What are the monochrome glazed porcelains of the Yongzheng period

Carmine glaze, Yingge green glaze, imitation milk azure glaze, Lang red glaze, sacrificial red glaze, sacrificial blue glaze, lemon yellow glaze, black gold glaze, white glaze, etc.

The characteristics of the porcelain (Yongzheng porcelain) of the Yongzheng period are: fine craftsmanship, ancient modeling, bright color, painting increased the costumes and costumes of the time, the inner wall and the outer wall of the utensils or the cover and the body of the ornamentation are connected, and they are integrated (over the branches of flowers and branches).

Yongzheng porcelain is completely taken from Kangxi porcelain. More imitation of Ming Dynasty porcelain, and the completion of the model, as well as the imitation of the Ming Dynasty in the flower collection of the method, in the outer rouge water pastel cup bottom to draw a peach shape, the peach is hidden in the "Yongzheng year" four words.

1. The porcelain of the Yongzheng period, in addition to imitating the Yongle, Xuande and Chenghua porcelain of the Ming Dynasty is the most common, and its prominent types include the bull head, the piercing ear bottle, the four-even bottle, the lantern bottle, the Ruyi ear zun, the peach wash and the high-foot pipa zun.

2. The general feature of porcelain in the Yongzheng period is that the glaze has orange peel patterns.

3. During the Yongzheng period, the official kilns and private kilns of the boutique bowls and plates all present a round "loach back", which has a delicate feeling like glutinous rice flour when touched by hand.

4. The porcelain bowls of the Yongzheng period have the characteristics of deep circle feet and large bottom feet, and the ratio of some diameters to foot diameters is 2:1.

5. The bottom foot of the bottle, cup and bowl of the porcelain of the Yongzheng period is high and deep, and the bottom foot is unglazed and has obvious swirl marks.

6. The Yongzheng period imitates the Yongle and Xuande blue and white porcelain of the Ming Dynasty with two obvious characteristics: first, the blue and white materials are painted with one stroke, and there are no small brush strokes in the Yongle and Xuande periods of the Ming Dynasty; The second is to use key materials to imitate the natural black iron spots of the Yongle and Xuande periods in the Ming Dynasty.

1. During the Yongzheng period, the mainstream of porcelain shape was thin and light, beautiful and charming. Even the size of various types of common household porcelain has the characteristics of delicate and small.

2. At that time, there were many types of utensils, and the porcelain vases alone included the moon bottle, the plum bottle, the soft stick search front mallet bottle, the appreciation bottle, the gourd bottle, the Tianqiu bottle, the olive bottle, the string bottle, the cloud ear bottle, the Guanyin bottle and so on. Whether it is a porcelain vase, a porcelain bowl or a pot, a bottle, a jar or even a stationery utensil, etc., they are all in excellent condition, beautiful and exquisite.

1. The modeling characteristics of Yongzheng porcelain are: elegant and elegant, small and exquisite, mainly plates, bowls, cups, saucers and small utensils. The proportions of the instrument are harmonious, and there is a so-called "curvaceous beauty".

2. The tire is thin and light, and the large instrument is regular but not heavy. 3. There are many varieties of glaze, and the glaze has orange peel pattern, which is a prominent feature of Yongzheng ware. 4. The kiln becomes red glaze, which begins to appear at this time, which is intertwined by the two colors of red and blue, and the blue color is more than red.

5. The furnace glaze also started from this time, which is staggered by the two colors of sorghum red and turquoise green. 6. The blue and white hues are blue and white and pink white. The color levels of blue and white are not as many as those of Kangxi, and there are generally only 2 to 3 shades of color.

7. The color of colored porcelain is soft but not bright. The characters and scenes painted in pastel, multicolor, and falang are obviously reduced, and the picture is gathered. The pastel decoration is delicate, the color is elegant, and the three-dimensional sense is strong.

Around the ornamentation of Shi Cai, a side view often shows a circle of colorful "color halos" against the white glaze. Reference: Xiuzang Network Collection Notes - Ming and Qing Dynasty Porcelain Appreciation Special Topics (12) - Identification of Porcelain in the Yongzheng Period.

The Yongzheng official kiln is mainly the "Yongzheng Year of the Great Qing Dynasty" six-character two-line regular script blue and white double circle model, and there are also two-sided frame models, followed by the three-line six-character seal book that is mostly used on monochrome glazed porcelain. From the font analysis, Yongzheng style is inscribed by a special person, so the font on all kinds of porcelain is roughly the same. In the early period, the regular script was a three-line double-circle, and in the later period, it was a double-line, double-circled or double-framed.

Yongzheng year" four-character seal book carving is mainly used in imitation of even, furnace and tea and other utensils. "Yongzheng year" or "Yongzheng imperial system" four-character regular script pile is only used for enamel porcelain. Most of the Yongzheng fine road folk kilns fall into a variety of famous styles, such as "Zhengyi Book House", "Baiyi Mountain House", "Lanning Hall", "Wangyin Pavilion", etc., and the general folk kiln ware is complex and diverse, such as Ganoderma lucidum, incense burner, group flowers, squares, dried tofu, four flowers, etc.

The Yongzheng period is considered to be one of the prosperous times of the Qing Dynasty, and its porcelain production reached the highest level in history, and the production quality is unsurpassed in all generations. The overall style is light and handsome, elegant and round. Pastel was the most prominent in this period and became popular, thus replacing the status of Kangxi Wucai and becoming the mainstream of overglaze color.

Yongzheng pastel is not only painted on white ground, but also painted on various colored grounds, such as coral red, light green, sauce and ink. The shape of Yongzheng porcelain is different from that of the previous generation, because it has changed the strong and clumsy style of the Kangxi period, and replaced it with light and handsome, elegant and exquisite, and the shape lines are soft and round. Its carcass material selection is extremely fine, the wall is thin and the body is light, the symmetry is consistent, Yangon perspective, slightly light green, translucent, in the ornamentation, the production of blue and white glaze red in the underglaze color has reached the peak stage, blue and white and glaze red are fired in the same atmosphere, and both colors are very bright.

In the sixth year of Yongzheng, Tang Ying went to Jingdezhen Imperial Kiln Factory to supervise the production of porcelain, and made great achievements. The green glaze firing technology has reached the highest level in history, and the imitation of famous kiln products such as Guan, Ge, Ru, and Jun is also very successful. Iron crystalline glazes such as tea leaves and rust flowers from the Kangxi period reached their peak at this time.

Later, Tang Ying's "Pottery Chronicle" concluded the main processes of the Jingdezhen Imperial Kiln Factory, listing as many as 57 articles. Many color glazes also matured during this period, such as sacrificial red, sacrificial blue, pink and blue, and so on. Yongzheng porcelain, the official kiln in the early popular "Yongzheng year of the Qing Dynasty" six characters three lines horizontal double circle or square frame vertical writing regular script, enamel color ware signed "Yongzheng year" or "Yongzheng imperial system" paragraph.

The words of the kiln office are more sloppy, and they like to use auspicious language.

Overall, there is a Qing generation, Yongzheng porcelain is the most perfect, with distinctive characteristics of the times, unique ideas, each vessel has a variety of styles. The lines of small utensils are soft and subtle, light and handsome, and the unity of practicality and beauty is pursued. Large-scale cutters are dignified and elegant, pay attention to line changes, simple and clumsy, rigid and soft, pay attention to the coordination between the upper and lower proportions, the moderation of spatial relations, and the unity of the whole.