The Ming Dynasty Apocalypse and Chongzhen period are special periods in the history of Jingdezhen ceramics development. The imperial court was turbulent and the national strength was exhausted, and the imperial court could not take care of the production of official kiln porcelain, so there were very few official kiln porcelain with the imperial year name. According to the "Porcelain and the Dutch East India Company" compiled by Alke, in the 80 years from 1602 to 1682 in the late Ming and early Qing dynasties, only the Dutch transported more than 16 million pieces of Chinese porcelain.
In Japan, European countries, the United States, etc., there are many blue and white porcelain collections of this period. The porcelain exported includes products from official kilns and private kilns. Most of the varieties are popular blue and white porcelain, and there are also red, green and black porcelain on glaze, and it can be said that Chinese porcelain is almost all over Asia, Africa, Europe and the United States, and is sold in large quantities all over the world. The following will explain the characteristics and identification methods of Chongzhen blue and white porcelain of the Apocalypse.
The blue and white porcelain characteristics of Tianqi Chongzhen:
For the blue and white porcelain of Tianqi Chongzhen, they are generally put together to talk about it. Because, after the development of blue and white porcelain to Wanli, it has obviously gone downhill, and the style of Tianqi and Chongzhen porcelain is relatively similar. At that time, due to the decline of the porcelain industry, the production of official kilns almost came to a standstill, and most of what can be seen now are folk kilns. There are mainly three types of products: temple offerings, general daily porcelain and porcelain for export. As far as general household utensils are concerned, although there are also excellent works, most of them are relatively crudely made. The soles are sloppy in their handling. The glaze color is gray and green, and the blue and white color is mostly gray in the green, without a sense of verdant. However, at the time of the apocalypse, the aesthetic style has completely broken through the shackles of the official kiln stylization, and all landscapes, figures, flowers and birds, animals, fish and insects, still lifes, as large as dragons and phoenixes, as small as shrimps, all of them are indispensable to the painting. Moreover, the painting style is sparse and casual, handsome and lively, freehand and natural, quite with the charm of ink and wash freehand, and the landscape pictures are often painted with thin lines. Many literati paintings were absorbed by porcelain painters. If you see the rabbit decoration again, and the bottom of the jump knife marks, the toes are slightly pointed, it can generally be regarded as the end of the Ming Dynasty. Furthermore. Bottles, jars, pen holders, etc., in the Chongzhen period, are often decorated with two circles of dark engraved patterns on the neck and near the bottom, which is also a decorative feature to identify Chongzhen's vessels. Of course, if you only use this concept to discern it, you will often be deceived.
Later, after seeing the blue and white porcelain of the real Apocalypse Chongzhen, I realized that some imitations can be made in the same way as the real thing. Such as lattice pattern, white rabbit model, enamel tone, modeling system, etc., can be imitated later, therefore, it is easy to be fooled if you do not carefully identify it. To identify the real Apocalypse Chongzhen porcelain, we must first understand the glaze color of Ming Dynasty porcelain. Ming porcelain is different from Qing porcelain, due to the age, thick pulp, so the glaze is particularly bright than Qing porcelain. Where the glaze color is dark and the blue and white are not bright, even if the pattern style, standard modeling, and blue and white hair color are correct, do not easily identify. Another important point is that there is often a line of orange and yellow between the glaze of Jiajing porcelain, but at this time, there is no finger watermark on the blue and white. The window lattice decoration generally appears after Wanli, therefore, if the glaze color and blue and white hair color can be identified as a late Ming thing, if there is no orange-yellow tone between the glaze, you can see the watermark pattern, plus the pattern. There is a window checkered pattern, a white rabbit and a bottom to see the jumping knife modifier, and then refer to other features, if they all match, it should be judged that there should be no big mistake in the Apocalypse Chongzhen porcelain. Although there are imitators of the pulp that has been born due to its age, it is not difficult to distinguish it if you carefully identify it. The watermark fingerprint is more difficult to imitate, and it is a major basis for identification. Of course, this kind of dating is also general, because whether it is the watermark finger pattern or the orange-yellow tone between the glaze, it is not absolute. Judgments should be made on a case-by-case basis.
