How to distinguish blue and white porcelain in Qing Dynasty?

The authenticity of blue and white porcelain and the distinction between official kiln and private kiln

(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. Among the 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, flip-chip fan, willow leaf, convex flower bud, etc. are all rare shapes 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. Many other folk kiln plates and bowls, such as those 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 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 real thing, because although it was made according to the real thing at the time of imitation, it was exactly the same as the real thing before firing, but after high temperature firing, its shape is different from the real thing 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 decorated with big poems, big words, big songs, big fu, big tables and big fu 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 are so-called "imperial restrictions and departmental restrictions" in official kilns, and there are often works similar to official kilns in folk kilns, mostly in the Qing Dynasty.

When it comes to official kilns and folk 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 kiln mouth, 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. There are not as many color levels of blue and white 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. There is a pile of powder blue and white on the tofu blue and white porcelain, commonly known as "blue and white powder" or "blue and white". The firing method is: first, coat a layer of white powder on the fetal bone below blue and white, then draw blue and white patterns on the white powder according to the approximate shape of the patterns, and finally glaze and fire. The decorative pattern of piled powder blue and white is raised, with bright colors, elegant appearance and strong three-dimensional sense. This kind of powder pile blue and white was first fired in Kangxi period, Yongzheng period and Qianlong period, but the quantity was small, and it was more popular in Jiaqing and Taoist periods.

Painting is still the main decorative pattern, but it retains the heritage of Qianlong period. The painting plane is meticulous, and the decorative pattern painted is not as lively as that painted when it was dry and long, and it becomes a relatively rigid pattern with less freehand brushwork. Only one day after Daoguang, celebrity paintings and calligraphy can be copied into porcelain cups. One inch can draw five or six words, with vivid eyes and extraordinary works.

5. The painting themes mainly include: Yunlong, Yunfeng, Longfeng, Sanyang, Lion Ball, Flowers and Birds, Hua Die, Insects, Flowers, Four Seasons Flowers (Courage, Lotus, Chrysanthemum and Plum Blossom), Hook, Landscape, Figures (Eight Immortals, Ladies, Tianhe Match, Doll Play) and Scenery (Ten Scenes of Lushan Mountain).

6. Happy people often decorate an object with blue and white in an understatement. This double happiness blue and white decoration first appeared in Qianlong period, and gradually increased in Jiadao period.

7. During the period of Jia Dao, the embossed iron patterns began to increase, and the dry ridges appeared, but the number was very small. This kind of iron flower decoration is generally decorated in the mouth, ears, waist and other parts of Ge porcelain, commonly known as "Ge porcelain iron flower".

8. Various decorative methods of porcelain patterns popular in Qianlong period belong to shadow painting, ground rolling, colored ground opening, green lining and earrings, which are commonly used in Jiaqing and Daoguang periods.

9. Some changes have taken place in the shape of utensils, and the number of utensils belonging to plates and bowls has increased. There are few large three-dimensional objects such as bottles and statues. At this time, sunflower mouth, square mouth, hexagonal mouth and octagonal mouth appeared.

10. Since Daoguang, there have been five sets of objects used as dowry, namely a bottle, two generals' cans and two flower beds, commonly known as "five big pieces".

1 1, Jiaqing, Daoguang style; (1) The year of the official kiln is printed with six characters of Qing Dynasty, and there are also four characters of Qing Dynasty, and the year of regular script is less. (2) Most of the artifacts in folk kilns have no money, and only a few write the year. Its form is the six-character seal script chapter of Qing Dynasty or the four-character regular script of Qing Dynasty. Shendetang is a Daoguang kiln, and the model of three-character straight plate is better. They are all painted in red, and there are also gold models. Folk kilns are also very popular with family collections, such as "Tuisitang" and "Hanghengtang", which are mostly blue-and-white and red-colored regular script models. (4) Imitation was still prevalent during the Jiaqing and Daoist periods. Some objects are engraved with the "beans in money" of Chenghua year at the bottom (that is, after the year is engraved, it is painted on the money with sauce glaze to look like dried beans). This kind of "dried bean" is often used in porcelain and iron flower utensils.

1, the fetal bones of porcelain from Xianfeng to Xuan Tong are basically the same, but the fetal quality is not as good as that of Jiadao. At this time, the fetal quality is getting looser and looser, and the fetal bone is getting thicker accordingly.

2. Since Xianfeng, the porcelain glaze has gradually become thicker, and the combination of porcelain glaze and fetal bone is not close enough. The phenomenon of "wave glaze" and "orange peel glaze" is more serious than that in Jia and Dao periods.

