God-level rich man system

Judging from the current art market, the order of value (from high to low) is: porcelain from the Yuan, Ming and Qing Dynasties, porcelain from the Song Dynasty, porcelain from the Tang and Five Dynasties, porcelain from the Six Dynasties period, primitive celadon, and porcelain from the late Qing and Republic of China.Assessed in terms of artistry (that is, artistic value).It mainly includes three aspects: shape, decoration and pattern.In terms of shape, the furnishing utensils have the highest value, and the order of value (from high to low) is: furnishing utensils, stationery utensils, meditation utensils, and daily utensils.In terms of decoration, color decoration is currently the most valuable, and the order of value (from high to low) is: color decoration, glaze decoration, and tire decoration.On the pattern, the figure pattern has the highest value, and the order of value (from high to low) is: figure pattern, animal pattern, plant pattern, landscape pattern, auspicious pattern, etc.Evaluation from the research value (that is, scientific research value).For example, there are dated porcelains and porcelains unearthed in dating tombs. These porcelains have high academic value, but they are not the main body of the evaluation value, so they do not account for a high proportion in the ancient porcelain value evaluation system.

Among them, the patterns on the porcelain also have certain exquisiteness.

Decorated with dragon and phoenix.We are used to saying that the Chinese nation is the descendant of the dragon.In fact, this statement is not complete.A complete and scientific way of speaking should be that the Chinese nation is the descendant of the dragon and phoenix.The dragon and phoenix are the symbols of the Chinese nation.The historical materials about phoenix birds unearthed from Hemudu prove that phoenix is ​​hundreds of years earlier than dragon.Since the Shang and Zhou dynasties, the dragon and the phoenix have been a natural pair.The dragon symbolizes authority and dignity, and the phoenix symbolizes talent and auspiciousness.That's why there is the classic "dragon and phoenix bring prosperity".

The dragon and phoenix decorations on the ceramic ware are rich and varied.In ancient times, dragon and phoenix were products of totem culture and a religious form of primitive worship.Our ancestors regarded dragons and phoenixes as auspicious fetishes that turn disasters into fortunes and call the wind and rain, and entrust their yearning and hope for a happy life.With the development of productive forces, the feudal rulers compared themselves to the real dragon emperor.So the dragon and phoenix symbolize the supreme imperial power and dignity.The dragon and phoenix decorations on the ceramics of the Song and Yuan Dynasties all have clear rules.In the early years of the Yuan Dynasty, folk kilns were prohibited from making five-clawed dragon patterns.The five-clawed dragon pattern is exclusive to the emperor.The dragon pattern shown on the blue and white flowers of the Yuan Dynasty is: the dragon body is vigorous, the neck is long and the body is long, the eyes are wide open, the eyes are shining, and the spirit is flying, which is an image full of vitality.

The dragon patterns in the Yongle Xuande period of the Ming Dynasty are ferocious and ferocious, and the dragon claws are three, four, five, and so on.Among them, the tip of the five-clawed claws is very much in the shape of a circle.There are cloud dragons, sea dragons, water dragons, tuanlongs, flower-wearing dragons, kuilongs, and flying dragons.Among them, Kuilong originated in Xuande, and Haishuiyunlong was used the most in Xuande.Most of the phoenix patterns are spread wings and take off. There are some looking up to the sky, some looking back and looking forward, some dragon and phoenix presenting auspiciousness, and some phoenix wearing peony.The nobility and holiness of the phoenix are often set off with twine flowers.In the late stage, the image of the dragon pattern gradually loses its fierceness and majesty in the past, and becomes pig-headed, slender and sideways, lacking vigor and vitality.In the Kangxi period of the Qing Dynasty, the dragon patterns painted generally have larger heads, short and thick bodies, angry beards, the word "king" written on the forehead, dragon scales in the shape of "eight", and the organs are five-clawed dragons. A ferocious and fat man.In the Qianlong period, dragons were often painted with huge horns and low foreheads, while phoenixes were often painted with hairy necks.By the end of the Qing Dynasty, the painted dragon heads were shorter and smaller, and the dragon body was thin and weak, showing a weak and cowardly appearance.On the contrary, the phoenix pattern is painted fat and powerful, majestic and majestic.

