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Joseph.Sharon@chinesemasterpieces.com
这件杰作是一件精美的明代青花十五世纪成化风卷云雾仙人官罐。成化时期为 1465 - 1487 年。罐上有四块板,第一块是荷叶,第二块是水波粼粼,马匹在云朵中飞翔,主面板是人物故事,带有六字成化款,底部有水纹图案。你可以看到艺术家在人物长袍上创造的风吹效果,长袍在风中飘扬。您还可以清楚地看到罐子在制作时是如何黏合在一起的。罐底斑驳,看起来有些烧焦。罐子高约 11 3/4 英寸。成化青花瓷是最受追捧的青花瓷是中国有史以来制作的瓷器中数量最少的。这一时期使用的钴非常漂亮,因此很容易与其他时期的青花瓷区别开来。与当时使用的进口索马里蓝钴相比,青花瓷的黑色色调非常明显。他们还混入当地的钴(称为皮唐)来稳定进口钴,因为众所周知,进口钴会流淌。成化瓷器没有堆积和堆积效应,因为他们将钴提炼得非常好。进口钴来自波斯,没有人知道在哪里波斯。自成化末期以来,中国已 500 多年没有进口过这种钴。成化瓷器采用细腻的轮廓绘制,并用宽笔填充,采用自由的笔触。他们对粘土的精炼程度比以往任何时期都要好时期,使用高温窑炉,通常较大的碎片会导致未上釉的底部看起来烧焦或斑驳,而上釉的底部会看起来波浪形。釉面上有微小均匀的气泡,可以用放大镜看到。
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Joseph.Sharon@chinesemasterpieces.com
This is an exceptional Masterpiece, Blue & White Ming Dynasty Chenghua Mark & Period Imperial Figure Meiping Vase. This Vase measures approx. 13 3/4 inches Tall. Chenghua period was from 1465 - 1487. Check your auction catalogs,books, and look in museums, online you won't fined a better Chenghua Meiping vase published anywhere. The vase has wonderful form, great color and is painted with very controlled loose freestyle strokes that the finest Chenghua wares are known for. This vase you can see flaking in the biscuit when looking through a loop, this is a clear indication of it's great age. These blue and white wares are the most sought after blue and white wares that China ever produced. The beautiful cobalt used during this period makes them very easy to distinguish from other periods of Chinese blue and white wares. They have a distinct blackish tone from the imported cobalt that they used during that period. Chenghua wares refined the cobalt so well they don't have heaping and piling that break the glaze. The imported cobalt called Samali blue, they believe came from Persia and they don't know where in Persia. They have not imported this cobalt for over 500 years. During the Chenghua period they also used a local cobalt called Pitang. The imported cobalt was known to run and they would stabilize it by mixing them together.Depending on the mix it would give very refined colors. In Chenghua wares they painted fine outlines and filled them in with a broad brush using loose free style strokes. They refined the clay better than any previous period and with their high firing kilns this often caused them to look burnt or mottled on the bottom in many vessels that have un-glazed bottoms. And bottoms that are glazed sometimes look wavy this can be seen when the light reflects on the glaze. This glaze is easy to distinguish it is very fine, and has tiny even bubbles this can be seen using a loop. It doesn't get better than true Imperial blue and white Chenghua wares.
