A treasure-appraisal maniac

210,000 sold.

The moment the weight fell, Fatty Zheng was relieved.

He let out a deep breath and put on his most triumphant smile.

But he didn't see that Lu Fei was smiling brighter than him at this moment.

"When Ruyi and Xiang'er go to hand over things, they must be handled with care."

"good!"

A few minutes later, Chen Xiang handed the ordinary brocade box to Lu Fei's hands.

Lu Fei was very excited when he opened the box and looked at the small bowl inside.

Wiping the sweat from his palms, he carefully took out the small enamel bowl.

I pinched the tire wall and pulled it around, and my heartbeat suddenly accelerated a few beats.

Holding the sole and looking at the ceiling light, the white glaze is crystal clear and the sidewall is as thin as paper.

A light flick on the tire wall produced a crisp and long sound.

baby!

A peerless treasure!

He didn't get the tomb of Ji Kai that was supposed to belong to him, but he didn't expect to get this unique treasure by accident.

What a blessing!

Guangxu imitates Yongzheng?

Pooh!

These three-legged cats, they can spot a hammer!

During the Guangxu period, if the manufacturing office could produce such beautiful enamel bowls, the painted enamel would not be so valuable.

Those three old guys have evil intentions and their skills are terrible.

If Fu Yuliang and Guan Haishan's gang saw this small bowl, they wouldn't be able to take it off, let alone 210,000, even 20 million.

Because this is a genuine Yongzheng painted enamel Xinglin Chunyan bowl.

The only authentic one in existence.

In the Qing Dynasty, porcelain craftsmanship reached an unprecedented peak.

The quality of various official kilns has been greatly improved.

Among them, the porcelain from the Kangxi, Yongzong and Qianlong dynasties is the most famous.

During the Kangxi period, the manufacturing office still existed

Yu's Suma Liqing's craftsmanship has also undergone all-round reforms.

At that time, the level of craftsmen had reached unprecedented heights.

There are even some kiln masters who can judge the depth and fineness of blue and white hair color based on the air humidity.

Even modern science cannot do this.

Therefore, Kangxi's blue and white paintings are the most outstanding among all dynasties.

No matter the style or quality, they are all unparalleled.

Some people would say, isn’t Yuan Qinghua the most valuable?

That's right!

But these two points should not be confused.

The value of Yuan blue and white is high because of its scarcity and the fact that the shape of the vessels is generally too large.

But in terms of production technology, it is not at the same level as Kangxi blue and white.

During the Qianlong period, pastel craftsmanship reached its peak.

As for enamel, it was the Yongzheng era that was the best.

At that time, Emperor Yongzheng paid more attention to the production of enamel porcelain and put forward quite strict requirements.

In the first year of Yongzheng's reign, with the expansion of the staff of the palace manufacturing office, and under the auspices of Prince Yi, the most trusted figure of Emperor Yongzheng, the production of enamel-colored porcelain was actively carried out in the enamel making office.

However, judging from the archives of the Qing Dynasty, the production of enamel-colored porcelain was progressing slowly six years before Yongzheng's reign, and Emperor Yongzheng was not very satisfied with this.

The reason may be that enamel color materials are imported from the West, and the quantity is limited, so they must be used with caution to avoid accidental damage.

Six years after Yongzheng, under the direct intervention of Emperor Yongzheng, with the success of the manufacturing office's self-smelting of enamel materials, and more and more court calligraphers and painters participating in the painting and writing of enamel-colored porcelain, the production of enamel-colored porcelain has achieved great success. Rapid development.

Manufacturing office since

The success of refining enamel materials not only got rid of the embarrassment that may have occurred due to reliance on imported materials in the production of enamel-colored porcelain, but the newly added color varieties also made enamel painters more comfortable in expressing objects.

This was a leap forward in enamel craftsmanship in the Qing Dynasty.

