My system is not decent

What kind of vivid expression would a blue and white porcelain and the characters painted on the bottle have?How is it so lifelike?

Xiao He's anxiety when galloping his horse, Han Xin's hesitation to wait and see by the river, and the anticipation of the old boatman standing with his oars are all vividly expressed.

And the blank space is lined with pine, plum bamboo, and mountain rocks, which looks patchy.

Even if there are suitable materials for this level of porcelain, it is definitely not easy to imitate.

Of course, if the imitation can be successful, then it is no problem to imitate a blue and white jar of "Guiguzi Down the Mountain".

The price can exceed [-] million, so this jar is naturally not easy.

For example, the theme screen describes the story of Sun Bin's master, Guiguzi, who went down the mountain to save his disciples.

Guiguzi was sitting in a cart pulled by a tiger and a leopard, leaning forward slightly, with a calm demeanor, extraordinary like a fairy.

Just a simple painting shows the attitude of planning a strategy, winning a thousand miles away, and winning a thousand miles away.

The overall blue and white decoration on the tank body is rich in color, full of pictures, dense and dense, distinct in priority and secondary in harmony.

The characters are portrayed smoothly and naturally, full of charm, the mountains and rocks are dyed and dyed heartily, and the brushstrokes are precise and perfect!

Mr. Sun Yingzhou commented on it as: "The King of Blue and White Porcelain" is not an exaggeration.

In addition to these two pieces, there is also a large blue and white pot from Yuan San Gu Thatched Cottage.

The Yuan blue and white "Three Visits Thatched Cottage" large pot is now hidden in the Shendu Palace Museum, a national first-class cultural relic.

This porcelain pot has a short lip, a short neck, full shoulders and a round belly, and a wide and shallow ring foot.

The soles of the feet are flat and chamfered, with swirling patterns on the bottom, and obvious burnt marks on the pads.

The glaze is white, and the glaze is bluish.

Painted with imported Suqing material, the hair color is gorgeous and the condensation spots are obvious.

It is 27.6 cm high, 34.5 cm in diameter, 21.5 cm in upper diameter, and 20.6 cm in base diameter.

The main decoration is the picture of three visits to the thatched cottage, and the seven figures are vivid and lifelike.

Zhuge Liang sat upright in the hall, and a book boy waited quietly with a scroll in his hand, and a boy reported to Zhuge Liang: Liu Bei is asking to see you outside the door.

On the side of the porcelain pot is Liu Bei outside the thatched cottage, waiting respectfully for Zhuge Liang to summon him;

Zhang Fei and Guan Yu stood behind Liu Bei, Zhou Cang followed behind with the Qinglong Banquet Saber on his shoulders and the Chituma.

The natural scenery on the screen is beautiful and charming.

Green pines, plane trees, willows, bamboos, rocky mountains, flowers and plants, fences, small bridges, flowing water and thatched cottages constitute a peaceful Nanyang scenery, which can be called the best among the blue and white flowers of the Yuan Dynasty.

A blue and white pot vividly depicts the classic historical allusion of visiting the thatched cottage three times.

What is even more commendable is that in this square inch of the world, there are pine trees and willows, fence gates, high mountains and flowing water, banana leaves and flowers, cirrus clouds and white cranes are all available!

Savor it carefully, it's really wonderful.

Seeing this, can you understand why the Yuan blue and white figure jar is so precious?

Not to mention anything else, but the artistic conception in this painting is hard to imitate.

It should be a fluke that the firing was successful that year.

Among the Yuan blue and white handed down now, it is said that there are eight large picture jars.

It's a pity that it's very difficult to burn it out again.

There are two main difficulties, one is the material, and the other is the process.

Before the Yuan Dynasty, the aesthetic pursuit of the scholar-bureaucrats in my country's porcelain was at its peak, represented by the five famous kilns in the Song Dynasty.

In the Yuan Dynasty, the Mongolian nation's aesthetic orientation of "blue sky and white clouds" on horseback opened a splendid new chapter in the aesthetics of ancient oriental ceramics.

This is the Yuan blue and white made by Jingzhen. Before burning the Yuan blue and white again, you must know what is the Yuan blue and white.

Before the Yuan Dynasty, there was no such thing as blue and white.