3. On the glaze of porcelain, even bubbles and deglaze often appear. White glaze is not as white as it was in Jiadao and Daoshi, and gradually becomes a slightly gray color in white.

4. The kiln turned to red glaze, and then there was a great change. There are fewer and fewer blue-purple spots on the glaze, but more and more red areas, and some even turn completely red, and almost no blue-purple spots can be seen. In Guangxu and Xuan Tong, another kind of kiln red glaze composed of red and black appeared.

The evolution process of kiln red glaze is as follows: during Yongzheng, blue was more than red; During the Qianlong period, blue was less than red; Jia and Dao are more red than blue; After Xianfeng, it basically turned red; In Guangxu and Xuan Tong, it was composed of red and black.

5. The color of blue and white is only 1-2. At the end of Tongzhi, a kind of blue-and-white blue and purple flowers appeared. After Tongzhi, the pile of blue and white powder was less. At this time, the pile of powder under the blue and white is extremely thin and light in color.

6. From Xianfeng to Xuan Tong, famille rose changed significantly. The material of famille rose from fine to coarse, and the color of famille rose from thick to light.

① During Xianfeng and Tongzhi years, there were more famille rose and thicker famille rose. In addition, gold is often depicted on exquisite pastels, so pastels are very gorgeous at this time. ② During Guangxu and Xuantong years, the famille rose content decreased, and the farinaceous quality was very weak.

7. Soft colors appeared in the late Tongzhi period. It is popular in Guangxu and Xuan Tong. Soft color objects are only available in folk kilns, but not in palace kilns.

8. Watercolors that appeared in the last years of Guangxu, without powder, have the characteristics of thin color and light color. This is the color used in Xuan Tong porcelain in the last years of Guangxu.

9. The pattern is mainly painting, but the painting is more and more scribbled, lacking discipline, and extremely unattractive. Painting characters is boring and lifeless. Painting flowers and birds, animals have no sense of liveliness.

10, the decoration of the official kiln is mostly meticulous painting and regular patterns; Folk kilns are mostly freehand brushwork. Soft color freehand brushwork was popular in the last years of Tongzhi and Guangxu. It painted famous painters of Ming and Qing Dynasties, such as Shen, Tang, Silla and Badashan, but the paintings were very different.

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12. The painting themes are: figures, landscapes, flowers and birds, butterflies, lions, beasts, cloud bats, Long Yun, dragons and phoenixes, Chinese cabbage, three fruits, eight treasures, eight diagrams, Bo Gu, Zhong Ding, nine peaches, lotus flowers, peony flowers, happy characters and longevity characters.

13. The happy characters in decorative patterns were very popular in Wei Feng, Tongzhi and Guangxu periods. This kind of blue-and-white double happiness character has different expressions in several periods. (1) During the Xianfeng period, the font of double happiness was neatly written and the strokes were fine. (2) During the Tongzhi period, the font of double happiness characters was not neatly written, and the strokes gradually widened. (3) During Guangxu period, the writing of double happiness characters was extremely untidy, not only the strokes were wide, but also the fonts became blurred.

14. The earrings in this period mainly include lion ears, animal ears, elephant ears and wriggling tiger ears.

15, painting, color opening, color rolling, green lining and green background are out of fashion.

16, Xianfeng, Tongzhi period, iron flower decoration was particularly popular in Colombian porcelain, less in Guangxu period.

17, Guangxu and Tongzhi years, Xiao Ji and ancient decorative patterns were popular.

18, the golden word "Xi" and "Double Happiness" were popular in Tongzhi.

/kloc-During Guangxu and Xuan Tong in 0/9, flower arrangement, school flower, rich and bald head and scattered flowers were more common in Bo Gu and Zhong Ding.

20. From Xianfeng to Xuan Tong, except for a few porcelains, most of the artifacts are thicker than those of the previous dynasties, and they are not as detailed as those of Yongzheng and Qianlong. The shapes of utensils in this period are also different from before. Bottles, statues and other kinds of furnishings are reduced, but most of the utensils are practical articles for daily life, such as gallbladder bottles, celestial bottles, string bottles, generals' cans, porridge cans, bird food cans, incense burners, fish tanks, flower pots, narcissus pots, washbasins, tasting pots, holding, storing, oiling, tying, printing, pen washing and pen washing. In Tongzhi, Guangxu and Xuan Tong periods, bottles, tea pots, lids, teapots, tea bowls and complete sets of dishes and bowls were very popular. There are not only 150 bottles, 300 bottles and 500 bottles, but also 1000 bottles.