Rebirth 93: Break off the engagement at the beginning and marry Bai Fumei

"What a tortoise!" Chen Yang got angry and started to kick the pillar. Tens of millions of objects turned into green turtles in his mouth. What the hell!

"It's not a bastard, it's Wang Bu, the king on the tiger's head, the step of the step!"

Zhuzi smiled and scratched his head, saying that he didn't hear clearly and was still wondering why a good bottle was called a bastard!

"Remember, Wang Bu is a human being!" An angry Chen Yang shouted at him, signaling Qin Haofeng to take the bottle over and he wanted to tell them.

Wang Bu was born in 1898, the 1968th year of the reign of Emperor Guangxu, and died in . His courtesy name was Renyuan, and his nicknames were Changhu and Zhuxi Taoist. In his later years, he was also called Tao Qing Laoren, and his name was Yuan Wen Wu Zhi Zhai. A native of Fengcheng, Jiangxi. A master of Chinese ceramic art, he is especially good at painting blue and white and is known as the "Blue and White King" in the world. In a list of the best Jingdezhen ceramic crafts artists in history, he ranked second only after Tang Ying, the pottery official of the Qing Dynasty. Some people evaluate him as a master of his generation who is unique in the porcelain world, some call him the unique "Blue and White King", and some even respect him as a genius.

"Listen up, it's the Blue and White King, not the Blue and White Bastard!" Chen Yang raised his hand and hit the pillar on the head, "Don't go out and embarrass me!"

Qin Haofeng and Lao Shan looked at Zhu Zhu and smiled. Zhu Zhu nodded to show that he remembered it, but why was he so powerful and why had he not been introduced in the book?

"Listen to me and tell you in detail, this is not something you can learn from books!" Chen Yang asked a few people to be more serious.

Talent comes from blood inheritance. Wang Bu's father is Wang Xiuchun, a master of blue and white painting. Influenced by his father, Wang Bu loved painting since he was a child. When he was 9 years old, he became a disciple of Jingdezhen blue and white artist Xu Yousheng.

"Just like me," Qin Haofeng hugged his shoulders and smiled, "My dad is the captain of the electronics bureau's automobile team. I have been familiar with various vehicles since I was a child."

"Yes, you were hung in the air by the big hook of the crane," Zhu Zhu smiled beside you. "Go back and let your father beat you so badly. The whole hospital will hear your cries."

"I was not careful. I was having a good time, but the crane suddenly started. It has something to do with me!" Qin Haofeng sniffed. Now that he thinks about it, his butt still hurts a little.

Chen Yang glanced at a few people and said, "If you don't listen, I won't say anything!"

Several people listened and asked Chen Yang to continue.

Chen Yang continued to talk about Wang Bu to several people. This Master Wang is definitely a legend. At the age of 21, Wang Bu met the first noble person in his life - Wu Aisheng, a famous ceramics industrialist in Jingdezhen. Wu Aisheng invited the young Wang Bu to create antique porcelain from the Ming and Qing Dynasties. From then on, Wang Bu's works gradually became a hot commodity in the market, and a saying began to spread in the industry: "Since Wang Bu's porcelain plate paintings, there was no blue and white porcelain in the Republic of China."

Then came 1919, which became a turning point in Wang Bu's artistic life and a turning point in the history of Jingde Porcelain. This year was also a turning point in the destiny of the Chinese nation. In the same year, the May th Movement broke out in the capital; in the summer of the same year, the new cultural trend that slowly arrived from the north stirred up the misty water waves on the shores of Foyin Lake in Jingdezhen.

In 1926, in this year, troops led by the Beiyang warlord Sun Chuanfang destroyed the Ceramic Art Research Society and looted all the works in the society. Wang Bu, who was sad to say goodbye to his noble man, lost his support again. This year he was 28 years old. Wang Bu, who was still in his prime, endured this catastrophe in his life calmly, and simply got rid of the production of antique porcelain. He gradually adopted several techniques of ink painting to paint blue and white, and produced generous and fresh works, eliminating the cumbersomeness of late Qing Dynasty porcelain painting. This bad habit started a new trend in the ceramic art world at that time.

In 1939, due to the advent of the Anti-Japanese War, the porcelain industry was in depression. The firing of blue and white porcelain was relatively expensive. Affected by material conditions, Wang Bu in his youth was forced to give up his beloved blue and white art and turn to overglaze decoration. This situation lasted until 1953, when the Jingdezhen porcelain industry was rebuilt, and Wang Bu turned to blue and white again, ushering in a mature period of creation, and also successfully gained the reputation of the "Blue and White King".

"One thing happened during this period. During the Dragon Boat Festival in 1939, Wang Bu closed his doors for five months and painstakingly created hundreds of pieces of blue and white porcelain. This was Wang Bu's largest creation since he started working on blue and white porcelain. It's hard to imagine how rich it would be. A treasure of porcelain art! However, the kiln collapsed, the porcelain was broken, and the blue and white flowers were scattered. The 41-year-old Wang Bu vomited blood and fainted on the spot, which was very sad. At this point, he fell into the bottom of his life. "

Having said this, Chen Yang couldn't help but sigh. He could fully imagine how desperate Wang Bu was at that time.

"Ah!" Lao Shan opened his mouth next to him, "Five months of hard work have been in vain! I would have been crazy!"

