My system is not decent

This large pavilion-style incense burner is extremely complicated in craftsmanship, and its shape is extremely unique and exquisite. It ingeniously combines the palace architecture of the Qing Dynasty with cloisonné enamel, showing the royal style.

Its enamel glaze is bright in color and smooth in glaze.

The filigree gilt is brilliant, and the main accessories are connected by metal screws, which is in line with the characteristics of the filigree enamel craft in the Qianlong period of the Qing Dynasty.

Although it has not been added, it has obvious characteristics of the times, and it is actually a typical fine piece of imperial enamelware made by the Qianlong Dynasty Manufacturing Office;

In addition, its shape is extremely unique, its volume is huge, the gilt color is bright, and it is well preserved, which is especially precious.

Of course, there were also many incense burners in the Kangxi period, such as copper body cloisonné enamel with twisted branches and lotus pattern towards the crown ear incense burner.

The body of this furnace has a neck and shoulders, and the abdomen is rounded. The left and right pairs of the abdomen are bent upward toward the crown ears, and a small cylinder is connected to the mouth.

The furnace button is gilded with dragons, and the cover body is made of cloisonné enamel, and the cover is hollowed out, so that smoke can float out from it when burning incense.

The furnace body has a round mouth and neck, and the whole body is covered with blue enamel glaze. The mouth and neck are decorated with gilt lotus patterns, and the furnace body is also decorated with twine lotus.

The whole decoration is made of exquisite cloisonné enamel technology, colorful and gorgeous, rich and luxurious decoration, which can be called the best made in the palace.

After completing these two pieces, Chen Wenzhe struck while the iron was hot, and made another Qianlong copper-bodied cloisonné enamel three-legged incense burner with twisted branches and lotus patterns.

This one is too small, only 10 cm in diameter.

It has a neck and a bulging abdomen, with three breasts on the bottom and soaring ears on the top of the mouth, which is quite aura.

The outside of the body is outlined with copper wire, and the light blue enamel glaze is used as the ground.

The theme is also decorated with twining lotus patterns, which are filled and dyed with red, yellow, blue, and green colors, and the colors are brilliant, rich and bright.

The ears, lips, and legs are decorated with gold plating, and the golden light shines, presenting a rich and elegant state.

The whole vessel is richly decorated, and the layout is complicated but not chaotic.

Placed in several cases, it gives people a sense of grace and luxury.

These are several smokers, each with its own characteristics, but Chen Wenzhe didn't do too much here.

He thought about it, and made a lot of copper-bodied utensils. This time it was not an incense burner, but pots, bottles and other utensils.

It looks like a copper-bodied cloisonné enamel pot with passionflower pattern and chilong ear pot. It is 43.5 cm high, which is also considered a large vessel.

This piece once appeared in the "Important Chinese Craftsmanship" auction at Christie's in New York on March 2006, 3.

This chilong ear pot is huge in size, graceful in shape, bright and smooth in glaze color, solemn and elegant in body, and exquisite in technique;

Straight neck, bulging shoulders and round belly, short circle feet, smooth lines;

The shoulders are opposite to the gold-plated chilong ears, which are majestic, simple and steady;

The whole body is made of light blue enamel glaze, and the whole body is decorated with passionflower patterns, filled with red, yellow, purple, green and other enamel glazes, which are exquisitely matched and blooming like brocade;

The layout is rich in layers, smart and wonderful, fully showing the superb craftsmanship in the middle of the Qing Dynasty, and it is a rare treasure of enamelware.

For works of this level, there are still more daily necessities.

In addition to daily necessities, there are ornamental devices, and the most common ornamental devices are bottles.

If it is relatively rare, it is a coat rack or something.

The only thing Chen Wenzhe knows is a copper-bodied cloisonné enamel hat stand with dragon patterns from the Qianlong period of the Qing Dynasty.

The height of this thing is only 26 cm, which is relatively small.

What's more, this is a rare cap stand. This hat stand is made of cloisonné enamel as three brackets, in the shape of three curved legs, and the brackets are decorated with Kuilong patterns.

The theme is filled with blue, and the dragon's horns are filled with white, which is magnificent and especially rare.

As for the bottle, what Chen Wenzhe first thought of was not from the Qing Dynasty, but from the Ming Dynasty.