The blue and white porcelain of the Ming Dynasty has a profound influence on Chinese blue and white porcelain, and different blue and white cobalt materials of different ages can be well adapted to various themes of Chinese painting. The painting of blue and white porcelain is completed with a traditional brush, with a variety of lines, dots, dyeing, and rendering.
Ming Chongzhen (AD 1628-1644, Ming Sizong Zhu by the inspection of the year) Dynasty lasted 17 years, the national situation declined, Jingdezhen official kiln was in a state of suspension, only the kiln continued to produce, the quality of porcelain declined significantly, but there was still a large number of exports of porcelain at that time. Judging from the history of porcelain making in the Ming and Qing dynasties, Chongzhen blue and white is at a turning point from the late Wanli period to the early Kangxi period of the Qing Dynasty, and there are fine and coarse wares.
Ming Chongzhen blue and white figure pattern jar.
During the Chongzhen period, the varieties of blue and white porcelain decreased significantly, mainly with offerings such as flower goblets, incense burners, candlesticks, and water purification bowls
Ming Chongzhen blue and white character flowers.
Blue and white porcelain daily utensils include: gourd bottles, hand cups, tea cups, elephant leg bottles, tube bottles, hexagonal jars, eight-square jars, lotus seed lid jars, etc.
Ming Chongzhen blue and white gourd vase.
There are also bowls, plates, pots, washers, bowls, bowls, stoves, cylinders, honors, pen holders, pen holders, inkstones, etc., among which tea sets, plates, and tableware are mostly sold to Japan.
Ming Chongzhen blue and white wash elephant pattern pen holder.
Temple utensils include: flower goose, candlestick, bowl furnace, cylinder furnace, water purification bowl, etc.
Ming Chongzhen blue and white Arhat pattern incense burner.
Characteristics and identification methods of blue and white porcelain in the Chongzhen period of the Ming Dynasty
There are few official kiln utensils, and most of them are fired in private kilns. Apocalypse blue and white color has bright and bright, there is also a large degree of gray in the blue, the process is obviously rough compared with the early Ming Dynasty, the decoration is painted by painting and dyeing techniques, there are pan blue-black or gray, at the same time there is a mixture of light and light, the layers are distinct, and the color is verdant for the fresh color transition to the Qing Dynasty. There are plum bottles, stoves, cans, pots, jars, flower goblets, water purification bowls, plates, bowls, cups, etc.
The carcass is generally thick and heavy, and coarse and firm coexist. Its fine works, thin and light, light painting, delicate and soft as the Song Dynasty painting white description, for the past dynasties rare wonderful pen, such as the book "the first year of the Great Tomorrow Apocalypse Mengxia Yue made", painting the dragon button bell of the eight immortal characters and the official kiln painted pine and bamboo pattern small cup, is the late Ming Dynasty boutique. Painted with Zhejiang material bright and deep blue and white basin, began to use the dyeing method, a change of the dense style of the Wanli time, a wide range of ornamentation, both character stories such as Dharma, Arhat, and animals such as tigers, cows, wild geese, fish, shrimp, there are also freehand landscapes, with the characteristics of bold and exaggerated freehand painting. Japanese ceramic scholars refer to this type of work as "Kozen Fu", which is an export commodity and indeed has a Japanese ceramic style.
The blue and white pigment is made of stone blue, which is stable in color. The best color is bright and verdant, most of the tones are dull, there is a halo, and the halo seriously affects the ornamentation, resulting in confusion of the ornamental linesAt this time, blue and white vases, pots, stoves, inkstones, plates, and bowls can be seen from time to time. The blue and white are scattered, and there is a shortcoming phenomenon of glaze leakage. Some heavy entrainments have black-brown spots, but they are different from the color of the Yuan Dynasty and the early Ming Dynasty, and the black spots do not penetrate into the fetal bone, and there is no unevenness in the hand.
