Chapter 507 Underglaze Red

The nearly half-meter-high Yuan blue and white octagonal plum vase with seawater and white dragon patterns made Lu Fei's mouth water when he looked at it.

So beautiful, so awesome.

Since my debut, I have only pieced together a Yuan blue and white platter when I met Kong Fanlong for the first time. I have never encountered a real Yuan blue and white vase.

This exquisite Yuan blue and white octagonal plum vase also fills a gap in Lu Fei's Yuan blue and white collection.

However, this is just the beginning of the surprises.

Taking out all the high-density sponges in the bag and wrapping this treasure, Lu Fei took out the second piece of Yuan Qinghua.

It's also a big guy. A complete jar with animal ear covers was unearthed from the Yuan Qinghua Cellar!

hey-hey!

There's even a lid.

This animal-ear jar is forty-six centimeters in height, nearly forty centimeters in height, just over thirty centimeters in belly diameter, fifteen centimeters in diameter, and about twenty centimeters in base diameter.

The process of this lidded jar is somewhat special, using five-stage shaking joints.

The cover is in the shape of a helmet, with straight walls, lotus bud buttons, and a belt mouth inside. The mouth of the jar is washed, the neck is tied, and the shoulders are slipped. There is a molded pavement on each side of the shoulder.

There is a copper ring in the mouth of the shop head, the belly is bulging, and the lower part of the belly gradually shrinks, the bottom is wide and the feet are shallow, and the astringent belly shows swirling patterns and accumulated glaze spots.

The inner wall is glazed with the glaze method, and the traces of glazing are clearly visible on the inner bottom.

This jar is painted with centripetal arcs in blue and white with the tip of the button as the center. The cover is decorated with a modified lotus pattern. The inside of the petals is painted with miscellaneous treasure patterns. The edge of the cover is painted with a curly grass pattern, and the outer wall is decorated with a back pattern.

The mouth is painted with a back pattern for a week, and the neck is painted with a chrysanthemum pattern for a week. The decoration on the jar body is divided into four sections. The middle two sections are the main decorations, followed by a cloud dragon pattern and a peony pattern for a week.

The first and last sections are auxiliary decorations. The first section of the jar is painted with a modified covering lotus pattern for a week, and the petals are filled with miscellaneous treasure patterns. The last section is painted with a modified upturned lotus pattern for a week, and the petals are painted with deformed flower heads and hanging beads.

This covered jar has a novel and simple shape, tall and majestic, and is modeled after animal heads sculpted onto the jar body.

The glaze color is white with green flashes, the glaze is shiny and moist, accompanied by orange peel lines. The decorations are densely decorated with up to twelve layers, intricate and orderly. The blue and white colors are green and rich, and there are knots at the accumulated material.

The crystal spots and the decorative strokes are smooth and powerful. It is the best among the Yuan blue and white flowers at home and abroad.

It is worth mentioning that the blue and white veins of the lotus buttons on this vessel were oxidized at high temperatures, and the blue and white of the one-stroke painting showed two colors: green and green.

This situation is actually a kind of kiln change, which is really rare.

After admiring it for a while, Lu Fei was dumbfounded when he was about to pack it up.

This time we harvested too much, and all the high-density foam we brought was used up. What should we do?

Lu Fei thought for a while, his eyes lit up, and he took off the sportswear he was wearing.

The metal zipper was torn off, all the hard parts were torn off, and the jacket and T-shirt were finally wrapped around the animal ear jar.

Two large porcelain statues were placed in a box. In order to prevent secondary damage caused by collision during transportation, Lu Fei took off his pants and stuffed them between the two porcelain statues as a buffer.

After looking over and over to make sure everything was in order, I closed the box with satisfaction.

At this point, apart from his sneakers, Lu Fei only wore a pair of shorts.

Gao Yuan frowned as he looked at it.

"Brother, you can't do this. You can catch a cold easily."

Lu Fei waved his hand and said.

"Brother Gao, don't worry, my physical condition is fine."

"I have ginseng tablets here. Take two of them at once. You won't catch a cold."

Gao Yuan's persuasion was fruitless, so he had no choice but to shake his head.

At this time, Lu Fei had already opened the second box.

What surprised Lu Fei was that the inside was also made of Yuan blue and white, and one of them was an extremely rare underglaze red.

