My system is not decent

The dragon pattern in the Chongzhen period has a thin and pointed face, long beard, disheveled hair, claws like crab claws, belly and waist, just like a dying old dragon.

Therefore, the artistic expression of dragon patterns is also a reflection of the social, political and economic conditions at that time.

After Chongzhen, came the dragon pattern in the Qing Dynasty.

At this time, the dragon pattern was done very well, even in the Shunzhi period in the early Qing Dynasty, it was also done very well.

For example, a straight-necked vase with alum-red painted gold cloud and dragon patterns is very beautifully made.

After entering the Qing Dynasty, the image of the dragon pattern was still inseparable from the legacy of the late Ming Dynasty.

For example, in the Shunzhi cloud dragon pattern vase, the dragon on it has teeth and claws, a thin round head, long upper and lower jaws, a protruding upper jaw, a wishful-shaped nose, symmetrical long whiskers on both sides of the nose dancing forward, and hair on the head.

However, the food toe and big toe of the dragon are not close to each other like the dragon's claws of the Ming Dynasty, but are far apart, developing in the shape of a chicken's claw.

Therefore, people call the dragon's claws in the Qing Dynasty "chicken feet".

After that, more beautiful dragon-pattern utensils appeared, such as bucket-colored cloud-dragon-pattern lid jars.

Kangxi, Yongzheng, and Qianlong in the early Qing Dynasty were the period of "returning to the light" of feudal society, and the dragon pattern appeared in a new image.

At this time, the dragon head has changed a lot. The long "pig's mouth" in the past has shrunk, making the lower jaw longer than the upper jaw.

During the Kangxi period, the dragon's mouth was slightly rounded.

During the Yongzheng period, it was a square dragon with an open mouth. The tongue sticks out with the lower jaw, and the tip of the tongue rolls up.

At this time, the dragon was neither like a halberd in the early Ming Dynasty nor a dagger in the late Ming Dynasty.

The beards on the upper and lower jaws were jagged during the Kangxi period, and later they were divided into two sides, or into two bundles of long and dense sheep's whiskers.

On both sides of the nose wing of the upper jaw, particularly long and curly whiskers grow.

The horns of the head are long, straight and bifurcated, larger than in the past, and the bifurcations of the horns in the late Yongqian period are in the shape of a mountain.

The dragon head hair in the Ming Dynasty is a bunch of sparse hair, which is inclined upward or backward;

At this time, the hair on the head is fine and dense, and in the Kangxi period, it still rushed backwards, and in the later period, it drooped backwards or parted to the sides.

In order to draw the shape of an old dragon, the lower jaw has fine and dense manes.

The eyes of dragons are also different. They were slightly elongated in the Kangxi period, and rounded in the Yongqian period.

The dragon's claws are no longer like the eagle's claws of the Ming Dynasty, with the five toes leaning together to form a "windmill" shape.

In the dragon claws at that time, the distance between the big toe and the index toe was relatively large, and the toenails appeared small, without the sharpness of the triangle in the Yuan and Ming dynasties.

Therefore, the dragon claws of the Qing Dynasty give people a sense of tangible powerlessness.

However, by this time it was already the third dynasties of the Qing Dynasty, and the overall level of the artifacts produced was still very high.

Fine porcelain such as the red cloud and dragon pattern celestial vase in blue and white glaze can also be fired successfully.

In the background cloud pattern painted at this time, the tail of the cloud is not very clear, and it is long and blocky, or several large pieces grow in the middle of the tail, one head and three tails, giving people the impression that two tails have become two wings .

Or draw several clouds together to form a Ganoderma lucidum.

Of course, the artistic style at this time is worse than that of the previous dynasty.

In the dynasties after Yongzheng, there were also dragon patterns imitating the Ming Dynasty, but only the dragon's mouth was painted as a pig's mouth, and the others were painted in the Qing Dynasty.

The spirit of the dragon pattern in the late Qing Dynasty was not as powerful and strong as that of the previous dynasty.

In the past, the body of the dragon had a lot of twists and turns, and it had the beauty of three twists and turns, but in the late Qing Dynasty, the twists and turns were less, so the waist is stiff and straight.

