My system is not decent

What did the Qing court teapot look like?Rich and colorful, slender and complicated, exquisite and time-consuming.

The tea sets of the Qing Dynasty surpassed all previous dynasties in terms of quantity and quality.

There are many varieties in the Qing Dynasty, with exquisite production, elegant shape and rich materials.

The main textures are porcelain, pottery, silver, copper, lacquer and so on.

Precious teapots are also made of gold, jade and other materials;

These exquisite teapots have exquisite workmanship, are more time-consuming, labor-intensive and more luxurious, and their style tends to be more rich and colorful, slender and complicated.

Just looking carefully, Chen Wenzhe saw another series.

They imitate ancient tea sets and definitely mean it.

For example, the group in front of us mainly imitated the tea sets of the Qing Dynasty court.

There are many styles and varieties of court tea sets in the Qing Dynasty.

For example, gold wares, and some bucket color wares, these are the most conspicuous.

Teapots before Yongzheng, that is, teapots from the Kangxi period are better.

In the early Qing Dynasty, there were some teapots with the living characteristics of Manchurian and Mongolian minorities, mainly made of metal, which could be used as offering vessels.

Porcelain pots like to use bucket colors, decorations of flowers and birds, and most of them are shaped with handles.

Among them, gold wares are somewhat representative, and these are generally works from the early Qing Dynasty.

Like a golden chiseled flower pot, it is now hidden in the Shenshi Palace Museum.

The early Qing Dynasty golden chiseled flower pot collected by the Palace Museum in Shen City has a total height of 37.8, a bottom diameter of 10.7, a flow height of 13.2 cm, and a total weight of 1500 grams.

This pot is made of pure gold, round, round belly, narrow diameter, flat mouth, umbrella top, dragon tongue trickle, ring foot.

Then there is the hand-held pot, the belly light element, the neck hoop, and the lotus petal pattern and the twig pattern carved along the bottom of the flat mouth;

The neck of the thin stream is chiseled with a dragon head, the mouth of the dragon holds a snake-shaped long stream, and the outer circumference of the bottom foot is chiseled with lotus patterns;

Umbrella-shaped mouth, narrow neck along the umbrella, shoulders under the neck, bulging belly and high ring feet;

An animal head protrudes from the abdomen, and a long stream protrudes from the neck, and a copper heart is inserted into the heart of the pot in the shape of a garden.

Between the neck and shoulders, there is a binding hoop.

The whole body of the pot is polished, and the umbrella-shaped edge is decorated with forging and embossing patterns.

There is a circle of lotus petals protruding along the center, surrounded by tangled lotus, and the outer side of the circle foot is also decorated with tangled lotus.

The Golden Pot was originally an offering vessel in the Lotus Pure Land Shisheng Temple in Shengjing. Its shape has the characteristics of the life of Manchu, Mongolian and other ethnic minorities.

After that, apart from Kangxi, it was the works of Yongzheng period, which reached its peak.

In terms of teapots, Jingzhen Kiln of Yongzheng in the Qing Dynasty produced many fine works, many of which are hidden in the Capital Museum.

Of course, the purple clay teapot is also essential.

Emperor Yinzhen of the Qing Dynasty often used purple sand teapots when drinking tea in the palace.

It is recorded in Qing palace archives that Yongzheng imitates Jun glaze chrysanthemum petal teapot.

For example, in the seventh year of Emperor Yongzheng's reign (1729) in the "Tie from the Old Summer Palace", the doctor Haiwang held a special-shaped pot in the shape of chrysanthemum petals and handed it to Nian Xiyao to make a uniform kiln according to this style.

From a practical point of view, he put forward suggestions for improving the handle and flow of the teapot, that is, firing the teapot according to the style of the purple sand pot.

The Qing Dynasty Yongzheng jdz kiln bucket color pot with flower and bird pattern lifting beam is one of the fine works.

It is 14 in height, 4.3 in diameter and 10.2 cm in bottom diameter.

The pot has a straight mouth, sloping shoulders, a bulging belly, a meandering flow, a beam handle, and a pearl button cover. The flat bottom supports four feet, and the foot ridge is narrow and thin.

The middle part of the pot is the auspicious picture of fighting colors and five ethics.

