Blue-and-white porcelain in the early Qing Dynasty, that is, Kang Yong dry blue-and-white porcelain, is another peak of blue-and-white porcelain production after the peak of Yongxuan blue-and-white porcelain in the Ming Dynasty. After the middle of Qing Dynasty, blue-and-white porcelain production began to decline.
1
Fetal glaze
In the early Qing Dynasty, the blue-and-white porcelain was thick gray or gray-yellow, with good layers of porcelain, tight connection of fetal glazes, duck egg green glaze, poor transparency and weak brightness, some glazed surfaces were shriveled, and many saucers were found. At the same time, many large tools are not glazed at the bottom, and the tires are not well repaired. The bottom of the dishes is thicker, the mouth edge is gradually flattened, and the edge is slightly retracted. Some utensils are carefully trimmed by craftsmen.
Qing Shunzhi blue-and-white cave stone autumn leaves poem board bottom
In the middle and late Qing dynasty, the fetal quality of blue-and-white objects was rough and loose, and sand grains and eye holes could be clearly seen in the fetal quality of objects.
2
Green material
In the early Qing Dynasty, most blue and white porcelain wares were painted with Zhejiang materials made in China, such as elegant and grey baskets. The overall color remains unchanged, a few are dark, and there are also some signs of blue and white blooming and pattern trance.
Qing Shunzhi blue-and-white cave stone autumn leaves poem plate
three
picture
In the early Qing dynasty, blue and white porcelain was mainly used for daily use, supplemented by display, and its image focused on applicability. It is based on the traditional style of the Ming Dynasty, and its shape is mostly simple and quaint.
Blue and white patterns in early Qing dynasty
Characteristics of Blue and White Porcelain in the Middle Qing Dynasty
four
Carve a pattern
The blue and white porcelain ornaments in the early Qing Dynasty are simple and natural, and painting is a departure from the traditional single-line flat painting, but? With the technique of multi-line flat painting, it is soft and even, dense and elegant, reflecting each other, rough and bold, and rich in decorative themes, such as animal patterns, plant patterns, mountains and rivers, Bo Gu maps, etc. The dragon pattern is tall and beautiful, strong and powerful, and has the potential to soar in the wind. Kirin patterns are often painted with banana leaves, which make each other interesting, and banana leaves are often left blank.
Qing Kangxi blue and white Bo Gu figure straight neck bottle (a pair)
The painting style of blue-and-white porcelain after the mid-Qing Dynasty is usually double hook line pattern, without filling color.
Blue and white kilns in the middle of Qing Dynasty
1. Compared with the dry keel, the fetal bone of porcelain in Jiadao period is slightly loose, and the whiteness is not much different. However, the newly imitated fetal bones are either too white and too thin or too rough, and occasionally granular objects can be seen. From the glaze, there are traces of "fine orange peel glaze" and "light wave glaze" on the glaze of Jiadao porcelain, especially from the side.
2. Although the color of blue and white has many meanings, the mainstream is still unchangeable chastity blue, with silent tones and clear patterns. In the later period, the colors of blue and white are cyan, light blue, gray blue and so on.
After the middle of Qing Dynasty, the cobalt color of blue-and-white ware was made of domestic blue material, and the characteristics of blue-and-white ware were gray, black, mixed and floating.
3. In the middle of Qing Dynasty, the glaze was thick, not too thin.
4. The color of Jiaqing blue-and-white is relatively unchanged, but due to the indifference of the authorities, the porcelain firing shows signs of decline, the blue-and-white on the utensils is dim and scattered, the varieties of blue-and-white are outdated and the quality is low, especially the red products in the blue-and-white glaze are generally weak in glaze color, and the glaze color is dim, and the blue-and-white also shows signs of flowering.
Qing Dao guang fen Cai Li Jingyan lai hong Gai Guan
5. The color of Daoguang blue and white porcelain is really the same as Jiaqing base. Blue is not very bright, there is no sign of agglutination freckles and halo, and there is a sense of floating.
6. Jia and Dao dynasties have similarities in decorative paintings, showing fewer pictures and mechanical paintings, especially the figures are only tangible and have no gods.
7. The most frequently painted pattern on blue-and-white porcelain in Yongzheng and Qianlong periods is "lotus wrapped branches", which has the representative significance of "being honest and clean" and "coming from behind". After Jia and Dao, they cut corners and painted the lotus branches very rough. The branches that were originally covered with lotus flowers turned into flowers like hooks, referred to as "dog lotus" for short.
Qingganlong Green Land Pastel Flower Begonia Flower Plate
Blue and white in late Qing dynasty
material
The typical blue-and-white porcelain in Xianfeng period is elegant in color, which may be elegant;
At the end of Tongzhi, it was also given imported blue materials. Blue and white porcelain was bright and blue, lacking the aesthetic feeling of natural mineral blue materials;
During Guangxu period, domestic blue materials were given to Zhejiang materials, while folk kilns used foreign blue or Shi Ziqing. The blue and white porcelain produced is characterized by the drift of color in glaze;
In Xuan Tong's time, domestic green materials were given, while foreign blue was used in folk kilns, and the blue-and-white porcelain produced was blue and bright.
Qing Xianfeng blue-and-white eight-treasure flowerpot partial
Qing Tongzhi Tsinghua
Qing Guangxu blue and white
Qing Xuan tong Qing Hua
Mode and technology
The figures painted by blue-and-white porcelain in Xianfeng era have the characteristics of "aquiline nose", with mechanical ornamentation and lack of vitality. In terms of technology, the porcelain tire is thicker than the previous generation, the tire quality is loose, and the tire glaze is white and thin, which has the characteristics of "hypo glaze".
Qing Xianfeng Blue-and-White Siheyuan-like pattern plate of three friends in Wen Zi during the cold year.
In Tongzhi era, blue-and-white porcelain patterns were mostly colored by feudal superstition. The official kiln took Fu Lushou Xi as the primary decoration, and the folk kiln patterns were messy and had poor painting ability. In terms of technology, the tire quality is loose, the tire glaze is white and the flatness is poor.
Qing Tongzhi Blue and White Fu Lu Shou Ear Bottles (a pair)
The blue and white porcelain in Guangxu period was rich in images and patterns, and its brushwork was too thin and formal. Technically, it is better than Xianfeng and Tongzhi, and the fetal quality is tight. Compared with the early Qing dynasty, it is still softer. Blue-and-white porcelain produced by China Porcelain Kiln is more and more rough and clumsy, with white glaze slightly shiny and blue, and symmetrical head and ring ears at the bottleneck of porcelain.
Qing Guangxu blue and white baby play bowl
In Xuan Tong's era, blue and white porcelain patterns were mainly decorated with dragon and phoenix, eight immortals, eight treasures, eight diagrams, cloud bats, cloud cranes, flowers, bunched lotus flowers and the word "longevity". Technically speaking, porcelain is made by machine, with regular shape, high fetal porcelain quality, light and thin carcass, glassy fetal glaze, and a loud metal-like sound when struck, so porcelain is produced in folk kilns.