People have a comparative mentality and always want to compare their own things with those outside. The Tang style is not immune to the customs. Their blue and white celestial ball bottles are from Yongle in Ming. According to rigorous scientific division, there are actually only two artistic peaks of blue and white porcelain, one is the blue and white in the Ming Dynasty, and the other is the blue and white in the Qing Dynasty. What we are talking about here is the artistic peak rather than the value peak. The transaction price cannot truly reflect the level of blue and white porcelain art. It is influenced by the dual influence of the passing of time and values. Therefore, Yuan blue and white porcelain can be the value peak of blue and white porcelain, but it is not the artistic peak of blue and white porcelain.

Yuan blue and white porcelain melted Persian culture, Mongolian culture and Han culture, which is more in line with the values ​​of the Western world, and the Western world still dominates the values ​​of the current world. Therefore, the transaction price record of Yuan blue and white porcelain is far higher than that of Ming and Qing blue and white porcelain. This is not to make others lose their own ambitions. It is a fact. This is particularly obvious in collections. If Westerners like Yuan blue and white porcelain, the Yuan blue and white porcelain will be very expensive; if people like Xuande furnace, the Xuande furnace will be low; if Westerners like oil painting, the value of oil painting will be higher than that of Chinese painting. So, is traditional Chinese painting really worse than oil painting? Obviously not, so-

The monetary value of a collectible is not equivalent to its artistic value.

The blue and white porcelain of the Ming Dynasty and the blue and white porcelain of the Qing Dynasty are just a general reference. Specifically, the dynasties of blue and white porcelain are also subdivided. The Ming Dynasty blue and white porcelain can be roughly divided into Hongwu blue and white porcelain, Yongxuan blue and white porcelain, Chenghong blue and white porcelain, and Jiawan blue and white porcelain. The dynasties of blue and white porcelain are different from the dynasties of history. You can understand by looking at the transactions of the industry. If the seller takes a piece of blue and white porcelain and says it is Yongxuan, the buyer can immediately determine the valuation range.

The blue and white porcelain of the Qing Dynasty can be roughly divided into the three Qing dynasties and the three non-Qing dynasties. Once you talk about the three Qing dynasties, you will be valuable things. There will be no need to talk about them after that, with a slight ups and downs and an overall decline.

If we want to specifically define the two artistic peaks of blue and white porcelain to a certain dynasty, it is Yongxuan blue and white and Kangxi blue and white. Why can Kangxi be the same as Yongle and Xuande? This is because he has been in power for 61 years.

The fine blue and white porcelain from the Ming and Qing dynasties are relatively consistent with the influence of the existing volume and Western values, so the relationship between them can be measured by the transaction price. At present, the first 10 items recorded in the transaction price of the Ming blue and white porcelain auction in the Ming Dynasty are all Yongle. In the Xuande period, a Ming Yongle blue and white porcelain with an inner and outer bottom dragon playing with pearls and rims was washed at Christie's Spring Auction in New York was RMB 43.4 million, breaking the transaction price of the Ming blue and white porcelain in February of 2018. A Ming Yongle blue and white blue and white wavy tangled branches and branches, double phoenix and Chaoyang double-type flat pot was sold in Macau CITIC at 55.96 million, setting this record. In contrast, the transaction price of Kangxi blue and white blue and white is much inferior, and there are other special reasons here.

The blue and white celestial ball bottle in front of Tang Feng is the full name of the Ming Yongle Wrapped Lotus Sea Water Dragon Pattern Heavenly Ball Bottle. It is about 30 cm high and has an abdominal diameter of about 20 cm. There is a tangled lotus pattern painted from the edge of the bottle neck to the bottle body; the bottle body is painted with white water and blue dragon pattern; the bottom foot is paper pattern; the three are transitioned by lotus petal patterns. Its body is fine, its body is thin, delicate and dense, its glaze is plump, and its glaze is thick and verdant. There are a small amount of rust spots on the bottle body, which is a typical Yongle blue and white characteristic.

The white water and blue dragon pattern refers to the painting of white. The sea water and blue and blue porcelain are painted with dragon patterns. The water dragon patterns of blue and white porcelain can also be turned into blue water and white dragon patterns. There are many ways to date blue and white porcelain. Since this piece of blue and white is placed in a glass display cabinet, Tang Feng, like other visitors, can only be judged by eyes. The body glaze meets the characteristics of Yongle blue and white, and Tang Feng will observe the patterns next.

The most intuitive way to break the pattern is to break the dragon pattern. The dragon and phoenix patterns in the Ming and Qing dynasties were more widely used in porcelain than before, and the styles were more diverse. Dragon patterns for emperors began to appear on folk kiln porcelain. The dragon heads of this period had horns, beards, and hair was complete. Five-clawed dragons were often seen in official kilns. The dragons in Hongwu blue and white, Yongxuan blue and white dragons were powerful and bold, with their lips rolling up, their hair rolling up, their claws were powerful, and their claws were vivid. The dragons in Chenghong blue and white dragons were soft and delicate, with two short whiskers on the upper lip, their mouths closed, and their five claws were wheel-shaped, which was swimming. The dragons in Jiawan blue and white dragons showed aging and declining state, with their mouths mostly opened, their hair rolling back, and their five claws were zigzags. The dragons in the late Ming Dynasty were old and long and under their long hair.

