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Ming yongle Blue and white four seasons flower wen ling the broader market | china porcelain
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Ming yongle Blue and white four seasons flower wen ling the broader market

Ming yongle Blue and white four seasons flower wen ling the broader market

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Ming dynasty blue and white porcelain ceramicsCreation

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size 38 cm diameter
work classification s Ming yongle
value RMB 3000000-4000000
price
  • RMB 4255000
  • HKD 4868421
  • USD 638250
  • EUR 468050
lingering fragrance set – special antique curios 2016-11-26
through huayi international auction co., LTD. auction 2016 autumn auction
description “Twenty-two years of the reign of Ming emperor zhu di, at that time, political stability, economic development, greatly promoted the progress of porcelain manufacture process, to make it on the basis of inheriting yuan porcelain technology, and constantly innovate.” (the Ming and qing dynasties porcelain appraisal GengBaoChang). Yongle imperial kiln red glaze, sweet white glaze, CuiQing all the color of glaze colors, in holds a special position in the history of our ceramic technology, become the classical Ming and qing dynasties. Blue and white, but even if a very prestigious, widely admired for its unique artistic charm, number of kiln imitation of Ming and qing dynasties, it serves to show its artistic achievements of far-reaching influence on later generations.
which is a good example of the Ming dynasty porcelain decoration style. Mouth tallied, the wall is 12 disc ling fancy, the whole plate shaped like a blooming lotus flower, gaiyuan blue-and-white Ru and replace it with the brilliance of China shu lang qing, wrapped branch flowers lines give a person a kind of elegant aesthetic feeling. Grain with beautiful plate of a line, the gas with an increasingly luxurious palace, shows the jingdezhen kiln craftsman special artistic talent. The whole USES the import is “green” Sue linen material drawing, lively brushwork is fluent, line thickness and, shades of color material. Whatever color shades, decorative effect is extremely bright beautiful, pure and fresh and lively. In the line of grain is full of the crystallization of cobalt iron spots, star shaped a bit dizzy, color material is condensed into a thick place black crystal blue spots. Because of this peculiarity, that picture full of ink painting as artificial sweat, verdant interest. Formed by this kind of artistic effect, is “green” Sue linen material is one reason, but more important or craftsman has its own artistic accomplishment and drawing skills. Flower shape in each group are the size of the hook with traditional Chinese painting ink, le and point, dyeing techniques such as painting, fine brush vivid, branches and leaves of reverse distortion, suppress their ups and downs of tai; Flowers, branches and leaves density between accumulation and dispersion is also a reference to the structure layout of the traditional Chinese painting, and his testimonies, and highly realistic effect, fully embodies the craftsman solid skills deep ink; Looked on the vision also arrangement form the relaxation of the artistic effect. Ring foot dry tyres without glaze, caresses of smooth and exquisite, visible fine clay for refining, flat foot wall stocky, finishing finished.
forever blue and white royal porcelain in the late Ming xuan has been widely admired. Love is not only the ancients, overseas collectors also, as early as in 1936, the British and Hester prynne, then come to China, specifically for the UK of Great Britain museum collection of yongle and xuande blue and white, and the research, collect the European yong xuan boom of blue and white. If the world each big museum possession of permanent mission of the blue and white goods, both in town museum treasures. This product as a paradise of imperial porcelain famous brand naturally become the focus of the collection and copy the ancient, very precious.

refer to:
1. The “floor day people show of blue and white porcelain”, Taipei, 1992, p78, figure 22.
2. Taipei’s Palace Museum, the early years of the Ming dynasty porcelain exhibition catalogue, Taipei, 1982, P102, figure 37; nullnullnullnullnullnull

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