The blue and white porcelain of this period likes to be decorated with dark flowers, and the mouth and foot parts of some carved vessels are secretly carved with curly branches under the glaze. In painting, he often draws banana leaf patterns on the mouth and feet of the utensils, landscape figure patterns, more paintings of the sun, most of the cloud patterns are painted as bracket clouds, and the grass patterns are mostly outlined into small hooks with thin lines, and the picture is mostly accompanied by verses, and there are stamps imitating calligraphy and painting next to the inscription poems, with square or round shapes, which are obviously influenced by calligraphy and painting at that time. The blue and white porcelain of this period likes to be decorated with dark flowers, and the mouth and foot parts of some carved vessels are secretly carved with curly branches under the glaze.
Ming Chongzhen blue and white Wen Wang visited the virtuous picture pen holder.
Ming Chongzhen blue and white Wen Wang visited the virtuous picture pen holder.
In painting, banana leaf patterns are often painted on the mouth and feet of the utensils.
Ming Chongzhen, Su Wu, Li Ling, story picture lid jar.
The painting technique adopts the traditional single-line flat painting and underdrawing method, with a single line flat painting as the main method, and the lines are smoothThe blue and white lines are scribbled, and the brushwork is weak and sloppy. The Chongzhen Dynasty created a brush similar to the light ink and watercolor in Chinese painting, the picture is very poetic, and has been influenced until the early Qing Dynasty, the composition layout is basically similar to the Apocalypse Dynasty, the content is mainly sketched and painted, and a large number of deformation, exaggeration or simple brushwork techniques are used, and the picture is bold and unrestrained.
Ming Chongzhen Blue and white bamboo forest seven sages picture cover box.
Ming Chongzhen Blue and white bamboo forest seven sages picture cover box.
The decorative themes are wide and the content is rich. The pattern decoration is full of meaning. Landscape painting is the most common subject in this period, the content is very full of life, the painting has the charm of Chinese painting in the late Ming Dynasty, there are many ancient poems, thatched huts, grass pavilions, boat bridges, fishermen, woodcutters, scholars, literati scholars, Yuan Ming Ai Ju, Dun Yi Ailian, bamboo forest seven sages, Tang monks learn scriptures and so on. The traditional themes are: cloud dragon pattern, phoenix bird pattern, phoenix wear pattern, unicorn pattern, lion peony pattern, cockroach pattern, tiger pattern, cow pattern, horse pattern, crane pattern, fish pattern, rabbit pattern, pine deer bee monkey pattern, fish algae pattern, mandarin duck lotus pattern, pine, bamboo and plum pattern, grape pattern, folded branch flower pattern, entwined branch flower pattern, baby play pattern, Luohan pattern, knife and horse character pattern, Fushan Shouhai pattern, Ganoderma lucidum treasure pattern, knot with hydrangea pattern, eight immortals, weeping willow, moon shadow, Bogu and so on.
The landscape figure pattern is painted with the sun, and the owner in the picture often refers to the sun, which means that the sun is rising, which is one of the characteristics of Chongzhen.
Ming Chongzhen blue and white character story picture pen holder.
Most of the cloud patterns are painted as bracket clouds, the grass patterns are mostly outlined into small hooks with thin lines, the pictures are mostly accompanied by poems, and there are stamps imitating calligraphy and painting next to the inscription poems, with squares or circles, which are obviously influenced by calligraphy and painting at that time.
Ming Chongzhen blue and white landscape figure pen holder.
The bracket clouds are most often painted with individual brackets, and there are also combinations and changes between two or three brackets, but there is no continuous change of flowing clouds in the middle and late Kangxi periods. At this time, one of the main functions of the cloud pattern is to connect the two ends of a picture in the circular device chain painting, so that the picture disappears in the cloud fairyland, so as to make the picture coherent in structure.
In the middle and late Kangxi periods, this function was gradually replaced by travertine banana patterns, and entities were used instead of clouds to distinguish the primary and secondary structures of the paintings, which made the idea of the middle and late Kangxi paintings more realistic and less elegant.
Another function of the cloud pattern is that when the picture shows the fairy figures, it is often accompanied by clouds, and the cloud pattern has both content and form functions, and its painting method is still a combination of bracket cloud patterns.
Ming Chongzhen blue and white landscape figure pen holder.
The distant mountains of the Chongzhen period are often high and steep, quite the feeling of the cliffs of the fairy mountains, disappear into the clouds, the steeper the distant mountains, the more the wind of the Ming Dynasty, and the mountains are so steep that they cannot be seen at all in real life.