Floating, lifeless. The aura and expression of the dragon also differs significantly in the blue and white porcelain of the Qing Dynasty. The rule is that the dragon opens its teeth and claws in the period of prosperity, and the tigers and tigers are powerful. The dragons in the period of decline are thin and weak, and their eyes are dull. When the dragon pattern begins to appear, they are only regarded as jokes. How can the dragon's expression be related to national strength, but after research and summary, this is the fact. This can be explained from the mentality of the kiln workers. During the period of prosperity, they are well treated, life is comfortable, and their work enthusiasm is high. The dragons drawn are naturally mighty and fierce; the poor treatment during the period of decline affects their work enthusiasm, and the kiln workers themselves feel that they cannot compare with their ancestors. In addition, people are panic, and the dragons drawn are naturally thin and scattered.

"Yeah." Tang Feng nodded while looking. Yes, this dragon was indeed from the Yongle period. Dragon, the bottom of this blue and white celestial ball bottle is displayed on the display screen. The four-character seal script style - made in Yongle year. This is the only symbol of Yongle blue and white porcelain from the past. If the six-character or regular script style made in the Yongle year of the Ming Dynasty appeared, it is basically a fake style before the actual standard instrument was found. Speaking of style, there is another special case. Not all official kiln porcelains will retain official styles, and they may not necessarily retain official styles from this dynasty. This is the case with Kangxi blue and white porcelains. Many official kiln Kangxi blue and white porcelains do not write styles, and a large part of Kangxi blue and white porcelains with official styles are left in the Ming Dynasty. The Kangxi blue and white porcelains do not have the styles, and a large part of the Kangxi blue and white porcelains with official styles are left in the Ming Dynasty.

Official seals, which were a special case in the Qing Dynasty, when literary inquisitions were prevalent, and Kangxi allowed them. This kind of lack of seals or the previous dynasty made it difficult for the officials and the people of Kangxi to distinguish between blue and white, and the real imitation was difficult to distinguish, which affected the market conditions of blue and white. There is a saying that the officials retreated and the people advanced. In the late Ming Dynasty, even the regime was already in turmoil, let alone the official kiln. The decline of the official kilns, the folk kilns began to flourish. Whoever became emperor needed porcelain? The impact of this situation was very far-reaching, which led to the later anger of the official kilns. Therefore, the craftsmanship level of fine blue and white porcelain in Kangxi's folk kilns was not lower than that of official kilns, which is why the officials and the people were unable to distinguish. Therefore, the market conditions of blue and white in the folk kilns during the Kangxi period were always higher than those of other periods.

Looking at the entire history of Chinese porcelain production, the role played by official kilns is actually negative. It is the emergence of the exclusive mechanism of the palace that the porcelain production process cannot be inherited. This cannot be seen in peacetime. Once the dynasty changes, large-scale process faults will appear. This lack directly leads to the decline of porcelain, because the inheritance of the transition period must be borne by the folk kilns. Suppressing the folk kilns will inevitably affect the quality of the official kilns. This is why the so-called peaks such as the fifth kilns of the Song Dynasty, the blue and white kilns of the Yuan Dynasty and the third dynasties of the Qing Dynasty will appear. If this situation of porcelain is extended to modern economics, it will be of no benefit to suppress private capital and emphasize state-owned assets. Unfortunately, this sign is happening in China today, such as real estate.

Tang Feng was looking at the porcelain and glass cabinet. A noble lady opposite the glass cabinet was looking at Tang Feng. Tang Feng couldn't help scratching his scalp. The aesthetics of Hong Kong people are different. It's not that Tang Feng was self-deprecating. He really did not conform to the aesthetics of modern people for men. He had never received such treatment before.

It is difficult for Tang Feng to judge the actual age of the lady from his face. She looks very young, not a few years older than Lin Muyu. There is also a man next to her. The man is about twenty-seven or eight years old, about the same height as Tang Feng, but his body is stronger than him, his chest muscles are bulging, and a typical muscular man. His Mandarin is not very standard, and he asked the lady: "Aunt, do you think this blue and white porcelain is real or fake?"

Tang Feng could not have imagined that the noble lady's nephews were older than him. The noble lady did not answer the muscular man's questions, but walked straight towards Tang Feng. She came to Tang Feng and smiled gracefully at him, saying, "Sir, can I ask you a few questions?"

No, right? Although Tang Feng was confused, he still had basic politeness. He smiled slightly and said, "Of course."

The lady took out a business card from Chanel's bag and handed it to Tang Feng, saying, "My name is Lan Qi, I come from Hong Kong Yinshi Group." If Lin Muyu had not helped Tang Feng find information about the Asian jewelry industry, Tang Feng would have really not know what Hong Kong Yinshi Group does. Hong Kong Yinshi's comprehensive strength is far stronger than Yang Chengming's Han and Tang Baoye. It ranks second in Asia, second only to the world's top ten jewelry brands Japanese Yuben, but its main business is in Hong Kong, Taiwan, Japan, South Korea, and Southeast Asia, and has not involved the domestic market.

