Hearing that Yu Lifei had a clear understanding of the glaze red in the Yongzheng period, Wu Wengu nodded with satisfaction. Kang Weihao also felt that he had gained insight today, he never expected that Yu Lifei was so young and knew so much about the red in the glaze. This completely upended his perception of security!

"Li Fei, it seems that you have a deep understanding of the glaze red, so can you tell us in detail about the glaze red in the various periods of the Qing Dynasty?" Wu Wengu moved a chair and sat down. I want to study Yu Lifei, but I also want to know how much he knows.

"Emperor Yongzheng's requirements for porcelain are very high, and Yongzheng's glaze red painting is very fine, and the main feature is: lightheartedness. The brushstrokes are very thin and do not blur at all. The glaze of the Kangxi period is red and often blackened. Because at that time, it was not good for temperature control. Once the temperature is high, the color flies. So the craftsmen, prefer a lower temperature, at least not to burn into a white bottle.

Moreover, the glaze red in the Kangxi period, even including some porcelain in the early Kangxi period, will not be written. Even if you want to write, you will generally write the paragraph of the Ming Dynasty. If a glaze with a black color is red, and there is 'Kangxi Year' on it, it will definitely not be true. But the more this happens, the more valuable it is. During the Republic of China, many collecting hobbies knew that Kangxi's glaze red was a great collection. Yu Lifei didn't hide it.

He knew that he had just read a few more books, and there was no way to compare with Wu Wengu. Even with Kangweihao, there is a certain distance. In front of them, you can play to your heart's content, and even if you say something wrong, you won't be laughed at by them. Moreover, if you understand it wrong, you can also get their correction, which is a hard-to-find learning opportunity.

"What about the glaze red in the Qianlong period?" Wu Wengu asked again, Yu Lifei still has a deep understanding of Kangxi and Yongzheng's red glaze. The entire history of glaze red, mainly the Yuan Dynasty, the early Ming Dynasty and Kangqian, as long as you grasp the characteristics of each period, you are not afraid of being deceived.

Qianlong inherited and carried forward the attitudes of Yongzheng and Kangxi. According to "Clearance? Tang Ying's 62nd Fold" records: On October 25, the fourth year of Qianlong, Tang Ying was in Beijing, and the eunuch Hu Shijie was ordered by Emperor Qianlong to hand Tang Ying a red bottle in the glaze and a painting sample. And the decree: 'Look at the glaze of the porcelain, and send a few pieces according to the paper pattern, so that the pattern is halal.' And the ancient porcelain style is good to select a few, but also fired the red color in the glaze, all write the Qianlong year, and send it to present'. Yu Lifei said. When he reads these materials, it is as if he is listening to a story, which is not only fun, but also enriches his knowledge, and naturally remembers it deeply.

There may be many people who don't know Tang Ying, but as long as they have studied the porcelain of the Qianlong period, they must know who Tang Ying is. He was appointed by Emperor Qianlong to supervise pottery, and was personally sent by the imperial court to Jingdezhen to sit in battle, specializing in managing and supervising porcelain firing. Although the rank of this overseer is not high. But the power is very great.

Tang Ying also lived up to his grace, he went to Jingdezhen from the age of forty-seven and worked for twenty-eight years, until he was seventy-five years old. I can't do it anymore. before asking for retirement. Tang Ying died only a few months after retiring. It can be seen that he is indeed dry until the oil withers and the lamp goes out.

At that time, Tang Ying could directly talk to Qianlong. It can be seen that Qianlong attaches great importance to porcelain burning. Now in many museums, there are national treasure-level porcelain with the signature "Shenyang Tang Ying". Even the porcelain fired by Tang Ying during the Jingdezhen period is called "Tang kiln" by insiders. It can be seen that Tang Ying's position in the history of porcelain.

Tang Ying looked at the bottle for a long time, carefully remembered the appearance and color in his mind, went back with the paper pattern, and personally supervised the kiln workers. Be sure to fully express the color of the red in the glaze, and the glaze water should be fertile and bright. This incident happened in the early years of Qianlong, which shows that the importance of glaze red was very high at that time, and the status of glaze red was also very high. Yu Lifei said slowly. In fact, no matter what happens, as long as the top leader attaches importance to it, the efficiency will be very fast, and the quality will be very good.

The so-called hanging bottle is a bottle that hangs on the wall. Bottles are generally round or square, so how do you hang them? In fact, it is only half a porcelain state, there is an arc in the front, and the back is flat, which can be hung on the wall for decoration. At that time, Emperor Qianlong liked to hang bottles.

Of course, in terms of value, the glaze red three-fruit pattern high-foot bowl in the Yongzheng period or the Qianlong period is still not as good as the Xuande period. Although the glaze red in the Yongzheng period is of good quality and has a high technical level. But the amount of ownership is also large, everything is like this, rare things are expensive, the rarer things, the more expensive the price. During the Yongzheng and Qianlong periods, because they had mastered comprehensive technology, no matter how much they burned, they could reach an unprecedented level.