In terms of pattern decoration, Yongzheng enamel porcelain changed from the monotonous situation of Kangxi enamel porcelain that only painted flowers, with flowers and no birds. A large number of flowers and birds, flowers, bamboos, rocks, landscapes and other patterns depicting the style of academy paintings appeared.

The blank spaces on the screen are inscribed with corresponding verses with extremely refined calligraphy and elegant content.

Moreover, there is an Xian Zhang in Zhu Wen at the beginning of the poem, and there is an Xian Zhang in Zhu Wen at the end of the sentence, either in Zhu Wen on both sides, or in Bai Wen at the top and Zhu Wen at the bottom.

Yongzheng enamel porcelain has truly become an art treasure that combines porcelain making technology with poetry, calligraphy, painting and sealing.

Yongzheng enamel porcelain has always been considered the best among the secret porcelains of the Qing Dynasty. It is extremely difficult to appear in any major market.

In the spring of the seventh year of Yongzheng's reign, Emperor Yongzheng visited Changchun Garden, walked to the apricot forest, and was inspired by the theme of Spring Swallows in the Apricot Forest.

One of the folk meanings of Xinglin Chunyan is to climb high, gain wealth and good luck.

This is because in ancient times, when the emperor held a banquet to win the title of Jinshi, it was in February when the apricot blossoms were in bloom. At this time, the two swallows danced together, and the swallows also sounded like the word "banquet".

Looking at the scenery in front of him and the auspicious meaning of Xinglin Chunyan, Emperor Yongzheng immediately ordered Tang Yingdu Porcelain to make a pair of Xinglin Chunyan bowls.

Tang Ying received the order, and after four revisions, the design was finalized and handed over to Hu Dayou and Wu Shu, the great masters of porcelain, for firing in person.

These historical materials are clearly recorded in "Tao Ye Illustrations" compiled by Tang Ying.

The enamel apricot forest spring swallow bowl was successfully fired, and Emperor Yongzheng was very pleased with it and kept it in the upper study for his own enjoyment.

In the thirty-second year of Qianlong's reign, Emperor Qianlong rewarded the pair of Xinglin Chunyan bowls to the great scholar He Shen.

Later Emperor Jiaqing inspected Heshen

When I went home, I accidentally damaged one of the Xinglin Chunyan bowls.

Later, Emperor Jiaqing sent the only Xinglin Chunyan bowl to the Old Summer Palace.

After that catastrophe, the only Xinglin Chunyan Bowl disappeared.

In the late 1990s, at a spring auction at Jiadexing, a Yongzheng-painted enamel apricot forest and spring swallow bowl came to light.

At that time, it caused a huge shock in the Chinese collecting community.

When the auction started, all the four major collector families in China, including Kong Fanlong and Liu Jianhua, were present.

More than a dozen great masters personally conducted appraisals, but the results were divided.

Later, Kong Fanlong personally took action and determined that the Xinglin Chunyan bowl was a replica.

The imitations Kong Fanlong refers to are not the same as imitations in a broad sense.

Kong Fanlong believes that the Xinglin Chunyan bowl was also made during the Yongzheng period.

The craftsmanship is almost the same as that of official kilns.

The only difference is that the shape of the two swallows is not so perfect.

One of the swallows has a slightly asymmetrical tail, which you really can’t tell unless you look carefully.

You must know that the emperor's requirements are so strict. Although it is a trivial flaw, the emperor will never tolerate it.

In other words, that piece cannot be one of the pair of Xinglin Chunyan bowls ordered by Emperor Yongzheng.

Although flaws can be found, the small bowl is really rare.

In the end, it was sold at a price of nine million.

You know, nine million in the 1990s was already a sky-high price.

The person who took the photo of the small bowl was Mr. Jiang Hongtao, a collector in Baoding Prefecture.

Later, through Kong Fanlong's mediation, Mr. Jiang donated the Xinglin Chunyan bowl to the National Museum.

The real Xinglin Chunyan bowl has never appeared in the world.