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Joseph.Sharon@chinesemasterpieces.com
这是一件绝妙的杰作,青花明代成化款和时期皇家佛教狮子罐。此罐高约 5 1/8 英寸。成化时期为 1465 - 1487 年。此罐代表了为什么成化瓷器如此受追捧.这个罐子应有尽有,非常精致,是一件出色的杰作。这是您必须亲眼目睹才能欣赏到在明朝绘制这个罐子所需的技巧和控制力的作品之一。查看您的拍卖目录、书籍、博物馆和网上,你都找不到任何地方出版的更好的成化罐。罐子造型非常精美,色彩鲜艳,用极其控制的自由自由的笔法绘制,有些看起来只用了几根线条毛刷,正是成化瓷器最精美之处,以其精妙的细节而闻名。罐上绘有四只佛教狮子和佛教符号。透过罐口看,你可以看到饼干上的剥落,这清楚地表明了它的年代久远。釉底看起来呈波浪形,这是成化瓷器的典型特征。这些青花瓷器是中国有史以来最受追捧的青花瓷器。这一时期使用的精美钴使它们很容易与中国其他时期的青花瓷器区分开来。它们具有与青花瓷不同的黑色色调。成化瓷器使用进口钴,精炼钴,不会出现堆积破坏釉面的情况。他们认为进口的钴叫萨玛利蓝,来自波斯,但不知道波斯哪里。他们已经有 500 多年没有进口过这种钴了。成化年间,他们还使用一种叫皮塘的当地钴。进口的钴会流淌,他们会将两者混合在一起,使其稳定下来。根据混合物的不同,颜色会非常精致。在成化瓷器中,他们画出精细的轮廓,并用宽笔用松散的自由笔触填充。他们比以前任何时期都更精炼粘土,而且他们的高烧窑炉经常导致在许多底部没有上釉的器皿中,底部看起来烧焦或斑驳。而上釉的底部通常看起来是波浪形的,当光线反射到釉面上时可以看到这一点。这种釉很容易区分,它非常细腻,并且有微小均匀的气泡,可以使用循环来查看。它没有比真正的帝国更好的了
青花成化窑。
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Joseph.Sharon@chinesemasterpieces.com
This is a extremely fine Chinese Chenghua Sweet White Porcelain 15th Century Ming Dynasty
14 1/4 " diameter.
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Joseph.Sharon@chinesemasterpieces.com
这是一件非常精美的中国古董斗彩三友天罐。斗彩意味着对比色,他们使用釉下蓝线填充彩色珐琅,这些珐琅均衡且艺术感十足,风格奇特。冬天的三个朋友是松树、竹子和梅枝。你可以清楚地看到,釉下青花使用的是一种进口的钴蓝,称为萨马利蓝,它与当地的钴皮唐混合,使成化时期的钴蓝成为中国历史上最美丽的精致钴蓝,非常容易区分不同于中国使用过的其他钴。他们已经有 500 年没有进口过萨马利蓝了,现在他们甚至不确定波斯的萨马利蓝来自哪里。成化官窑最上乘的斗彩瓷器中使用的粘土略显白色,有点像骨头的颜色。你也可以清楚地看到,他们使用高温窑炉,这通常会使圈足变成褐色,并且底座在特定光线下会略微呈波浪形。底座上的成化款代表天。成化时期是斗彩工艺的巅峰,而这罐也证实了这一点,这罐天罐独树一帜。这罐明代成化三友天罐尺寸约为。5 1 /8" 高。
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Joseph.Sharon@chinesemasterpieces.com
This is a extremely fine Chinese antique doucai Early Chenghua Phoenix Bottle. Doucai means contrasting colors, they used underglaze blue outlines filled in with colored enamels that are well balanced and artistically pleasing using a whimsical Style. This bottle was done in the early part of the Chenghua Period. The Chenghua artisans experimented with colors and techniques. The clay they used in the early part of Chenghua was more white and the glaze has a more bluish ting, the bottle was thinly potted. You can clearly see the underglaze blue used was the imported cobalt called Samali blue and this was mixed with the local cobalt pitang and this gave the Chenghua period the most beautiful refined Cobalt blue in Chinese history and very easy to distinguish from other cobalts that China has used. They haven't imported the samali blue for over 500 years and today they're not sure where in Persia it even came from. You can see they used high firing kilns that often would turn the foot ring brownish and the base would be slightly wavy in certain light. The Bottle has the six character mark on the base. The Chenghua period was the pinnacle of the Doucai technique. This Ming Dynasty Chenghua Period Phoenix bottle measures approximately 6 1/2" tall. ppjrs