Lan Qi asked Tang Feng: "What is your surname, what is your name, and what is your mother's surname?"

Tang Feng didn't expect this well-educated lady to ask herself so suddenly, and he said, "My surname is Tang, and my name is Tang Feng. I really don't know my mother's surname."

Lan Qi's next question shocked Tang Feng. She asked, "Secret Tang? Who are you?" Of course he knew who Tang Wenyu was, and that was his grandfather. However, his grandfather repeatedly instructed him that except for the Huang family, he could not mention him to anyone, or admit his relationship with him, and he also had to be careful of asking about his family background. He had never mentioned Lin Muyu's family background. Tang Feng shook his head and said, "I don't know this person."

"How is that possible?" Lan Qi suddenly louder her voice.

"Aunt, what's wrong with you?" asked the muscular man walked over to them.

"No, maybe I recognized the wrong person." Lan Qi shook her head and said to Tang Feng: "Mr. Tang, I'm sorry, I'm too rude. Now, can I ask you another question?"

Tang Feng was also very curious about this woman who said his grandfather's name as soon as she said it. Without involving her family background, he also wanted to find some of the family background from her. If her surname was Lin, the question would be easy to find. She might be from another tomb robber family, but her surname was Lan. Tang Feng said: "It doesn't matter. If you have any questions, just ask, as long as I know."

Lan Qi pointed to the blue and white celestial ball bottle and asked Tang Feng: "Do you think this is true or false?"

"This" Tang Feng began to hesitate. This blue and white celestial ball bottle is exactly the same as theirs. If his family did not have the authentic Ming Yongle Blue and White celestial ball bottle, then Tang Feng would definitely think that this is genuine. Unfortunately, there is still a certain difference between this Ming Yongle blue and white porcelain and theirs. The Ming Yongle blue and white porcelain of Tang Feng and theirs has no rust marks. It looks more exquisite than this Ming Yongle blue and white porcelain and much cleaner.

Since the one in my house is real, then this one is fake. It is impossible for a pair of them to appear in the same furnace, because the blue material used is completely different. This Ming blue and white piece uses Su Maliqing, while the one in my house uses Zhejiang material.

Blue and white are both made of cobalt ore containing cobalt oxide as the glaze. The cobalt material is blue after firing, with strong coloring power, bright color, high firing rate and stable color. Sumaliqing is an imported glaze, which is produced in ancient Persia, that is, modern Syria. Most of the blue and white blue and white in the Yuan Dynasty, Yongle and Xuande official kilns use Sumaliqing. Because Sumaliqing is a low-manganese high-iron glaze, and the iron cannot be completely removed, the porcelain that uses this glaze has rust spots. Most domestic glazes are high-manganese

The glaze has low iron content and will not show rust marks. Zhejiang material, also known as Zhejiang Qing, is produced in Shaoxing and Jinhua areas of Zhejiang Province. It is the best green glaze among domestic glazes. Since the mid-Wanli period of the Ming Dynasty, blue and white porcelain has gradually gotten rid of its dependence on imported glazes. Since this period, Jingdezhen official kiln blue and white porcelain has always been using Zhejiang Qing. There is one thing that Tang Feng has not yet figured out. It is not uncommon for his Ming Yongle blue and white celestial ball bottle to use Zhejiang Qing, but it is a problem that it is more exquisite than the Zhejiang Qing porcelain of Wanli in Ming Dynasty. This is against the times.

Tang Feng was thinking, but his mind was turning rapidly. He then said to Lan Qi: "This is hard to say." This signal cannot be revealed, otherwise the other party would easily know that there is genuine product at home.

Lan Qi looked around and said to Tang Feng: "You can't deceive me, you must know Tang Wenyu. I can tell you that this blue and white porcelain is fake because our family has an authentic Ming Yongle tangled lotus sea water phoenix pattern celestial ball bottle, and it uses Zhejiang green glaze. The dragon bottle and the phoenix bottle are a pair. Ma, grandpa, call me after getting the answer. The people from the Lan family will not harm the people of the Tang family, nor will the people of the Lin family."

The Lin family, she mentioned the Lin family, and this matter became more and more troublesome. The Tang family, Huang family, and Lin family were already complicated enough. Now the Lan family appeared again, but Tang Feng still knew nothing.

"Aunt, don't mention this here, let's go." The muscular man said to Lan Qi.

Lan Qi smiled at Tang Feng and said, "Take goodbye, goodbye."

"Goodbye." Tang Feng nodded slightly and turned away. Lan Qi's appearance made Tang Feng eager to know his family background. If there was really a Dragon and Phoenix Vase, the relationship between the Tang family and the Lan family would definitely be extraordinary. One pair of vases is one piece, and it was a dragon and phoenix vase.
Chapter completed!