The so-called "Tang Qinghua" and "Song Qinghua" are still controversial in the academic circles.

It's just that the non-mainstream blue-colored porcelain fired in Gongxian kiln and Longquan kiln was not recognized by officials and folks in the Tang and Song Dynasties.

From the beginning of blue and white in the Yuan Dynasty, Chinese porcelain no longer sticks to minimalism, and enters the era of blue and white and colored paintings.

Yuan blue and white flowers are sought after by the world with the mysterious blue of Su Ma Li Qing.

However, people soon discovered that Yuan Qinghua was a special existence that could not be confirmed by historical documents.

Because of the more than 500 years of blue and white firing history, there is no record of blue and white porcelain firing in the Yuan Dynasty.

All documents believe that the creation of blue and white began when Zheng He of Ming Yongle went to the West and brought back Su Maliqing.

The Forbidden City has many fine cultural relics from the Song to Ming and Qing Dynasties, but the absence of records of handed down blue and white porcelain from the Yuan Dynasty also supports this view.

Until 1952, the blue-and-white elephant ear vase collected by the David Foundation in England for the 11th year was determined by the researcher Pope as the 14th-century blue-and-white porcelain dating standard, and was recognized by Chinese ancient ceramics scholars all over the world, and named it "Zhizheng Blue and white", from then on the mysterious veil of blue and white in Yuan Dynasty was lifted.

There is a saying that there are more than 300 Yuan blue and white complete vessels in the world.

Among them, more than 200 pieces are in foreign countries, and more than 100 pieces are in domestic state-owned collection institutions.

Although this statement has been questioned, it also confirms the rarity and value of Yuan blue and white from one aspect.

Sumaliqing, which was used for coloring ceramics from Yuan to Zhengzheng, subverted the Song people's aesthetic standard of plainness

The earliest record about Su Maliqing is Wang Shimao's "Guotianwaicheng" written by Wang Shimao during the Wanli period of the Ming Dynasty.

"...The official kiln was specially set up in the JDZ of Fuliang County, between Yongle and Xuande in our dynasty. It was fired in the Neifu, and it has been the most expensive so far. It is decorated with Sumaliqing..."

Sumaliqing is used as a coloring material for ceramic decoration, creating outstanding blue and white varieties in the history of Chinese ceramics-Yuan blue and white and Yongxuan official kiln blue and white.

Around the Yuan Dynasty to the Zhengzheng period, ceramic craftsmen in Jingzhen successfully applied "Su Ma Li Qing" to ceramic coloring.

With white porcelain as the ground and Su Ma Liqing as the material, flowers, birds, spirit animals and figures are painted under the glaze.

The aesthetic standard of people in Song Dynasty, who regard plain as beauty, has been subverted so far.

Oriental blue and white can be so strong.

The scholars of the Yuan Dynasty and the people of the Western Regions found common ground in the aesthetics of ceramics.

In the middle of the [-]th century, craftsmen in Jingzhen made beautiful blue and white porcelain using suma liqing sold by merchants from the Middle East.

And then sold to all parts of the country, Southeast Asia, and even further to Central Asia.

Blue and white replaced Yingqing and became Jingzhen's mainstream product.

The greatest charm of Sumaliqing lies in the achievement of the bright and colorful "Zhizheng blue and white" of the Yuan Dynasty.

Zhizheng, the reign title of Yuan Huizong, the last emperor of the Yuan Dynasty.

At that time, the regime of the ruler was declining, and many places in the south of the Yangtze River were resisted by separatist warlords and civil forces.

It is a miracle that the thousand-year-old kiln fire in Jingzhen can survive the wars between the parties, and the blue and white flowers shine brilliantly.

The Han warlords and Bailian believers in the south worshiped the blue and white porcelain devoutly, and endowed the blue and white porcelain with pure spiritual meaning in addition to the general daily aesthetics.

In the 11 years since the 20th year of Zhizheng, Jingzhen has been caught in the vortex of war.

The status of the Porcelain Capital has not been weakened by this, on the contrary, it has been able to grow against the trend in the cracks of the war.

Everyone in the world knows that blue and white porcelain was the most powerful Chinese manufacturing at that time, and it could bring huge trade income.