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Joseph.Sharon@chinesemasterpieces.com
这是一件非常精美的中国古董斗彩三龙梅瓶。斗彩意味着他们使用的对比色,釉下蓝色线条用彩色珐琅填充,这些线条平衡良好,艺术感十足,风格奇特。这款花瓶之所以如此重要,是因为它尺寸大,艺术家巧妙地运用色彩,几乎完美地平衡了色彩对比。花瓶上有几条凤凰、龙和飞马的图案。您可以清楚地看到,釉下蓝是进口的钴蓝,称为萨马利蓝并将其与当地的钴皮唐混合,使成化时期的钴蓝成为中国历史上最美丽的精制钴蓝,并且与中国使用的其他钴蓝非常容易区分。他们已经 500 多年没有进口过萨马利蓝了,今天他们甚至不确定它来自波斯的哪个地方。成化官窑最上乘的斗彩瓷器所用的粘土颜色略显白色,有点像骨头的颜色。你也可以清楚地看到这一点,他们使用高温窑炉,经常会使足和环变成褐色。瓶肩部有成化六字款。成化时期是斗彩工艺的巅峰,而这瓶证实了这一点,这瓶独树一帜。有些人认为,没有大型斗彩器是成化时期的产物。明成化年间制作的梅瓶并非如此。而这件梅瓶则证明这不是真的。这件明代成化时期的龙纹梅瓶高约 19 英寸。
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约瑟夫.Sharon@chinesemasterpieces.com
这是一件精美绝伦的明代成化御制青花大花瓶。这件花瓶装饰着几条纹饰,主纹饰是水草间游动的鱼。这件不同寻常的花瓶在成化瓷器中非常大,但成化瓷器制作大型花瓶的情况非常罕见。成化时期为 1465 年至 1487 年。第二条纹饰有六个字“成化”印记。查阅拍卖目录、书籍,并查看博物馆,在网上,您不会在任何地方找到更大的成化花瓶。这件花瓶造型优美,色彩鲜艳,画法非常随意,是成化瓷器最精美的特色。这些青花瓷器是中国有史以来最受追捧的青花瓷器。这一时期使用的漂亮钴使它们很容易与其他时期的中国青花瓷器区分开来。它们与当时使用的进口钴具有明显的黑色色调。成化瓷器对钴的精炼非常精湛,没有堆积破坏釉面的现象。进口的钴被称为索马里蓝,他们认为它来自波斯,但不知道波斯的哪个地方。他们已经 500 多年没有进口过这种钴了。成化年间,他们还使用了一种当地的钴,叫做 Pitang。进口的钴会流动,他们会将两者混合在一起使其稳定。根据混合物的不同,颜色会非常精致。在成化瓷器中,他们画出精细的轮廓,然后用宽刷子以松散的自由笔触填充。他们对粘土的精炼程度比以往任何时期都要好,而且由于他们的窑炉烧制温度很高,这常常导致花瓶底部看起来烧焦或斑驳。这种釉很容易辨别,非常细腻,有微小均匀的气泡,用圈可以看到。没有比真正的皇家青花成化瓷更好的了。
高约 26 英寸
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Joseph.Sharon@chinesemasterpieces.com
This is a wonderful very large blue and white Ming Dynasty Chenghua Imperial mark and period Figure Jar. This Jar is decorated with several bands and the main band is Figure story. This unusual Jar is very large for Chenghua wares it's very rare and can't be denied by those so called experts. The Chenghua period was from 1465 - 1487. It has the six Character Chenghua mark written in the second band. Check your auction catalogs,books, and look in museums, online you won't find a Larger Chenghua Jar published anywhere. The Jar has wonderful form, great color and is painted with loose freestyle strokes that finest Chenghua wares are known for. These blue and white wares are the most sought after blue and white wares that China ever produced. The beautiful cobalt used during this period makes them very easy to distinguish from other periods of Chinese blue and white wares. They have a distinct blackish tone from the imported cobalt that they used during that period. Chenghua wares refined the cobalt so well they don't have heaping and piling that break the glaze, this imported cobalt called Samali blue, they believe came from Persia and they don't know where in Persia. They have not imported this cobalt for over 500 years. During the Chenghua period they also used a local cobalt called Pitang. The imported cobalt was known to run and they would stabilize it by mixing them together. Depending on the mix it would give very refined colors. In Chenghua wares they painted