明宣德時期原物與雍正時仿品的造型、紋飾、款識均相同,但兩者也有差別。宣德原物口微撇,豐腹,高足,足微外撇。細砂底用手摸有滑潤感,通體白釉,釉面有橘皮狀小棕眼,外口邊及底邊積釉處,釉色濃泛青。
雍正仿宣德三果紋高足碗與真品比,口部撇度小,腹部深,細砂底少光潤?？谶吋暗走叺姆e釉處青藍色,釉面的橘皮棕眼非常細小。在款識方面,真假瓷器雖然都寫在碗心,但真品字體大小不一,筆法遒勁有力;仿品款字體過于規整,拘謹無力。
真品的胎薄,釉面呈淺乳白色,細而溫潤;仿品胎較厚,釉面為青白色。三果的畫法也稍有不同,宣德器三果為蘋果、石榴、桃,雍正仿品把蘋果畫成兩只連在一起的形狀。
雍正時期御窯廠燒造的釉里紅和青花釉里紅瓷器質量最好,達到歷史最高峰?？梢哉f是前無古人,后無來者。有人稱雍正時期的釉里紅為‘寶燒紅’,發色呈鮮紅色調,成品率高。
釉里紅瓷器以仿宣德三魚高足碗、盤、碗、三果高足碗、云龍碗、后三果瓶多見,還有蝙蝠碗等。釉里紅呈色鮮艷十分成功,比康熙釉里紅發色更為鮮艷,器物大多有‘大清雍正年制’雙行六字楷書款。
這個時期,除了白釉釉里紅之外還有青釉釉里紅團龍、團風紋樣的器物;雍正時期青花釉里紅器也是歷史上燒造最成功時期,常見器物有水盂、小水洗,石榴尊、梅瓶、花盆、各式瓶、碗、杯、盤等。紋樣有纏枝花、串枝花、三果、松竹梅、蓮托八寶、蓮池圖、云鶴、八仙、山水、人物、百鹿等。
釉里紅顏色大多淺淡,但也有鮮艷制品。其紋飾中用青花繪制的樹葉和用釉里紅繪制的桃子都十分鮮艷,能夠燒出如此鮮艷的兩種不同顏色;說明雍正時期釉里紅瓷器的制作技術已經十分成熟。
雍正皇帝對瓷器的要求非常高,雍正釉里紅畫得非常精細,主要特征就是:輕描淡定。畫的筆道非常細,一點也都不暈散。而康熙時期的釉里紅,經常發黑。因為那個時候,對溫度控制不好。一旦溫度高,顏色就飛了。所以工匠們,寧愿溫度低一些,至少不會燒成一個白瓶。
2.清康熙釉里紅
而且康熙時期的釉里紅,甚至包括康熙早期的一些瓷器,都不會寫款。就算要寫,一般也會寫明朝的款。如果一個顏色偏黑的釉里紅,上面還落有‘康熙年制’,肯定就不真。可越是這樣,反而價值非常高。民國時期,很多收藏愛好都知道,康熙的釉里紅可是了不得的收藏。The original objects in Xuande period of Ming Dynasty and the imitations in Yongzheng period have the same shape, decoration and style, but they are also different. Xuande's original material is slightly skimpy in mouth, abundant in abdomen, high in foot, and slightly skimpy in foot. The bottom of the fine sand is smooth when touched by hand. The whole body is white glaze. The glaze surface has orange peel like small brown eyes. The glaze color is thick and green at the outer edge and bottom edge.
Yongzhengfang Xuande three fruit pattern high foot bowl compared with the real product, the mouth skimming degree is small, the abdomen is deep, the fine sand bottom is less smooth. The glaze on the mouth and bottom is blue, and the orange peel and brown eyes on the glaze are very small. In terms of style recognition, although the true and false porcelain are all written in the center of the bowl, the real porcelain has different font sizes and powerful strokes; The typeface of the imitation is too regular and stiff.
The fetus of the real product is thin, the glaze is light milky white, fine and moist; The imitation is thick and the glaze is bluish white. Xuandeqi's three fruits are apples, pomegranates and peaches, while Yongzheng's imitations draw apples in two connected shapes.