Chen Yang nodded, "After the founding of the People's Republic of China, Jingdezhen's porcelain industry resumed development. With the care and encouragement of the party, in 1953, Wang Bu came out after 14 years of silence, revived, and picked up the long-lost blue and white. In 1954 , he was invited to join the Jingdezhen Ceramics Research Institute, an institution with a background in New China. From then on, Wang Bu never put down the blue and white flowers, nor did he leave there again."

"Because of Wang Bu's return, our country's blue and white has opened a new era. 1954 also became a watershed for blue and white, and it was Wang Bu's unique blue and white technique that started this historical pattern."

"Brother, what is water-splitting blue and white?" Zhu Zhu asked Chen Yang from the side.

Chen Yang took the porcelain vase in front of him and explained to several people, "The so-called water division, you can simply understand it as coloring. It was invented in the Yuan Dynasty. Most of them were painted with large brushes, which were majestic. Unfortunately, the brushes were dragged and the expressiveness was poor. It is relatively simple. After the continuous development of Yongxuan, Chenghong and Kangxi generations, the blue and white water division gradually matured."

"During the late Qing Dynasty, the society was in turmoil and blue and white water separation stagnated. It was not until the emergence of Wang Bu that the ancient blue and white water separation technique was further inherited and innovated." Chen Yang pointed to the details on the bottle and said to several people, "In the early days, Wang Bu was best at double-hook wire sighting, that is, at the back hook of the outline. Then he separated water from within the outline. From thick to light, he did it in one go, and the material was divided into five colors, seamlessly. It is said that he could draw a line on the embryonic body with one stroke. The lines are as long as a foot, and the depth of his skills is staggering. In his later years, Wang Bu changed the traditional creative method of first drawing the line and then dividing the water to the two of them first dividing the water and then drawing the line, which is the boneless method."

Chen Yang asked Qin Haofeng and Zhuzi to take out a Ming Dynasty blue and white piece and a Yuan blue and white piece from the shelf. The three objects were placed on one of them and asked them to carefully observe the difference in the water separation between blue and white.

Blue and white are mostly themed with landscapes, figures, birds, animals, flowers, and auspicious pictures. Although blue and white is beautiful, it also has its natural flaw, that is, the single color. If blue and white porcelain wants to have the image of blooming, it must first have multiple visual layers. Only in this way can it show its unique artistic conception, and to achieve this artistic conception, it is necessary to rely on the technique of dividing water.

Although the separation of blue and white is similar to the rendering of traditional Chinese painting, the difficulty is definitely not the same because the painting base is different. Anyone who knows calligraphy and painting knows that when painting on rice paper, the effect can be seen as soon as you put the pen down. However, "blue and white water separation" means that the color material is dropped on the clay. After the pen is put down, it is mostly black and there is no layer after the ink falls on the rice paper. Blue and white Whether there are layers or not can only be seen after the porcelain is fired.

"So, dividing water has become the most difficult problem in blue and white painting." Chen Yang compared three blue and white objects beside him. "Wang Bu often dipped his pen into the water and then dipped the tip into clear water. The water is collected to achieve the effect of natural shades. Because there is enough water in the pen tip and the downward flow forms a line, the body absorbs water slowly. The coarse particles in the material water sink and the fine particles float up. After firing, the green color is smooth and beautiful. "

"The wonderful thing lies in his magical strokes when he "divides water" - although it is chaotic when he writes, he can always "turn decay into magic" when he comes out. Looking at Wang Bu's handed down works, no matter how big or small, you will be amazed. The legend of "Dividing Water" not only combines shades and lightness, but also blends into five colors. Among Wang Bu's masterpieces handed down from generation to generation, the largest piece of "Dividing Water" is more than a foot wide. But "Dividing Water" is by no means Wang Bu's His unique skill of holding up the sky with his strength, his "iron line drawing" and "folding reed drawing" using lines as bones, the lines are like a startled snake and a dragon, galloping in the dripping green clouds and water."

At the end, Chen Yang hugged his shoulders and looked at the three objects in front of him, "From the Yuan to the Ming, and from the Ming to the Qing, each dynasty carried out innovation and reform based on the technology of the previous dynasty. Only in our country that special In this era, technology declined. Instead of surpassing history, it actually regressed a lot. After the founding of the People's Republic of China, Wang Bu's blue and white technology represented the revival of porcelain in New China. In a historical sense, he created an era!"

This is the significance of Wang Bu Blue and White in history. Many people do not like Wang Bu Blue and White. Some even say that the price of Wang Bu Blue and White at auction is deliberately hyped, or due to some shady factors. Chen Yang does not deny this statement, but it has to be said that Wang Bu Qinghua has considerable historical significance.

Besides, I am an antique dealer myself, and I am also a reborn antique dealer. Of course I keep whichever ones are valuable. I don’t care why you are valuable. Making money is the last word!

On January 2011, 1, after receiving the opinions of nearly a hundred senior Chinese ceramic art talents, masters, professors, and representatives of the news media, the official representatives voted by a show of hands and unanimously agreed to recall Wang Bu as the honorary title of "Master of Chinese Ceramic Art." Unfortunately, , this title came too late!

"Wow!" Qin Haofeng looked at the blue and white Yuanming chrysanthemum Guanyin vase in front of him, "I really didn't expect that Guan Jinchuan would send us such a good thing. I knew I would have been more polite to him just now."

"Next time he comes back, I will get him whatever he wants to see. Isn't this the God of Wealth that comes to him in vain?"

Chen Yang smiled slightly beside him, looked out the window, and said to himself, "There is no real Tukara in the antique shop. Have you seen Guan Jinchuan today? People have studied purple clay teapots better than me. He’s quite a bit taller!”