fine outlines and filled them in with a broad brush using loose free style strokes. They refined the clay better than any previous period and with their high firing kilns this often caused them to look burnt or mottled as on the bottom of this vase This glaze is easy to distinguish it is very fine, and has tiny even bubbles this can be seen using a loupe. It doesn't get better than true Imperial blue and white Chenghua wares. approx. 26 " tall
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Joseph.Sharon@chinesemasterpieces.com
这是一件非常精美的黑白明成化时期御用笔洗。这款笔洗上绘有波浪图案,一些波浪拍打岩石,水面上刻有精美的神话动物。笔洗尺寸约为 5 9/16英寸高。成化时期为 1465 - 1487 年。这些青花瓷是中国有史以来最受追捧的青花瓷。这一时期使用的精美钴使它们很容易与其他时期区分开来。它们具有独特的当时他们使用的进口索马里蓝钴具有黑色调。他们还混入当地的钴(称为皮坦)来稳定进口钴,因为众所周知,进口钴会流淌。成化瓷器对钴的精炼非常精湛,因此不会出现堆积和堆积的情况。打破釉料,进口的钴来自波斯,只有知道波斯哪里有。自成化末期以来,中国已 500 多年没有进口过这种钴。成化瓷器采用细腻的轮廓线绘制,并用宽笔填充,采用自由的笔法。他们对粘土的精炼程度比以往任何时期都要高,并且使用高温窑炉,经常导致未上釉的底部看起来烧焦或斑驳,而上釉的底部则呈波浪形。釉面上有微小的均匀气泡,可以用放大镜看到。没有比这更好的了
成化青花瓷。
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Joseph.Sharon@chinesemasterpieces.com
青花十五世纪明宣德款飞禽神兽高足杯。此高足杯画工精美,水面之上有四只爪神兽,飞翔在云朵中,杯内有宣德款他们使用了进口的萨马利蓝钴,这种钴具有黑色色调,当堆积和堆积效果打破釉面时,它会显示出黑点或银色反射,而不是棕色,那将是中国本地钴,这证实了年代因为这种钴已经 500 年没有使用了。这款高脚杯尺寸
直径约 7 英寸 高 4 1/2 英寸
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Joseph.Sharon@chinesemasterpieces.com
青花 15 世纪明宣德款双龙凤耳瓶。此瓶采用元代龙纹,宣德初期经常使用。他们使用进口的萨马利蓝钴,这种钴有一种黑色的色调,当堆积效果突破釉面时,它会显示出黑色斑点或银色的反射,而不是棕色,那将是中国当地的钴,这证实了它的年代,因为这种钴已经有 500 年没有使用了。这款双龙花瓶高约 19 英寸
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Joseph.Sharon@chinesemasterpieces.com
青花十五世纪明宣德款蛋壳薄碗,绘有水果和树叶。这件杰作经过修饰,并饰有镀金饰边。他们使用了进口的萨马利蓝钴,这种钴呈黑色,当堆积效果破坏了釉面,呈现出黑点或银色反光,而不是棕色,那应该是中国当地的钴,这证实了其年代,因为这种钴已经有 500 多年没有使用了。
碗的尺寸约为 11 3/4" 直径。ppjrs
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Joseph.Sharon@chinesemasterpieces.com
青花十五世纪明宣德款蛋壳薄碗,绘有花朵、藤蔓和树叶。这件杰作经过修饰,并饰有镀金饰边。他们使用了进口的萨马利蓝钴,这种钴呈黑色,当堆积效果突破釉面时,它会显示出黑点或银色反射,而不是棕色,那将是中国当地的钴,这证实了其年代,因为这种钴已经有 500 多年没有使用了。
碗的尺寸约为 11 3/4" 直径。ppjrs
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Joseph.Sharon@chinesemasterpieces.com
青花 15 世纪明宣德款 绘鸟花叶盘。这件杰作经过修饰,并饰有镀金边。他们使用了进口的萨马利蓝钴,这种钴呈黑色,当堆积和堆积效果打破了釉面,呈现出黑色斑点或银色反射,而不是棕色,那应该是中国当地的钴,这证实了年代,因为这种钴已经有 500 多年没有使用了。盘子
尺寸约为 14 1/8" 直径。ppjrs
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Joseph.Sharon@chinesemasterpieces.com
Blue & White 15th C. Ming Dynasty Xuande Mark & Period Painted with Phoenix, Flowers, leaves and fruit Dish. This masterpiece has been embellished and enhanced with gilt trim. They used the imported samali blue cobalt and this cobalt has a blackish tone, and when the heaping and piling effect breaks the surface of the glaze it shows black spots or a silvery reflection not brown that would be local Chinese cobalt, this confirms the age because this cobalt has not been available for over 500 years.