The scales on the body are not painted one by one like the previous ones, but are painted in a net shape, and small dots are added in it.

Some are so rough that they only draw net patterns without adding small dots.

The dragon's claws are not as fleshy and fleshy as those of the previous dynasty, and the joints are clear. At this time, the dragon's claws only stretch out straight to the left and right, without the aesthetic feeling of movement.

In the late Qing Dynasty, dragon patterns like to be lined with fire orbs, flame patterns, clouds, flowers, etc.

Duoyun has also changed from one head and a few tails in the past to two heads and one tail, three heads and one layer;

Or grow one or two heads in the tail.

From ornamental design to depiction, they are simple and rough, and the craftsmanship is not as good as before.

The blue and white porcelain of the Qing Dynasty not only imitated the antique works of the Ming Dynasty, but also had contemporary innovative styles.

This phenomenon is naturally reflected in the production of dragon patterns.

However, most of the imitation dragon patterns of the Ming Dynasty in the Qing Dynasty had a form and no spirit, and could not be compared with the dragon patterns of the Ming Dynasty.

However, the new dragon pattern designed at that time has become a symbol of this era because of its brand-new atmosphere.

The emerging dragon patterns in the Qing Dynasty changed from the simple and sloppy patterns in the late Ming Dynasty, and appeared in a more powerful and realistic image.

In the late Qing Dynasty, after the Jiaqing period, the dragon patterns in the Qing Dynasty, known for their mighty and realistic images, also began to change.

On the porcelain of that period, the dragon pattern has a high forehead and double convex eyes.

The hair is fluffy and disheveled, and the claws are spread like chicken feet.

And the lack of hair on the joints is a typical feature of dragon patterns in the Qing Dynasty.

However, the scattered hair hangs back, and the scales of the body are outlined with simple lines, and then filled in in a manner similar to flat painting.

This not only lacks the three-dimensional sense and realism of the dragon patterns in the early Qing Dynasty, but also the spirit of the dragon patterns is not as powerful as in the early days.

The blue-and-white dragon patterns in ancient China, under different painting techniques, present lively, stable and realistic characteristics, which not only reflect the different styles of the times, but also serve as the basis for our appreciation of blue-and-white porcelain through porcelain decoration.

The wise ancients embodied their belief in dragons in various forms.

Whether it is on ancient buildings, jade, bronze, ceramics, furniture, or paintings and other ancient artifacts, we can see a large number of images of dragons.

Ceramics of each period, as products of that era, carry the skills and culture of different periods.

Its decoration is also a reflection of the political, economic and cultural thoughts at that time.

The dragon pattern culture entrenched on ceramics is also worthy of our careful consideration and taste.

Understanding the evolution of dragon patterns will also be of great help to correctly judging the age of ceramic objects in the past dynasties.

Of course, it also played an extremely important role in the production of various dragon pattern porcelains in the Yuan, Ming and Qing dynasties.

From the Yuan Dynasty to the end of the Qing Dynasty, there were many types of dragon patterns, but the characteristics of dragon patterns are the above-mentioned ones.

As long as you understand clearly, you can't go wrong.

As for imitating all of them, it is definitely impossible.

Therefore, Chen Wenzhe just selected some special types of utensils and made some.

For example, among the top ten classic porcelain vases, the most important thing is to appreciate the vase, because it is relatively simple to make.

Although the price of appreciation bottles is not too high, the dragon pattern appreciation bottles in the late Qing Dynasty are still very good.

The classics in the vase are not only the three dynasties of the Qing Dynasty, but also Wan Qing. This is a very rare and special situation.

Because this classic shape is still from Wan Qing, it is even more rare.

In the late Qing Dynasty, such exquisite products were not uncommon. For example, in the Xuantong period of the last emperor, there was a very famous appreciating bottle.

It was a Xuantong blue and white dragon pattern appreciative vase, it was quite satisfactory if you really counted it, and the quality certainly couldn't be said to be better than that of the Kang, Yong, and Qian dynasties.

But it is not bad, which is especially rare, because it was made during the Xuantong period of the last emperor, and it is very rare if it is not bad.