My system is not decent

During the reign of Emperor Qianlong, this famille rose vase with a hundred deer patterns produced by the Jingzhen Imperial Kiln Factory has more complicated pictures.

The Zun body is painted with a hundred deer lined with towering ancient trees, mountains and waterfalls and streams, clear springs rushing on the rocks, and gurgling water under the rocks.

The pine is simple and powerful, dotted with ganoderma lucidum, flowers and plants, and the overall composition is sparse.

In the picture, the mountains, rocks and tree trunks are painted in Chu, Hei and other colors, and the leaves are painted in green colors, with strong colors.

Under the green pines and cypresses, the deer are chasing, cuddling, resting, or humming. The deer are intertwined, and the panorama is static and dynamic, echoing each other, full of vitality, and natural and realistic.

The painting is fine and smooth, the colors are graceful and generous, elegant and exquisite, the ingenious composition and the shape of the vessel are integrated, allegorizing auspiciousness.

Looking closely at the herd of deer on this statue, the texture of the deer's hair is expressed through the contrast of light and dark, and the unevenness of color, which is vivid and vivid.

This should be the technique of Western painting, while the painting method of mountains and rocks follows the brushwork of traditional Chinese landscape painting, which is consistent with the characteristics of Qing palace paintings in the Qianlong period.

This also proves that this pattern should be based on the prototype drawn by the court painter at that time.

After observation and comparison, the "Hundred Deer Picture" painted by the Bohemian missionary painter Ai Qimeng is very consistent with the picture of deer on this statue in terms of composition and the combination of Chinese and Western painting techniques.

Ai's "Hundred Deer Picture" is included in the "Shiqu Baoji" and is now in the Wanwan Palace Museum.

This Ai Qimeng is not simple, his name is Xing'an, a Bohemian, 3 years older than Qianlong, and he was 38 years old when he was ordered to enter Beijing in the tenth year of Qianlong.

Ai Qimeng was trained by Castiglione, and his painting style is similar to him.

Because of "Using Western Law in China", it was valued by the court and appreciated by the emperor, and was awarded the title of third rank, and was ordered to be enshrined in the inner court.

Good at painting portraits, especially Gong Lingmao.

Ai Qimeng's "Hundred Deer Picture" is stamped with the four seals of "Appreciation by Qianlong", "Yizisun", "Sanxitang Jingjian Seal" and "Treasure of Qianlong Imperial View", which shows the treasure of Qianlong.

According to the investigation, Ai Qimeng's "Hundred Deer Picture" was written in the 14th year of Qianlong (1749), and it was written by order.

At this time, Emperor Qianlong was 39 years old.

This unique combination of Chinese and Western painting styles in the Qing Palace can be called an innovative move, and it was also completed under the guidance of the Qing emperor.

Therefore, if making a hundred deer statues for birthdays, whether it is forty, fiftieth, or sixtieth birthdays, Ai Qimeng's "Hundred Deer Picture" can indeed come in handy.

In view of this, it is certain that Ai's "Hundred Deer Picture" is the blueprint of the Qianlong famille rose hundred deer statue.

Such a painting, even in the ancient feudal society, would have been difficult to produce by imperial kilns in the palace, let alone imitation later.

Of course, there was actually a more powerful one before that, Qianlong's grandfather Kangxi, and the Longevity Zun he made was even more outrageous.

Now Chen Wenzhe is working on the Hundred Deer Zun, and has no time to make the Longevity Zun, otherwise, he really wants to imitate it.

Chen Wenzhe had to take it seriously for a piece of top-notch porcelain made from the image of a hundred deer.

He needs to know the details of the Bailutu and feel that he can copy it before he can start making this piece of porcelain.

This is where the value of this kind of Bailu Zun lies, because the real Qianlong Bailu Zun also needs very good painting skills to make it.

This has led to the fact that there are many Bailuzun, but high-priced boutiques are very rare.

It is because although many Bailu statues are all official kiln wares, the prices of the Bailu pictures on them are different, and the prices are also different.

Of course, this kind of Qianlong Dynasty famille rose Bailu Zun, which was highly valued by the royal family, would definitely be produced many times, but the final surviving number is still not many.

Therefore, it can only be seen in major museums, such as the Palace Museum on both sides of the Taiwan Strait, the National Museum, the Maritime Museum, and the Jinling Museum.

In these museum collections, there are also subtle differences, which are reflected in slightly different ears, with red and blue colors.

Here is where Chen Wenzhe has room to play. The hundred deer pictures he made can be in various glaze colors, which he is even better at.

And when drawing Bailu, you can also play a little bit according to the handed down Bailu Zun.

For example, there are big deer and small deer, and there are far and near, overlapping techniques.

The common species in the market now are generally many small deer with similar proportions and sizes.

The general picture of a hundred deer, that is, on the statue of a hundred deer, is just densely covered with a hundred deer, playing in the mountains. This kind of painting has a plump and compact layout.

If it is painting a big deer, then the technique needs to be higher.

At this time, it is necessary to change the common layout. One side of the statue is painted with towering ancient trees as the main body of the picture, three or five big deer are walking among the rocks in the close-up, and small deer are painted in the distance, foraging by the river.

To do so requires ingenious conception, and flexibly uses the natural phenomenon of near, large, and far small in vision on this product.

In this way, if the painting is good, the artistic conception will be more profound.

That's why there is a saying: "Therefore, a hundred deer are not as good as ten deer".

Xu Zhiheng mentioned in his book "Yinliuzhai Talking about Porcelain", "Those who paint a hundred bats are too dull, and a hundred bats are better, and the new ones are the most. Therefore, a hundred deer is not as good as ten deer. All other colored paintings are refined by Kang and Qian."

Such a refined work is even better in terms of pattern or painting, as well as the comfortable composition of the big deer decoration.

Therefore, the Qianlong famille rose hundred deer statue imitated by Chen Wenzhe, as a large-scale palace furnishing device made of famille rose in the Qianlong dynasty, is a must-have item in the ceramic museums of art museums around the world, and it also represents an era. The pinnacle of firing technology.

Chen Wenzhe can't guarantee that such a work can be successfully fired once.

Because the shape of the vessel is relatively large, the possibility of exaggeration of the shape of the vessel is very large.

For example, burning cracks, expansion, collapse, deformation, etc., are all likely to occur.

The most serious problem is definitely the hair color of pastels.

The hundred deer pictures are complicated, and after being painted with glaze, the problem of firing color is even more complicated.

Therefore, even Chen Wenzhe cannot guarantee the success of one-time firing, he can only make two more pieces and try firing first.

At this time, he has time to continue making other high-quality porcelain.

When he was drawing a hundred deer pictures before, he thought of another treasure, which had the most expensive deer on it.

Now that you have learned painting, you have to challenge your own level.

Chen Wenzhe is not very interested in painting scrolls, he just wants to show his painting skills on various utensils.

Therefore, a Qing Qianlong white jade pen holder with crane and deer fell into his eyes.

If it was made of porcelain, he would feel a little guilty, but if it was used to carve a deer, he really didn't feel sorry for it!

Because Chen Wenzhe's jade carving skills should have broken through the limit of the master level and reached the master level.

This is all because of a piece of jade from Lu Zigang. Because of that piece of jade, he had been exposed to the master-level carving technique.

Now the information in Sui Hou's Pearl is completely open to him, allowing him to learn more master-level skills.

In this way, it is very beneficial for making jade pieces.