After the two things were placed on the long table, Yu Yao's eyes were first attracted by a pen holder.

This cylinder is more than twenty centimeters high and more than ten centimeters in diameter.

Girdle with beautiful lines.

Blue and white, the picture is a withered branch of flowers and birds. The blue and white hair color is a little light, like the effect of a mixture of Zhejiang material and Jiangxi soil and blue, but combined with exquisite painting, it gives people a clear and comfortable feeling.

This blue and white waist pen holder has also attracted the attention of many people.

I don't know if it was intentional or random, this tube was not upright when it was picked up, but put down.

You can see the bottom of the fetus, and there is no money.

Perhaps because of the last round, some people are talking a little louder.

The words "transitional period" and "early Kangxi" pop up from time to time.

If you don't get started, after a few glances, you can roughly set the year in the transition period to the early Kangxi period, which can be regarded as a bit of eyesight.

The so-called transition period, like the blank period, is a technical term in the history of ceramics.

The Apocalypse and Chongzhen at the end of the Ming Dynasty and the Shunzhi at the beginning of the Qing Dynasty, these three dynasties add up to only a few decades and are called the transition period. Some foreign researchers also refer to this period as the transition period.

During this period, the mainstream porcelain, which accounted for a large proportion, was still blue and white, and no matter the transition or transformation, it was basically reflected in the blue and white porcelain.

Observing the blue and white porcelain in the transitional period, there will be a very interesting phenomenon, the blue and white porcelain of this period has changed the complicated and dense style from the previous Jiajing to the Wanli period, and has moved towards the path of "small freshness".

Kangxi's early blue and white flowers were also influenced by this, and the style was inherited.

It is difficult to understand at first glance, because whether it is the transition period or the early Kangxi period, Huaxia is a chaotic situation. For example, in the famous year of 1644, in one year, there were three emperors alone: Chongzhen, Li Zicheng, and Shunzhi.

But if you think about it carefully, the political chaos has also left the high-level rulers with no time to take care of too many economic links, such as the kiln production in the porcelain capital. The porcelain of this period, to a certain extent, got rid of political control, and was a bit laissez-faire, and the so-called "small freshness" was actually a free and vivid expression.

Yang Rui was also very interested in this blue and white waist pen holder, and he took a closer look at it himself. In addition to determining the period, another key is to determine whether it is an official kiln.

Because of the transition period to the early Kangxi official kiln, a considerable part of them were not settled.

At the same time, the folk kilns in this period, because of the vigorous development, there were a number of high-level products, which were comparable to the official kilns at that time.

From the transition period to the early Kangxi period, it is also a period of the emergence and initial development of porcelain pen holders, and the shapes are diverse, and they cannot be finely distinguished from this aspect.

The pen holder, a stationery utensil, is the latest to appear. Needless to say, pen, ink, paper, and inkstone, even some other auxiliary study utensils, the Song Dynasty basically had them, only the pen holder, which began to appear in the late Ming Dynasty.

Because the pen holder has no specific purpose.

Isn't the pen holder for the pen?

Of course not.

The ancients used a brush, if after writing and painting and cleaning, put it upside down in the pen holder, the pen will bloom; the pen will naturally not work downward, and the pestle will also be deformed at the bottom of the pen holder.

Therefore, the brush is not placed in the pen holder, but is hung on the pen holder with the pen face down. Unused brushes can be placed in the pen holder, but unused brushes can be placed in the same box and cabinet, with or without a pen holder.

The pen holder has no specific purpose, so it appears late. But it appeared, and that is what it worked - ornamental: placed on the desk, decorated the desk, and ornamented.

From this pen holder, it can be roughly determined that it is the transition period to the early Kangxi period, and the eyesight on porcelain is already good. Because the blue and white porcelain span is very large, some old players only focus on the famous official kilns of the Ming and Qing dynasties.

There are also people who are not interested in this pen holder, thinking that this kind of sparse picture is something from the late Qing Dynasty and the Republic of China.

As for further determining which dynasty it is, whether it is an official kiln or a private kiln, it requires a higher vision.

It is not difficult for those who will be, but it will not be for those who are difficult, just one point, and Yu Yao immediately judged that this is a thing from the Shunzhi period.

This "point" is the bird.

On the porcelain, there is a silent bird song.

From the late Ming Dynasty to the early Qing Dynasty, due to the influence of the political and social environment, the birds on porcelain were in different states.

For example, in the Wanli period, which was earlier than the transition period, the birds on the porcelain were all flying with their wings on their heads, as if they were broadcasting: Daming is almost over, run!

In the period of the Apocalypse and Chongzhen, the state of the bird changed, and it felt a little dancing, as if to say: live for a day and enjoy a day, eat a severed meal, and after twenty years, the master is a good man!

During the Shunzhi period, there were changes, and the state of the bird was not exhausted, nor was it self-abandonment, but a state of adjustment, and the typical feature was that the head of the bird did not rush forward, and often made a retrospective.

In the early Kangxi period, there were fewer birds, most of them were birds squatting on the branches, and even if they were birds, their bodies were a little fat, and their stomachs were relatively round.

The birds on this blue and white waist pen holder are not far from the dead branches, but they do not fall, and they turn their heads to look back at the dead branches, as if they want to rest their feet.

Of course, it is relatively complicated to explain, Yu Yao saw that it was only a short time, and this pen holder had not been adjusted to be placed, so he determined that this was a Shunzhi official kiln!

During the Shunzhi period, it was impossible for the imperial kiln factory to fully resume production, so the Shunzhi official kiln was relatively rare. This period also continued the "official and private burning" that appeared in the late Ming Dynasty.

To put it simply, most of the official kiln porcelain is first completed in the imperial kiln factory in terms of modeling and glaze, and then fired in the private kiln. This is also an important reason for the emergence of a number of high-level private kilns comparable to official kilns in the late Ming and early Qing dynasties.

Therefore, from the tire glaze, green material, painting, these aspects, it is difficult to distinguish whether it is a Shunzhi official kiln or a private kiln, and this piece has no money. Of course, it is much easier to have a payment, and it is easy to identify the money of the official kiln of Shunzhi; many of the kilns are also paid, and most of them are dry payments, such as "Shunzhi Dinghai year".

Yu Yao is sure that it is the Shunzhi official kiln, and he has to thank the way it is placed, if it is placed vertically at the beginning, he will have to look at the bottom of the circle to finally decide.

Because the rim of this pen holder is carefully trimmed, it is a smooth "loach back", as the name suggests, that is, the curvature of the repair is like the back of a loach.

There are also high-quality folk kilns that are "repaired", but they cannot reach this level. This requires a lot of effort and takes a long time. Moreover, as far as the pen holder is concerned, the loach back made by the official kiln must be smoother than that of the private kiln, and the polishing skills and grinding materials are definitely different.

Technical analysis is easy, but it is difficult to understand it when it comes to eyesight.

People who are attracted by this pen holder seem to be unable to grasp it the longer they look at it.

At this time, Yu Yao couldn't help but glance at the price tag again and took a deep breath.

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