The Dish measures approx. 14 1/8" Dia. ppjrs
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They're part of the hoard of 300+ unique pieces from the Collection of
Emperor Huizong of N.Song Dynasty. There is nothing in the world that can compare to the importance of this collection, many of these forms have never been seen before, the condition of this collection is exquisite. It's 100% authentic and easy to prove because of the cuprite and malachite corrosion that took about 900 years to develop on the fire gilded copper bands and everyone can see this easily with your own eyes, also the crushed agate in the glaze that can be seen with a 20x loupe. Ru ware is all over the internet and the auction houses are still telling people that they're all fakes, this is just more lies. Only Commissioned Official Royal Imperial Ru wares are Rare and they're not all over the internet and no Royal Imperial Ru wares have ever been sold at any auctions. If anyone has any doubt it would be totally impossible for any Kiln in China today to produce over 300+ wares such as these masterpieces! There's only one Kiln in the history of China that could achieve this, that was Royal Ru Kiln of the Northern Song Dynasty and Emperor Huizong. These 2nd commissioned wares the foot rings are unglazed and they were fired flat in the kiln, and this Cong Vase shown below has fire gilded over copper bands that are corroded with cuprite and malachite. It's 100% authentic and easy to prove because of the cuprite and malachite corrosion that took about 900 years to develop on the fire gilded copper bands and everyone can see this easily with your own eyes also the crushed agate in the glaze can be seen with a 20x loupe! You don't have to be an expert to understand this. All 2nd commissioned wares are not marked. The 2nd commissioned wares have an off white biscuit that turns brownish after firing, the wares have a very rich beautiful smooth glaze without any crackle, extremely rare wares have fire gilded over copper bands, This Cong Vase is the finest Vase from the hoard of Chinese Emperor Huizong Of The Northern Song Dynasty 1082 to 1135 Collection.
Below is a row of closeups photos to show you the Cuprite and Malachite corrosion on the RU WARE Copper Fire gilded Bands. (Fire gilding with gold and mercury, the mercury metal being driven off afterward by fire. This type of gilding hasn't been used since the mid 1800 because it is very dangerous)This patina took about 900 years to develop on these bands and this can't be faked. (From the book Copper and bronze in art by David Scott) (chapter 3 page 106 Malachite in bronze patinas) (The natural transition of metal to cuprite to malachite is very difficult to replicate in the laboratory. In fact, most of the recipes for producing artificial green patinas on copper alloys, such as those compiled by Hughes and Rowe (1982), do not result in malachite formation over a cuprite layer. Consequently, the existence of this type of corrosion, supported by analytical and metallographic studies, is a good indication of the authenticity of an artifact.) Also microscopic photos of the RU WARE glaze which you can see the tiny reflective specs of crushed agate that was used in the glaze. The reflective agate specs can also be seen when using a 20x loupe, only Commissioned Imperial Ru Wares have crushed agate in the glaze. The pieces that have been sold by the corrupt Auction companies will not show crush agate in there glaze because they never used agate in Merchant wares. Only Official Commissioned Royal Imperial Ru wares used Rare Blue Crushed Agate in the glaze. The finest Merchant wares have fire gilded copper bands these were given as tribute to the Emperor. Most Merchant wares were sold to the wealthy merchants. The Merchant pieces that were flawed were sold very cheap to the population and Merchant wares that were extremely flawed were destroyed. When Emperor Huizong commissioned the Ru Kiln, he worked with the Ru kiln to setup the site and designed wares for himself and his court and made them his official Royal Kiln. He wanted them to use Rare Blue Agate in the glaze in all his Commissioned wares. The Commissioned wares are generally larger then what the Ru Kiln had been producing, also they have there own distinct styles, forms, and glazes that many have not been seen even until today. They have found the Ru kiln site where they made the Merchant wares before Emperor Huizong commissioned them.
They haven't found Emperor Huizong's Official Royal Ru kiln site yet.
