time. Moreover, the price was more friendly to the people than official kiln porcelain, which was suitable for beginners to collect. Some well-made and distinctive folk kiln porcelain also had high collection value. ** 2. From the perspective of special types ** 1. ** Porcelain Fragment ** - Especially the remnants of the official kiln. The porcelain fragments buried at the kiln mouth, such as the fragments left after the defective products produced during the firing process of the official kiln were eliminated, although incomplete, could provide precious material information for studying the craftsmanship, body quality, glaze color, etc. of the official kiln porcelain. There were also remnants of ancient kilns found in modern infrastructure projects that were worth collecting. In addition, some of the broken pieces that were preserved by the owners because of the preciousness and beauty of the porcelain were relatively complete. They were of great help to the study of the art of painting and were also worth collecting. ** 3. From the perspective of craftsmanship ** 1. ** Porcelain with special craftsmanship ** - For example, porcelain with underglaze colors. Some modern high-quality porcelain with underglaze color technology were both beautiful and practical. From the perspective of collection, if it was an exquisite and uniquely designed underglaze color ceramic work, it might have a certain collection value over time. This was especially true for ancient porcelain that used special techniques. For example, the Jun kiln porcelain of the Song Dynasty had a unique kiln transformation process that made the surface of the porcelain appear colorful and unpredictable. This difficult to replicate process made Jun kiln porcelain attract much attention in the collection market. The novel "Shou Zang" is equally exciting. Everyone is welcome to click and read it!

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!

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!

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!

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.

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.

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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.