For example, in the early Ming Dynasty, copper-bodied cloisonné enamel Tibetan grass vases with eight auspicious patterns on lotus supports were common. This kind of vase was common in the Qing Dynasty, but it was rare in the Ming Dynasty.

The Tibetan grass bottle is also called the nectar bottle, one of the bottle styles.

It was made by the Qing court for monks in the snowy area, and it is a special vessel for planting grass for Buddha, so it is called Tibetan grass bottle.

It has been fired in Yongzheng period, and the products in Qianlong period have round lips, straight neck with convex string pattern, plump shoulders, lower abdomen gradually retracted, shins tied, and feet turned outward.

This type of bottle is not recognized by the book, and is generally regarded as a Qianlong product.

Obviously, this kind of bottle in the Ming Dynasty is rare, especially the Tibetan grass bottle in the early Ming Dynasty, it is even rarer.

This Tibetan grass vase is 25.6 centimeters high and is estimated to be worth between 300 and [-] million.

The price is not expensive, mainly because the process is not too complicated.

This bottle has a milled mouth, a thin and short neck, full shoulders, a closed abdomen, and a shallow circle of feet, presenting the shape of a common Tibetan grass bottle in Tibetan culture.

The edge of the mouth and the middle of the neck are inlaid with gold-plated edges, which add a visual three-dimensional effect through the change of height and thickness.

The surface of the vessel is covered with blue enamel as the ground, on which various auspicious patterns are outlined with red, white, yellow, purple, green and other colored glazes.

The edge of the mouth is a flower scroll, the neck is decorated with eight auspicious treasures, the shoulders are covered with lotus petals, and the feet are surrounded by lotus petals.

On the most conspicuous abdomen, there are plump and tangled passionflowers neatly arranged, exuberant and luxuriant.

This cloisonné enamel plate mouth bottle should be a Tibetan Buddhist vessel.

It has a unique shape, gorgeous glaze color, and smooth lines of filigree pattern.

In particular, the patterns are complicated and colorful, and the copper-gilt dragon-shaped decoration is brilliant and eye-catching.

All of the above can be regarded as the finishing touch, because after all, it shows the superb skills and brilliant achievements of court enamel work at that time.

And this one is very rare, because it came from the Yongle period of the Ming Dynasty.

The reason why it is considered to be the early Ming Dynasty is because in the early years of the Ming Dynasty, that is, during the Yongle period, blue and white Tibetan grass bottles were tried to be fired.

In the Qing Dynasty, only Yongzheng and Qianlong official kilns fired red and fighting colors.

Unexpectedly, the small Tibetan grass bottle is also a historical witness of the integration of Chinese and Tibetan cultures.

Because the Jingzhen Imperial Kiln Factory produced a large number of Tibetan Buddhist utensils back then, it was not on the whim of Emperor Qianlong, but had a very profound mystery.

After the Qing court took over the Central Plains, it always attached importance to and supported Tibetan Buddhism, and took it as an important measure to preserve the "great Qing foundation's ten thousand years of rock safety".

Emperor Qianlong's strong interest in Tibetan Buddhism undoubtedly had far-reaching political reasons.

According to literature records, Qianlong was very devout to Tibetan Buddhism and had a deep understanding of it.

He meditates every day, and even taught him Sanskrit and Tibetan by the third Zhangjia.

Just from this point, it can be seen that an emperor who has done something and left a name in history must not be easy.

In order to win people over, Emperor Qianlong worked hard.

For example, in 1745, Qianlong ordered to change the Yonghe Temple, where he was born, into a Lama Temple.

In the following year, the Puning Temple was built in Chengde in imitation of the Samye Temple, and the Putuo Zongcheng Temple was built in Chengde in imitation of the Potala Palace.

In 1780, the fifth group came from afar to congratulate Qianlong on his [-]th birthday.

Qianlong ordered people to imitate the Tashilhunpo Monastery and build a Xumi Fushou Temple in Chengde for him to live in.

After that, Qianlong built the Yuhua Pavilion in the Forbidden City in imitation of the Mandala Hall of Tuolin Temple, which has a strong Tibetan Buddhist architectural style.

It is because of this that even though there is no official inscription on the Tibetan grass vase, it will be regarded as a famous Tang kiln work.

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