The quality of underglaze red and blue and white underglaze red porcelains made by imperial kilns in Yongzheng period is the best, reaching the peak in history. It can be said that there is no one before and no one after. Some people call the underglaze red of Yongzheng period "baoshao red", the hair color is bright red, and the rate of finished products is high.
Most of the underglaze red porcelain imitates Xuande Sanyu Gaozu bowl, plate, bowl, Sanguo Gaozu bowl, Yunlong bowl, housanguo bottle and bat bowl. The underglaze red color is very successful, which is more colorful than the underglaze red hair color of Kangxi. Most of the utensils have the double line six character regular script style made in the Yongzheng year of the Qing Dynasty.
In this period, in addition to the white glaze and underglaze red, there were also blue glaze and underglaze red tuanlong and Tuanfeng patterns; In Yongzheng period, blue and white underglaze red ware was also the most successful period in history. Common utensils include water pots, small water washes, pomegranate statues, plum bottles, flower pots, various kinds of bottles, bowls, cups and plates. The patterns include twining branch flower, string branch flower, three fruits, pine bamboo plum, Liantuo Babao, Lianchi picture, cloud crane, eight immortals, mountains and rivers, characters, hundred deer, etc.
The color of underglaze red is mostly light, but there are also bright products. In the decoration, the leaves painted with blue and white and the peaches painted with underglaze red are very bright, which can produce such two bright colors; It shows that the production technology of underglaze red porcelain in Yongzheng period has been very mature.
The emperor of Yongzheng had very high requirements for porcelain. The underglaze red painting of Yongzheng was very fine, and its main feature was light description. The strokes of the painting are very fine, and they are not faint at all. In Kangxi period, the glaze was red and often black. Because at that time, the temperature control was not good. Once the temperature is high, the color flies. So the craftsmen would rather have a lower temperature than burn a white bottle.
2. Qing Kangxi underglaze red
Moreover, the underglaze red of the Kangxi period, even some porcelain of the early Kangxi period, can't write money. Even if you want to write, you will usually write the money of Ming Dynasty. If a dark underglaze red with "Kangxi year system" on it, it will not be true. But the more so, the higher the value. During the period of the Republic of China, many collectors knew that Kangxi's underglaze red was a wonderful collection.
清初時,恢復了停產一個多世紀的釉里紅生產。清代釉里紅的燒制似先從民窯開始,偶能見到的清初民窯青花釉里紅日用器,就屬于17世紀中的產品。稍后,康熙官窯生產出非常精美的釉里紅器。
元明釉里紅都是正紅,清代釉里紅則帶不同程度的紫色調。同時原料的進一步加工,使清代釉里紅能呈不同的濃淡色階。
康熙官窯的釉里紅和青花釉里紅有兩種,一種是仿明宣德三魚、三果等品種,另一種是線描的青花釉里紅,如樓臺人物和蓮池鴛鴦等,青翠紅艷,令人嘆服。
雍正時,釉里紅因其鮮若紅寶而稱“寶燒紅”。這時生產的青花釉里紅線條流暢,造型雋美,追求的是高雅的藝術境地。
乾隆時,釉里紅繪制的紋飾能更加精細,團螭、云龍、云蝠、折枝花果、竹石芭蕉等是基本圖案。同其他乾隆瓷一樣,豪華富麗成為主要特征。清前期的釉里紅作品除了仿明外,有不少創新作品。
清中期起,官窯釉里紅大多仿康、雍、乾,除呈色濃淡不勻外,紋飾也稍粗率。
民窯釉里紅的產品在清中后期維持了較大數量的生產。大瓶、大盤等較多見,紋飾有梅花、牡丹、麒麟等,粗而不俗,頗可把玩。
清末民初時生產的青花釉里紅鯉魚盤,構圖簡潔巧妙,呈色紅藍對比強烈,是非常成功的設計。In the early Qing Dynasty, the production of underglaze red, which had been discontinued for more than a century, was resumed. It seems that the firing of underglaze red in Qing Dynasty started from folk kilns. The blue and white underglaze red daily utensils of folk kilns in the early Qing Dynasty are the products of the 17th century. Later, the Kangxi official kiln produced very beautiful underglaze red ware.