Judging from the pattern pattern, all the patterns are outlined in blue and white, and then painted with various colors on the glaze to fill in the outline.

The bottom of the pot is white glaze, and in the middle of the blue and white double circle, there is a six-character double-line regular script inscription "Yongzheng Year of the Great Qing Dynasty".

This Yongzheng-style girder teapot has exquisite and unique shape and exquisite workmanship;

Porcelain is exquisite in quality and lustrous in color. It is a representative and practical tea set in the court of the Qing Dynasty, and it is also one of the beautiful porcelains of the Yongzheng period in the Capital Museum.

Chen Wenzhe imitated many Yongzheng porcelains, but he really did not imitate teapots in particular.

Therefore, he is still very happy to see the fresh and elegant teapots of the Yongzheng period.

It's just that such a teapot is what some literati need.

In this impetuous society, it is even rarer to see the kind of bright red and green porcelain that is graceful and rich.

Therefore, I have to mention Qianlong.

The teapots in the palace during the Qianlong period, no matter what kind of teapots they looked at, were rich and gratifying.

Because the teapots in the Qianlong period were mostly decorated with pastels, and most of the utensils were jade pots and spring-style holding pots.

For example, the Qing Dynasty Qianlong Jingzhen kiln turquoise green land pastel multi-mu pot is one of the boutiques.

The Qing Qianlong jdz kiln pastel multi-mu pot with turquoise and green land in the Capital Museum has the shape of ethnic utensils such as Mongolian and snowy areas, and was originally used to hold buttered tea and milk tea.

Jurchens generally use Duomu pots as tea drinking vessels.

As early as in the "Taizu Shilu Battle Picture", you can see some clues in this regard.

For example, "Edu also invites the chief of the Nine Routes to meet Taizu", that is, on the banquet table on the right side in front of Nurhachi, a Duomu pot is placed.

The height of this teapot is 45, its flow length is 26.7, and the bottom diameter of the pot is 13.7 cm;

The pot squats with lion buttons, the dragon head handle, the phoenix body flows, and the feet are circled.

The handle of the dragon head and the body of the phoenix are elegant, using the technique of smearing red.

The main body of the whole vessel is decorated with famille rose flowers and eight-treasure patterns.

There are four yellow ground color hoops on the whole body from the top, which means good luck.

The inside and sole of the pot are decorated with turquoise green glaze.

On the bottom of the foot, there are three lines of six characters in seal script, "Great Qing Qianlong Year System".

It must be mentioned here that there is a technique that Chen Wenzhe has never dabbled in before, that is the technique of smearing red.

Porcelain collectors must know the red smearing process of porcelain.

Red smearing is a process of glazing porcelain in Ming and Qing Dynasties. To put it bluntly, red smearing is one of the methods of red color application, also known as "glazing" and "glazing".

The firing of porcelain in ancient times was all done by hand, so many collectors seldom heard of this kind of glazing process.

The word smearing red first appeared in the Ming Dynasty, and it is one of the methods of applying red color to ancient porcelain.

We have heard of both dipping and blowing glazes on ancient porcelain, but little is known about the method of smearing red glazing.

Smearing red is to smear colored glaze on the porcelain pattern, which greatly shortens the glaze application time compared with blowing glaze.

However, although this method of glazing is fast, the glaze layer is uneven and has brush marks.

Therefore, this method of glazing is vividly called smearing red.

There are many representative works of rubbing red utensils, and there are ready-made materials in front of you.

Therefore, Chen Wenzhe naturally wouldn't just watch others do it.

He directly picked up some imitation materials used by Yongzheng, and stretched them into a plate.

He intends to make a fine product of Jingzhen kiln in Yongzheng of Qing Dynasty, with red and precious phase flower plate.

This kind of plate is generally 3 cm high, with a diameter of 14.8 cm and a bottom diameter of 9.4 cm.

White glaze is applied to the whole porcelain, and alum-red twig-twisting treasure-phase flowers are painted on the outer abdominal wall glaze.

Among them, the decoration is complicated but not dense.

In fact, this technology appeared very early, especially in the Jiajing period of the Ming Dynasty, when alum red color appeared.