What is the luminous vase made by Tang Ying on the auspicious day of the first month of the Qing Dynasty?

On the auspicious day of the first month of the first year of the Qing Dynasty, Tang Ying was ordered to make "three luminous vases with the same pattern and enamel color".

Enamel-colored porcelain is at its peak with its white and firm tires, jade-like glaze color, bright and heavy tone, meticulous brushwork, exquisite skills, realistic three-dimensional sense and perfect firing skills. What is particularly commendable is that he is also the crystallization of Chinese and Western arts and crafts. Moreover, under the direct inspiration and personal guidance of Emperor Kangxi, Emperor Yongzheng and Emperor Qianlong, he chose the best porcelain tires from Jingdezhen and transported them to the court. Under this specific condition, the cooperation between court painters and western painters and the innovative technological crystallization are rare in the history of Chinese ceramics and even the history of world culture. Enamel porcelain is a kind of "imperial porcelain" specially designed for royal concubines in the Forbidden City. Qianlong once ordered "civilians to get a glimpse". Although the firing of enamel has experienced three generations of Kang, Yong and Gan, it only lasted for more than forty years. After the death of Tang Ying, a homemade pottery official, it was rarely burned. From the archives after the mid-Qianlong period, there is no record of enamel porcelain. Therefore, enamel porcelain is very precious and rare.

In the early Qing Dynasty, with the influx of western religions, astronomical calendars, mathematics, physics, medicine, music, painting and various arts and crafts, it had a great impact on China society. As the supreme ruler, Emperor Kangxi, after careful consideration, decided to adopt an attitude of accepting advanced science and technology but not blindly worshiping foreign cultures, and supported cultural exchanges between China and the West, which was beneficial to the development of China culture. Enamel porcelain is produced under such conditions. Enamel glaze is an exotic artistic decoration material, which appeared as far back as 1800 BC in the 11th dynasty of ancient Egypt, but it was only a rather rough product at that time. Modern enamel painting technology originated in France in the middle of15th century. /kloc-At the beginning of the 7th century, the French craftsman Jing I invented a new method of enamel painting, that is, adding different metal oxides to this soft glass material as colorants and mixing them with oil to become modern enamel materials, which can achieve the harmonious color effect like oil painting and decorate it on copper tire crafts. When a French missionary presented an enamel vase with a copper tire as a tribute to Emperor Kangxi, its beautiful shape and gorgeous colors were more attractive than colorful porcelain, and it was deeply loved and attracted by Kangxi, which induced the wonderful idea of transplanting enamel glaze to China porcelain and decided to try to make it in the palace. In the twenty-seventh year of Kangxi (1688), it began the arduous process of trying to burn it in the palace. When Ma Guoxian wrote back to China, he mentioned that "the emperor was fascinated by our European enamel paintings and introduced them to the Palace Museum as much as possible. Because he brought back the colors used for painting porcelain and several large pieces of porcelain glaze from Europe, he believed that he could do something, so he ordered Lang Shining and I to paint with porcelain glaze. ?

Because enamel porcelain imitates the technique of painting enamel on copper tires, and uses various enamel glazes to paint on porcelain tires, but copper tires are metal tires and porcelain tires are non-metal, and their textures are completely different. It is very difficult to coat enamel on copper tires, so it is difficult to master the sintering time after entering the kiln. In addition, all enamel materials were imported from foreign countries, so the progress was very slow until Kangxi was alive. After thirty-two years of hard work, it was not until the fifty-ninth year of Kangxi (1720), the year before his death, that it was successfully burned.

After Kangxi, Yongzheng and Qianlong loved porcelain tires to paint enamel, especially using famous court painters to paint enamel. Among them, Tang Dai is famous for his "deep and stable landscape", and Dai Heng is good at flower-and-bird painting, and is a master of painting ink and enamel. He Jinkun is a painter with paintings in the sequel to Shiqu Baodi, and is known for his "good painting of figures and flowers" and "rich hills and valleys at the bottom of his pen". These famous court painters exchanged experiences with Lang Shining and other western painters.

The enamel painted by Lang Shining for the palace is treasured by the palace, and the quantity is very small, only two or three pieces.

Lang Shining's paintings combine Chinese and Western techniques, using China's painters as Western painting methods, and achieving unique and gorgeous colors. Porcelain vases show China's freehand brushwork, which is unique and made of western enamel materials. What is even more unexpected is that Lang Shining avoided China's traditional painting, and used continuous lines to shape the image, but short and thin lines to express the three-dimensional sense and the realism of light and shade. In the words of experts, it is very "open". The inscription is written in regular script: "On the auspicious day of the first month of the first year of Qing Qianlong, Yuan Wailang, Minister of Interior Affairs, acted as the agent of Jiujiang Pass, and was in charge of the kiln affairs of Jingdezhen Factory, and Tang Ying was ordered to supervise the firing of pottery". The blue-and-white font on the bottom of the bottle is "Qianlong Imperial System", the red square double-circle red regular script "Huang Qing Qianlong Imperial" is on the right, and the red colorful regular script "Qianlong Imperial Treasure" is on the left.