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扇形晶针的形成
大多数晶体只是利用可用的分子开始生长。这会产生离散晶体,其大小取决于可用的材料。但孔雀石不同。它很少形成大小合适的离散晶体。相反,科学家说,正在形成的孔雀石晶体会“分裂”,分叉成细小的针状物,并聚集成扇形。
扇形孔雀石针状物会长成紧密结合的小球,这些小球会聚集在一起并结合在一起,形成一个固体块。当小球停止生长并终止时,顶面会变圆到一定程度。术语“葡萄状”(类似于一串葡萄)和“肾形”(肾形)用于描述大到小的起伏小球块。
作者鲍勃·琼斯 (Bob Jones) 曾获得卡内基矿物学奖,是 Rockhound 名人堂成员,自 Rock & Gem 创刊以来一直为其撰稿。他讲授矿物相关课程,并撰写过多本书籍和视频脚本。
This is a Microscopic photo of one of the Ru Ware Fire Gilded Copper Bands, shows the "Botryoidal Malachite Patina over the reddish Cuprite."This can not be Faked. (From the book Copper and bronze in art by David Scott) (chapter 3 page 106 Malachite in bronze patinas) (The natural transition of metal to cuprite to malachite is very difficult to replicate in the laboratory. In fact, most of the recipes for producing artificial green patinas on copper alloys, such as those compiled by Hughes and Rowe (1982), do not result in malachite formation over a cuprite layer. Consequently, the existence of this type of corrosion, supported by analytical and metallographic studies, is a good indication of the authenticity of an artifact.)
宋徽宗在位时间是 1100 年至 1126 年。宋徽宗将皇位传给了他的儿子。他以推广道教和诗歌、绘画、书法和音乐方面的才华而闻名。金军步步紧逼,最终占领了他的宋帝国,宋徽宗于 1127 年被俘,1135 年在囚禁中去世,从世界上最富有的人变成了一个穷困潦倒的人。他的大量藏品被收集起来,存放在大木箱中,流传了几个世纪。自 90 年代中国开放以来,许多旧藏品进入了市场。我的皇家汝瓷收藏来自宋徽宗的收藏。
徽宗统治期间,他决定委托汝窑为自己和朝廷烧制瓷器,因为汝窑给他的朝廷贡品是所有窑口中最精致的。进献给徽宗的汝窑朝廷贡品是当时汝窑制作的最好的瓷器,它们没有瑕疵,而且为了使它们显得特别,他们使用了几种颜色,并在口沿、有时也在底部添加了火镀金带。(火镀金是用金和水银进行的,随后用火将水银金属除去。自 19 世纪中期以来,这种镀金方式就不再使用,因为它非常危险)在口沿,有时也在底部。所有朝贡器的口沿和底部都有火镀金带,有时只在口沿有。这些带上有大面积的层状赤铜矿和孔雀石腐蚀,这种腐蚀只存在于自然界中,无法伪造。 (摘自 David Scott 所著《艺术中的铜和青铜》一书) (第 3 章第 106 页 青铜器上的孔雀石) 金属到赤铜矿到孔雀石的自然转变很难在 实验室。事实上,大多数在铜合金上产生人造绿色铜锈的配方,例如 Hughes 和 Rowe (1982) 编写的配方,都不会导致在赤铜矿层上形成孔雀石。因此,这种腐蚀的存在,得到了分析和金相研究的支持,是文物真实性的一个很好的迹象。 这也引发了其他一些窑厂在其皇家进贡器物上添加火镀金带的现象。