Underglaze red porcelain was developed on the basis of the variable glaze of the Jun kiln in the Song Dynasty. It refers to the color material prepared with copper oxide (copper flower) as the colorant.

First

Patterns are drawn on the body, then covered with a layer of blue and white glaze, then placed in a kiln and fired at high temperatures to make it appear a delicate and calm red color.

The firing of underglaze red began in the Yuan Dynasty, flourished in the early Ming Dynasty, matured in Yongxuan, and became refined in the early Qing Dynasty.

This kind of colored glaze with copper as colorant is very difficult to fire. Most of the early glazes could not meet the ideal requirements. As a result, the best ones in the world are rare. Therefore, underglaze red has become the aristocrat of porcelain.

The porcelain that Lu Fei invited was so awesome.

Not only was it red underglaze, it was also blue and white with red underglaze, and even more awesome was the carved embryo. In that era, it was simply a miracle that such a craft could exist.

This is a Yuan blue and white underglaze red engraved lid jar, with a height of 40 centimeters, a diameter of 16 centimeters, and a full diameter of nearly 20 centimeters.

The jar has a straight mouth, short neck, smooth shoulders, bulging belly, ring feet, and a sand bottom without glaze.

The carcass is thin at the top and thick at the bottom, with delicate texture, rich blue and white colors, and slightly darker red underglaze.

The top of the jar lid is made of sculptured lion buttons, and the whole body is decorated with blue and white underglaze red patterns.

The lid of the jar is painted with blue and white lotus petal patterns, curly grass patterns, and back patterns for one week each.

The body of the jar is painted with a blue and white intertwining branch pattern and a curly grass pattern for one week each near the mouth edge.

The shoulders are painted with drooping Ruyi cloud patterns, blue and white water ripples are painted inside the cloud patterns to support white lotus, and a peony pattern with broken branches is painted between the cloud patterns.

Double rhombus-shaped beads are piled up on all sides of the abdomen to consecrate it. Inside the consecration are mountain rocks, peonies, chrysanthemums and other seasonal garden scenes. Mountain rocks and flowers are painted in underglaze red, and flowers and leaves are painted in blue and white. The decoration has a relief effect.

The lower part of the abdomen is decorated with blue and white lotus branches, which correspond to the cloud pattern on the shoulders.

Near the bottom are painted curly grass patterns and deformed lotus petal patterns, and inside the lotus petal pattern are painted inverted treasure patterns.

The shape of the jar is plump and thick, with distinct layers of decoration, using a variety of techniques including painting, engraving, molding, and pasting.

Blue and white and underglaze red complement each other, and red and blue complement each other.

The shape is plump and thick, with distinct layers of decoration. It combines various techniques such as painting, engraving, molding, stamping, and pasting to form a graceful and graceful style as a whole.

The artistic effect of flowers and flowers.

The Yuan blue and white underglaze red engraved lid jar adopts the complex craftsmanship of molded appliqués, and its shape is thick, elegant and majestic.

The decoration techniques are diverse, the patterns are complex and exquisite, the blue color is bright and subtle, the color decoration and tire decoration techniques are perfectly combined, blue and white flowers and underglaze red are integrated into one vessel, and the blue flowers on the white ground and the white flowers on the blue ground complement each other.

The appliqué technique is used to decorate the belly of the jar, which adds a three-dimensional effect of openwork art to the flat decoration of the vessel. This kind of craft feature that combines multiple decorative techniques into one vessel is extremely rare among the precious blue and white porcelain of the Yuan Dynasty.

The value of this blue and white underglaze and red engraved lid jar is much more than the two previous Yuan blue and white jars.

Once Lu Fei got started, he couldn't bear to let go.

"Lu Fei, why are you lingering? Can't you watch it again when you go home?"

"If we keep dawdling like this, it will be dawn." Gao Yuan roared in a low voice.

Lu Fei nodded obediently and reluctantly prepared to pack. Now he was dumbfounded.

Not only are the sponges gone, but the clothes are also gone.

There is only one piece of underwear left on the whole body, so it is useless to contribute!

Lu Fei thought for a while and looked at Gao Yuan pitifully.

This sight gave Gao Yuan goosebumps all over his body.

"I'll wipe it, you, what do you want to do?"

"Brother Gao"

"Don't fucking come here, I can't give you my clothes."