Ming Chongzhen blue and white figure travel picture bottle.
The recurring theme patterns on the blue and white fine material ware in the Chongzhen period have important dynastic value. A roll of delicate plantain cores that do not hook the leaf pattern is always thriving from the lush banana leaves, and the stems of the banana leaves are left blank;
Ming Chongzhen blue and white landscape figure gourd bottle.
Small broad-leaved shrubs with drooping leaves that grow on the side of rocks are drawn using the "leaf clipping method".The small round clusters of leaves, which also cling to the edge of the stone, are clearly outlined, like fish eggs, a nest of oil balls protected by egg membranes;There is also a kind of leaf that is needle-packed, distributed in the shape of "jie", called "jiezidian";
Ming Chongzhen blue and white years of cold three friends inlaid with silver bottle.
The protagonist of the figure painting, the big official, faces the audience with three-quarters of his face on the left side, with thin eyes in the word "one", an "L" shaped nose, a mouth covered in eight characters, and a supporting character with a goateeThe patterns on the silk piano clothes, silk curtains, and official flower thick clothes are developed from "chrysanthemum dots" and "plum blossom dots";The partition door has a "10,000-character lattice" as the lattice center, and the middle tapering plate is decorated with a ruyi pattern.
Ming Chongzhen blue and white eighteen Arhat pen holders.
When Chongzhen, the image of the dragon on the front is scattered, and the old dragon clock.
Ming Chongzhen blue and white double dragon play bead plum bottle.
Chongzhen blue and white materials are exquisite, using stone green, and the exercise method is purified, so that the quality of the green material is greatly improved, and the color is stable. The best color is vivid and verdant, and this blue surpasses the previous dynasties because of the elaborate firing method.
Ming Chongzhen blue and white Coats figure pen holder.
However, most of the tones are dull, there is a halo, and the halo is seriously affected by the ornamentation, resulting in confusion of the ornamental lines, the blue and white halos, and the shortcomings of glaze leakage, and some heavy entrainments with black-brown spots, but different from the Yuan Dynasty and the early Ming Dynasty, the black spots do not penetrate into the fetal bone, and the feel is not uneven.
Ming Chongzhen blue and white character bowl.
Chongzhen blue and white tires are made of kaolin, and most of the tires are rough and loose. The tire color is grayish-white. The carcass is generally thicker, and a small number of products have a thin carcass and a high degree of porcelainization. The shape of the instrument is not neat, the ring foot is generally short, and the bottom foot is more prone to rotary jumping knife marks, and there is sticky sand. However, the official kiln and the private kiln are still very regular, the feet are high and deep, the feet are more exposed, and the trimming is flat or roundThis foot pose continued until the early Qing Dynasty. Cylinders, flower grabs, cans and other vertical utensils are generally fine sand, and some can see the string patterns left after rotation. The glaze of the base glaze is blue, and orange peel is common.
Chongzhen blue and white glaze layer is thin, the glaze is uneven, the gloss is not strong, the glaze is white and flashing green, there are two kinds of glaze bright and not bright, the bright one is bright blue, but the brightness is significantly weaker than the bright blue of Wanli glaze. There are also blue-gray colors, and some of them are also open. It is prevalent to apply a circle of sauce-colored glaze (i.e., sauce glaze) at the edge of the mouth of the utensil.
Ming Chongzhen blue and white double dragon play bead plum bottle.
Chongzhen blue and white porcelain signed on the year number of this dynasty is not much, about ten years after Chongzhen to the fourteenth year of Shunzhi in the Qing Dynasty, there is a script to write the year or inscription of the cadre;There are also pseudo-collections such as "Yongle", "Xuande", "Chenghua" and "Jiajing" written at will.
There are a large number of auspicious characters, hall names, and zhai names, and variant seal inscriptions and window format inscriptions are also common. In addition, inscriptions are occasionally seen in Liti.