在汝窑成为真正的皇帝御用官窑之前,他们生产的器物非常小,带有零星的裂纹,在高脚架上烧制,底部留下了马刺痕迹。这些器物的釉料中都没有碎玛瑙,而且这些器物往往有瑕疵。有严重瑕疵的器物被销毁,有严重烧制瑕疵的器物以非常便宜的价格卖给了民众,这些器物就是苏富比和佳士得拍卖的器物,经常在收藏有汝窑器的博物馆里找到。更好的器物卖给了富商,价格相当昂贵。最好的器物被作为贡品献给了徽宗皇帝,他一直从所有窑口收到这些华丽的器物。徽宗皇帝决定委托汝窑,使其成为中国第一个官窑,制作的瓷器将成为中国历史上第一批专供他自己和宫廷使用的官窑瓷器。他希望这些瓷器看起来与历史上的瓷器相似,必须是青瓷色,看起来像是用玉石雕刻而成,颜色与朝鲜的高丽瓷器相似。看到原型后,他不希望瓷器有马刺痕迹,他们开始在窑中平放烧制瓷器,并配以无釉的圈足。徽宗皇帝希望他们在釉料中使用罕见的蓝色碎玛瑙,碎玛瑙只用于徽宗皇帝开发的官窑汝瓷。第一批委托烧制的瓷器呈灰色,烧成后变成棕色,一些瓷器的底部有划痕,其中大多数是风华等痕迹,它们都有裂纹冰裂纹。罕见的蓝色碎玛瑙仅用于徽宗皇帝开发的官方汝窑瓷器。他希望这些瓷器比汝窑贡品更大,非常朴素,造型简单精致,通常使用喇叭形口,所有这些皇家御用瓷器仅供皇帝及其宫廷使用,无论烧制过程中是否出现任何瑕疵。
汝窑现已成为官方御窑,专门为皇帝和宫廷制作御用瓷器。尽管这些瓷器往往有瑕疵且过于简单,但徽宗皇帝却看到了真正的美,因为每件瓷器都有自己的特点,就像他看到的美一样。最终,他的一些御用顾问想要更精美的瓷器,于是徽宗皇帝决定让汝窑为自己和宫廷制作中国有史以来最精美的青瓷。徽宗委托制作的第二批官窑瓷器并不朴素,它们非常优雅、奢华、美丽,釉色非常丰富,是中国有史以来制作的最精美的青瓷。这些瓷器全都是青瓷色,色调各异,还在所有瓷器的釉料中加入了罕见的蓝色碎玛瑙。它们的青瓷釉质非常丰富,并含有罕见的蓝色碎玛瑙,釉面没有裂纹,但银带器皿有几条纹路,造型非常精美,圈足无釉,在窑中平烧,素坯呈灰白色,烧成后变为褐色,他们有时在一些特殊的器皿上在边缘和底部使用火镀金铜带,他们也只在使用最暗的青瓷釉的特殊器皿上在边缘使用银带,这些器皿有几条裂纹。所有第二次委托的官方皇家器皿都没有标记。
在成为官方皇家御窑之前生产的所有汝窑瓷器釉料中都没有玛瑙。所有拍卖行和博物馆都声称,他们记录的所有汝窑瓷器釉料中都使用了碎玛瑙,并说看不到玛瑙是因为它在烧制过程中融化了,这完全是错误的说法。他们记录的所有汝窑瓷器都不是徽宗皇帝委托汝窑为他和他的宫廷生产的官方御窑瓷器,都是有瑕疵的商窑瓷器。玛瑙的熔点为1600C至2600C度,而宋代窑炉温度最多只能达到1250C度,因此,认为粉碎的玛瑙会熔入釉中是谬论。商人从来不会在任何器皿中使用玛瑙,而且将玛瑙粉碎成完整的粉末也非常困难,这就是为什么在所有皇家御制的汝窑中,使用20倍或更高的放大镜都可以清楚地看到釉中的玛瑙痕迹。
我收藏了一批汝窑瓷器,这些瓷器自北宋灭亡后就被藏匿起来,乾隆皇帝没有能力收藏这些瓷器,他收藏的都是一些瑕疵品,这些瑕疵品被卖给了百姓,而汝窑在成为官窑之前是为富商阶层所烧制的。清朝乾隆皇帝收藏的商窑瓷器是当时已知存在的全部。直到 20 世纪的收藏家开始收藏大多有瑕疵的汝窑瓷器。自 20 世纪 90 年代以来,中国向世界开放,许多隐藏的精美瓷器和藏品纷纷涌入市场。我意识到这将澄清一些关于汝窑瓷器和徽宗皇帝统治时期的问题。多年来,大家都不得不依赖乾隆皇帝的收藏品,这些藏品虽然非常精美,但它们并不是徽宗皇帝委托汝窑为自己和朝廷制作的真正的皇家御用汝窑器皿。
古文献对首件御用汝窑瓷器有详尽的解释和记载,称宋徽宗命窑/汝窑烧造的青瓷器质朴、低调、简约,看起来像是来自过去的历史。文献还解释说,首件御用汝窑瓷器在釉料中使用了罕见的蓝色碎玛瑙(用 20 倍放大镜可以看到),碎玛瑙只用于宋徽宗开发的官窑汝窑瓷器。首件御用汝窑瓷器有许多前所未见的独特造型,这一切都展现了汝窑工匠的真正天才。所有首件官窑汝窑瓷器的圈足均无釉。所有首件官窑汝窑瓷器的釉面都有精细的冰裂纹,而且这些器皿内部也施釉。一品御制汝窑瓷器底部常有划痕,且多有风华,花瓶口常为喇叭形,且比商窑和贡品更大。一品御制汝窑瓷器胎体呈灰色,烧成后呈褐色。所有一品御制汝窑瓷器釉面均有细密的冰裂纹,器内也施釉。一品御制汝窑瓷器专为皇帝及其宫廷制作。徽宗皇帝在朴素中看到美,他将这些瓷器视为艺术品,无论它们是否有瑕疵,都留在宫廷中,这些瓷器显然满足了他的愿望。第一个官制的御用汝窑花瓶的特写照片显示,一滴釉汁附着在圈足上,釉中清晰可见稀有的蓝玛瑙碎片,而解释汝窑的古代文字证明,这些是宋徽宗皇帝传奇的御用官窑器物