"Well, let me ask you again, why does the red in the glaze decay?" Wu Wengu asked again, now he is not for Kang Weihao to identify this glaze red three-fruit pattern high-foot bowl, but to teach Yu Lifei.

Kang Weihao originally just wanted Wu Wengu to identify a few of his antiques, but now looking at Wu Wengu's practices, I am afraid that this afternoon, it will be impossible to complete all the appraisals. But Wu Wengu's approach, he will not object.

As a folk collector, he often invites more than three or five Tibetan friends to drink tea and exchange antiques together. Isn't that how a lot of knowledge about antiques, and some of the latest information, comes from? If a collector can't communicate with his peers regularly, he can't keep up with the times.

"Old Wu, this topic is a bit big. If what I say is wrong, you can criticize and correct it. The red glaze reached the late Qianlong period, and it did not receive the attention it deserved. Naturally, there is no breakthrough, but only a kind of stylization. With the end of the Qianlong prosperous era, the golden age of red in the glaze also ended. In the late Qing Dynasty, Xianfeng once burned some, Xianfeng's characteristic is that the painting is very weak, weak and weak, and it has never been burned again. Yu Lifei said.

After a pause, Yu Lifei said again: "There are many reasons for the decay of the glaze red. The first reason, I think, is the emergence of other varieties of colored porcelain in the Qing Dynasty. In the Qing Dynasty, a large number of porcelains were produced, especially the appearance of alum red in pastel, which had a strong impact on the red in the glaze. Red porcelain in the glaze, from the perspective of elegance, is inferior to blue and white. It is a warm tone, and blue and white is a cold tone. In terms of warmth, it is inferior to other colored porcelain. Colorful, doucai, pastel, and enamel are all warmer than it. So from both perspectives, it doesn't show any advantages. Yu Lifei said that although the red in the glaze is very precious, when there are substitutes or better products come out, they will naturally be eliminated.

For example, since the founding of the People's Republic of China, many industries in China were originally made by hand. But slowly, they are all replaced by mechanization. Because the products produced by mechanization are not only low in cost, but also good in quality, and not easy to produce defective products. Of course, there are also some industries that have lost their traditional culture because of mechanization.

"Li Fei, what you said is very much like what a collector said. Mr. Kang, do you think he's right? Wu Wengu said with a smile.

"Mr. Yu has studied Qing Dynasty porcelain very thoroughly." Kang Weihao unconsciously used the word "sir".

"Actually, I can't say it, I have a shop next door that specializes in Qing Dynasty porcelain, and when I'm fine, I like to go to his shop to steal teachers." Yu Lifei said humbly.

"Lifei, you only said the first reason just now, are there any other reasons?" Wu Wengu asked, Yu Lifei's expression surprised him. He even wondered if Yu Lifei was a different person now, where was this young man who had just arrived in Tanzhou for a few months and had never been in contact with antiques before?

"Yes. The second reason is that during the Kangxi period, there were not only glaze red, but also other varieties. For example, Langyao red, cowpea red, Yongzheng period sacrificial red, Qianlong period coral red, alum red and so on. With the emergence of various red glazes, the guide zhì gradually lost interest in the red in the glaze. Third, although the process of glaze red was relatively mature at that time, the difficulty and cost of firing were still very large, and it lacked corresponding competitiveness in the market. Yu Lifei said that he had only seen imitations of many red glazes, which made him very regretful.

"yes. In the Qing Dynasty, there was a poet named Gong Gong who liked to write ceramic poems. He wrote in "Jingdezhen Tao Song": "The glaze is red in the city, and the Tang kiln has been written for a hundred years. Darkly, simple and gentle, Mr. Du knows the ancient style. Gong mentioned the 'Tang kiln', which is the porcelain of the Tang and Ying periods. The poem said: During the Qianlong period, glaze red was still very popular on the market, and the production of glaze red in the Tang and Ying dynasties could dominate for a hundred years. But this kind of porcelain still seems relatively dull and gentle, perhaps only Mr. Tang Ying can understand this fashion in ancient times. Wu Wengu said with emotion, in fact, he also liked this kind of dark and gentle ancient fashion.

"Mr. Yu, you said so much, are you getting started?" Kang Weihao asked. This time he came to the museum, which can be said to be an eye-opener. The deputy head of the security department actually knows so much about the red in the glaze, if he goes back and tells it to Tibetan friends, no one will believe it.

"Okay." Yu Lifei gently picked up this glaze red three-fruit pattern high-foot bowl. As soon as he got his hands on it, a three-dimensional figure of this high-legged bowl immediately appeared in his mind. And the bowl loomed as if it were flesh and blood. Yu Lifei knows that the clearer the graphics, the older the age. If it was the Kangqian period, it shouldn't be so clear.

"Wu Lao, there seem to be some differences between the three-fruit pattern in the Yongzheng period and the Xuande period, right?" Yu Lifei asked.

"Yes, the three fruits of Xuande are apples, pomegranates, and peaches. The Yongzheng imitation draws the apple into the shape of two connected together, while the apple of Xuande is a whole one. Wu Wengu said. Yu Lifei can notice the subtle differences between the two, and it can be seen that the homework is still very deep. (To be continued......)