The contents of the inscriptions in Ji language are: "Fu", "Longevity", "Goodness", "Expensive", "Elegant", "Rich and Noble Ware", "Shangpin Jiaqi", "Yutang Jiaqi" and so on. Zhaitang is often written on the heart of the bowl, such as "Xiangfeng Hall", "Yu Si Tang", "Bogu Zhai", "Yuxiang Zhai", "Songshi Ju", etc., and the bottom of the bowl is common "white jade", "Yi kiln", "piece of jade" and silver ingots, Fang Sheng, rabbits and other picture notes.
Chongzhen blue and white porcelain is not much signed on the year number of this dynasty, there are a large number of auspicious paragraphs, hall names, Zhai names, variant seal inscriptions and window format inscriptions are also common. In addition, inscriptions are occasionally seen in Liti.
The contents of the inscriptions in Ji language are: "Fu", "Longevity", "Goodness", "Expensive", "Elegant", "Rich and Noble Ware", "Shangpin Jiaqi", "Yutang Jiaqi" and so on. Zhaitang is often written on the heart of the bowl, such as "Xiangfeng Hall", "Yu Si Tang", "Bogu Zhai", "Yuxiang Zhai", "Songshi Ju", etc., and the bottom of the bowl is common "white jade", "Yi kiln", "piece of jade" and silver ingots, Fang Sheng, rabbits and other picture notes.
There are imitations of Yongle, Xuande, Chenghua, Jiajing, Wanli and other dynasties, and the words are sloppy and irregular. Imitation Yongle porcelain, see the blue and white regular script "Yongle Year" section of the "Red Cliff Fu" poetry bowl. Imitation Xuande year, mostly for the "Ming Xuande year" double-line blue and white bottom paragraph. Surrounded by a double circle, the same style of "Ming Xuande year" model is rare.
Tianqi Chongzhen blue and white porcelain identification method:
1. Except for a few official kilns, most of the people seen in the apocalypse are private kilns. Most of the instruments are irregular. At this time, a Japanese-style shape appeared. General utensils, the carcass is heavy, the tire repair is rough, the bottom foot often has rotary knife marks and heavy scratch marks, and there are many sticky sand.
2. The tire quality is rough, and the refining is not refined. However, the small utensils are still very fine, and have a long history. The tire glaze is coarse, and the glaze is blue gray.
3. The degree of glaze brightness is significantly weakened, and the glaze is thin. The bottom part of the plate, bowl and other utensils is filled with sand and the adhesive part is obvious. The glaze is neatly cut, and there are more exposed parts, and there is no brownish-yellow tone when some tires are glazed.
4. There are four different shades of blue and white, among which the halo and black and gray ones are very different from the delicate and light tones. During the Chongzhen period, the blurring of blue and white tones and the phenomenon of glaze loss were even worse than during the apocalypse. It often makes the ornament blurry, and there are also brighter and brighter or similar to the apocalypse.
5. The ornamentation mostly reflects the Japanese style, such as fan pattern, ball pattern, etc. In addition, the prevailing style of inscription poems and couplets in the late Ming and early Qing dynasties was also expressed at this time. At this time, the popular bold and exaggerated freehand painting of reduced strokes was in stark contrast to the dense and scattered ornamental composition of Wanli. After Wanli, there are often window lattice patterns. Some of the blue and white ware has a finger watermark pattern. The outer wall of the disc is often decorated with five blue and white dots and pale red deformed flowers, and there are often three of these deformed flowers on a single disc.
6. Some of the bottom of the disc is a little defective, or the jump knife marks are obvious, and there are burn marks. Centripetal scratch marks and radial jump marks can be seen on the feet. There are also small nipples similar to the bottom of the early Ming Dynasty, and there are more unglazed feet at this time, but there are sand grains. Most of them are fine white sand feet, the foot edge trimming is smooth and neat, and the carcass is more exposed. It formed the unique characteristics of the late Ming and early Qing dynasties, and provided a basis for the discontinuation of the dynasty.
7. The apocalypse utensils are less knowledgeable. It is generally written at the bottom of the device. The format is "Great Tomorrow Apocalypse Year", and inscriptions have appeared on blue and white and colored porcelain. From the point of view of the style, there are the official kiln of the book, there are also the official writing of the cadre branch of the year, in addition, there are many random scribbles "Xuande", Chenghua", "Jiajing" and other pseudo-entrusted to the previous dynasty.
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