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The tribute wares are generally small with fire gilded over copper bands, these bands have cuprite and malachite corrosion and this guarantees its great age and is more reliable than a TL test and used by all experts to determine authenticity of an artifact and can't be faked! Tribute wares are glazed all over and they're fired on setters with prongs that hold the piece off the kiln floor. The prongs leave spur marks on the base and these marks are sesame seed size and shape. Tribute wares have a beautiful smooth glaze and they don't have any crushed agate stone in the glaze. Only Official Imperial wares have crushed Blue Agate in the glaze. The Tribute Wares either have an off white or ash colored biscuit and they are finest done merchant wares, and were given fire gilded copper bands and presented to Emperor Huizong as Tribute
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宫廷中的御用顾问要求更精美的器皿,因此徽宗皇帝委托汝窑为他和宫廷烧制精美的二品御用青瓷器,这在古文献中也有所记载,二品御用瓷器非常典雅、奢华、美丽,比商人的瓷器和贡品都要大,而且全部是青瓷色。所有二品御用瓷器的釉料中都有罕见的碎蓝玛瑙。(用 20 倍放大镜可以看到)。碎蓝玛瑙只用于徽宗皇帝开发的官窑汝瓷器。二品御用瓷器有许多前所未见的独特形式,展现了汝窑的真正天才。第二次委托的皇家器皿的圈足未上釉,在窑中平烧,图示花瓶的铜带上镀金,铜带被杯状礼仪和孔雀石腐蚀,这保证了它经久不衰,比 TL 测试更可靠,所有专家都用它来判断文物的真实性,无法伪造!所有第二次委托的皇家御用器皿均未标记。第二次委托的皇家御用器皿有乳白色的饼干,烧成后变成褐色,器皿的釉面非常丰富美丽光滑,没有任何裂纹,一些器的铜带上镀金,没有带的花瓶的釉面也没有裂纹。下图中的所有第二次委托的皇家花瓶都有镀金的银带,釉面上有轻微的裂纹和几条线条,所有这些花瓶仅在边缘周围有镀金的银带,而且它们都有深色的青瓷釉,上面有罕见的蓝色碎玛瑙,可以用20倍放大镜看清。镀金磨损的地方有厚厚的黑色腐蚀。
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下面展示的三件汝窑器物是商窑器物。商窑器物是清朝乾隆皇帝收藏的器物,是中国开放世界之前已知的所有器物,许多隐藏的精美器物和藏品都流入了市场。商窑器物比皇家御窑器物小,通体上釉,包括圈足。烧制时使用带有叉子的镶嵌器将器物抬离窑底。因此,它们有芝麻大小和形状的马刺痕,这些马刺痕只能在商窑器物和进贡器物上看到。商窑器物做工不如进贡器物精细,因为最好的器物被赋予了火烧鎏金铜带,并作为贡品进献给徽宗皇帝。
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