In Yuan and Ming Dynasties, the underglaze red is pure red, while in Qing Dynasty, the underglaze red is purple. At the same time, the further processing of raw materials made the underglaze red of Qing Dynasty present different shade levels.
There are two kinds of underglaze red and blue and white underglaze red in Kangxi official kilns. One is imitation of three fish and three fruits in Xuande of Ming Dynasty. The other is blue and white underglaze red with line drawing, such as the characters on the balcony and the mandarin ducks in Lianchi. It is green and red, which makes people admire.
In Yongzheng period, underglaze red was called "Bao Shao Hong" because it was as fresh as red treasure. At this time, the production of blue and white underglaze red line smooth, modeling meaningful beauty, the pursuit of the elegant artistic situation.
During the reign of Emperor Qianlong, the patterns painted with underglaze red could be more refined. Tuanjiao, Yunlong, yunbat, folded branches, flowers and fruits, bamboo and stone plantain were the basic patterns. Like other Qianlong porcelain, luxury and richness became the main feature. In addition to imitating Ming Dynasty, there are many innovative works in the early Qing Dynasty.
From the middle of Qing Dynasty, most of the underglaze red of Guan kilns imitated Kang, Yong and Qian. Besides the uneven color, the patterns were also a little rough.
In the middle and later period of Qing Dynasty, the products of underglaze red in folk kilns maintained a large number of production. Large bottles and plates are common. The patterns are plum blossom, peony, unicorn, etc. they are thick but not vulgar, and can be played with.
The blue and white underglaze red carp plate produced in the late Qing Dynasty and the early Republic of China is a very successful design with simple and ingenious composition and strong contrast between red and blue.
清代釉里紅和青花釉里紅以及釉里紅加彩,北京故宮博物院館藏的品種比較齊全,不僅造型美觀多樣,釉色也更加鮮明。釉里紅制作工序與青花燒制大體相同,青花為氧化鈷料為著色劑,釉里紅是以氧化銅為著色劑,在瓷胎上繪畫紋飾后,罩施透明釉,在高溫1250-1350度燒成,青花和釉里紅均為釉下彩,兩色皆有方為青花釉里紅。
由于銅離子對溫度極為敏感,在窯爐中火候不到就會呈現黑紅色或灰紅色;火候燒過銅離子便揮發,從釉層中逸出,呈現特有的飛紅現象或干脆退色,紋飾就不連貫。在古時候燒制條件下,柴窯窯溫很難控制,只有憑把窯師父的經驗與取出火照對比,因此釉里紅燒制成功率一直不高,產量一直無法大規模生產,所以對于青花釉里紅兩者不同色料不同溫度的瓷器燒制成功率就更低,這點雍正時期青花釉里紅燒制技術明顯略勝一籌,市場也一器難求。
In Qing Dynasty, there are many kinds of underglaze red, blue and white underglaze red and underglaze red plus color in the collection of Beijing Palace Museum. They are not only beautiful and diverse in shape, but also bright in glaze color. The production process of underglaze red is basically the same as that of blue and white. Blue and white is cobalt oxide as the colorant, and underglaze red is copper oxide as the colorant. After painting patterns on the porcelain body, transparent glaze is covered and fired at 1250-1350 ℃. Both blue and white and underglaze red are underglaze colors, and both colors are square, blue and white underglaze red.
Because copper ion is very sensitive to temperature, it will appear black red or grayish red when the temperature is less than 30 ℃; After the fire, copper ions will volatilize and escape from the glaze layer, showing a unique phenomenon of flying red or fading, and the decoration will be incoherent. In ancient times, it was difficult to control the temperature of Chai kiln. Only by comparing the kiln master's experience with the fire photos taken out, the success rate of underglaze red firing was not high, and the production could not be produced on a large scale. Therefore, the success rate of underglaze red firing of blue and white porcelain with different colors and different temperatures was lower, which was obviously better than that of underglaze red firing of blue and white porcelain in Yongzheng period, The market is hard to find.