Dragons and phoenixes are auspicious things, and people engrave them on porcelain with their own intentions.

The dragon and the phoenix are auspicious.The pattern is a dragon and a phoenix.The ancients believed that the dragon is the king of beasts and the phoenix is ​​the king of birds.When the dragon and phoenix appear, the world will be peaceful and peaceful, all industries will prosper, the grain will be plentiful, and the people will be able to live and work in peace and contentment, and be happy.For thousands of years, the dragon and phoenix have been auspicious things in people's minds and a symbol of the auspiciousness of the Chinese nation.

flamboyant.It means that the pattern is the posture of dragon and phoenix leaping and flying.And describe it as unrestrained, majestic and heroic.It is also used to describe the lively and powerful calligraphy strokes.It is also a metaphor for being proud of one's official career and becoming prosperous.

Erlong Xizhu.The pattern is two cloud dragons flying through the clouds chasing a fire bead.Legend has it that the Dragon Ball, also known as the Night Pearl, can avoid water and fire.Therefore, there are patterns of two dragons playing with beads or groups of dragons playing with beads.Expresses the meaning of auspiciousness and peace.

Hope your child will become a dragon.The pattern is a big dragon looking down on a small dragon.The implication is "teach your son to become a dragon" and "hope your child to become a dragon".

Fish jumping over the dragon's gate.The pattern is a dragon in the sky, and a carp in the water making a leaping gesture.Legend has it that a carp can become a dragon by jumping over the dragon gate.It mainly expresses the meaning of making steady progress and rising to the top.There are also Jiulong Gongding, Bailong Naohai, Shenlong Youtian, Jiulong Celebration, Hundred Phoenix Chaoyang, Phoenix Wearing Peony, Hundred Birds Chaofeng and so on.

Chinese porcelain evolved from pottery, and the original porcelain originated more than 3000 years ago.By the Song Dynasty, famous porcelain kilns had spread over half of China, and it was the most prosperous period for the porcelain industry.At that time, Ru Kiln, Guan Kiln, Ge Kiln, Jun Kiln and Ding Kiln were collectively known as the five famous kilns in the Song Dynasty. At that time, Chai Kiln and Jian Kiln were more famous.The blue and white porcelain produced in Jingdezhen, Jiangxi Province, known as the capital of porcelain, has become a representative of porcelain in the Yuan Dynasty.The enamel of blue and white porcelain is as transparent as water, and the carcass is thin and light. The white porcelain body is decorated with blue patterns, which is elegant, fresh and full of vitality.Blue and white porcelain became popular as soon as it appeared and became the crown of traditional famous porcelain in Jingdezhen.Together with blue and white porcelain, blue and white exquisite porcelain, pastel porcelain and colored glaze porcelain are also known as the four great porcelains.In addition, there are sculpture porcelain, thin bodied porcelain, colorful bodied porcelain, etc., all of which are very exquisite and have their own characteristics.

The four pieces of porcelain in front of Qin Xiaobao looked obviously blue and white porcelain, but it was easy for an insider to see that this was a fake.

Looking at the age through aging and fission, and identifying the underglaze colors of the Tang Dynasty, is like appreciating a historical poem and painting of the Tang Dynasty.The hair color of the blue and white porcelain in the Tang Dynasty is already very pure. Although the painting is too simple, the coloring with the brush is not lower than the modern level.Qingbai glaze existed in the middle and early Tang Dynasty, but the explanation of blue glaze and Qingbai glaze is always vague.Its scientific explanation should be: the iron content of white glaze is between 0.63% and 1%.In the Tang Dynasty, only white porcelain or celadon was mentioned, and there was no mention of blue and white porcelain, which brought vague understanding to future generations and affected the research on ceramics.The research on high ancient porcelain should be carried out from two aspects: the body and the glaze. It should not only consider the shape or decoration, but mainly study the characteristics, characteristics and laws of the aging and fission of the body glaze. It can be determined that it is blue and white porcelain from the Tang Dynasty.After confirming the age, the study of ornamentation and color painting will be carried out.Roughly the same.