A treasure-appraisal maniac

Liu Jianhua revealed that the quality of these collections is quite good.

There is a sweet white glaze plum vase inscribed with poems and verses in the front, and a Privy porcelain folded-waist bowl in the back.

Now this rose purple Jun kiln halberd is even more valuable and valuable.

Lu Fei looked at it inside and out, handed it to Xu Maochen, and picked up another good thing on the photo that made his heart surge.

Ding kiln black glaze bottle.

Among the five famous porcelains of the Song Dynasty, Jun Ge Ru Guan Ding.

At present, Lu Fei has collected four of them, and the only thing missing is Ding Kiln porcelain.

Ding kiln is famous for its production of white porcelain.

Ding kiln porcelain is mostly white glaze, and there are also a small amount of black glaze, sauce glaze, brown glaze, green glaze and other varieties.

The fame of Ding Kiln white porcelain began in the Northern Song Dynasty, and the firing of Ding Kiln white porcelain began in the Tang Dynasty.

In the Tang Dynasty, Ding kiln specialized in firing white and yellow glazed porcelain.

By the Song Dynasty, it developed rapidly and became larger and more famous than before. White porcelain was fired in large quantities, followed by black glaze, sauce glaze, green glaze, white ground and brown flowers and other varieties.

The white porcelain has fine soil, thin and shiny texture, pure white and moist glaze, with tear marks. The glaze is white vitreous glaze, slightly powdery, so it is called Fending, also known as Baiding.

Other porcelains with thick texture and yellowish glaze are commonly called Tuding, purple ones are Ziding, and black ones like lacquer are called Heiding.

Most of the Ding kiln porcelain, except the black glaze ware, is decorated with patterns.

From the early to the late Northern Song Dynasty, decorative techniques included scratching, carving, and printing.

In the early days, bamboo sticks were used to mark the porcelain body.

The lines drawn are relatively thin, the slope is very small, and the image is natural and bold.

The engraving method appeared later than the scratching method.

The carvings are carved on the fetal bones with a knife, using the "one side slope" knife method. The carving lines are wide, the slope is large, and the image is strong and powerful.

Sometimes scratched and carved patterns often appear on the same object.

The early carved patterns included lotus petal patterns, twining chrysanthemum patterns, banana leaf patterns, and back patterns. Later, flowers and fruits, lotus ducks, fish and water, cloud dragons, etc. appeared.

The pattern is decorated, and a thin line is often drawn on one side of the pattern to highlight the three-dimensional sense of the image.

Printing decoration is made by imprinting the tire with a mold. It first appeared in the middle of the Northern Song Dynasty and matured in the later period.

The patterns printed in Ding kiln are all layered, clear lines, complex but not chaotic.

The main themes are flowers, mostly peonies and lotus, followed by chrysanthemums.

There are twisted branches and broken branches, and the patterns are symmetrical.

In addition, there are many fish and water patterns, dragon and phoenix patterns and various bird patterns. Floral patterns are often combined with animal patterns.

Of course, imitations can also imitate and imprint the various patterns mentioned above, but the common problems are hesitation in cutting, dull lines, and dull images.

The printed image is blurred and the organization is confusing.

The authentic carvings are done in one go, and the image has a smooth beauty that is not difficult to see through if you examine it carefully.

These are carved on the bottom of the tire before being fired in the kiln. They are usually written in regular script. Although the writing is not formal and beautiful, it is natural and powerful.

There are also some inscriptions related to palace buildings that were engraved by jade workers in the palace after being sent to the palace. For example, the Fenghua inscription in Fenghua Palace is one of them.

Among all the colors of Ding kiln porcelain, white glaze is the most fired and black glaze is the least.

White-glazed Ding kiln porcelain exists in large quantities and is of average value.

However, the price of the rare black-glazed Ding kiln is quite abnormal.

What Lu Fei saw in front of him was the Ding Kiln black glaze vase, the best among the fine products.

This black-glazed vase is 20 centimeters high, 10 centimeters in diameter, and 15 centimeters in full diameter. It is quite large.

The mouth is wide, the neck is thin, the shoulders are folded, the abdomen is closed, and the feet are circled.

The whole body is covered with black glaze, which is so bright that it can illuminate the figures.

The soles of the feet are exposed and there is no recognition.

This is really good stuff.

At this point, Lu Fei had collected all the five famous porcelains of the Song Dynasty.

And they are all top-notch products.

At this time, Lu Fei's heart was filled with a sense of accomplishment.

The only items left that could catch Lu Fei's discernment were a few Longquan kiln and three-color pottery figurines from the Tang Dynasty, but Lu Fei did not get started with them one by one.

After reading all the porcelain areas, Lu Fei focused on the calligraphy and painting area.

Liu Jianhua's collection of paintings and calligraphy is not very large, but every one of them is a masterpiece.

Works by modern masters such as Zhang Daqian, Xu Beihong, and Qi Baishi can be found here.

There are also several famous ancient paintings.

The most eye-catching one is "Double Hook Bamboo Picture" by Li Yan, a famous painter of the Yuan Dynasty.

This painting is ink and color on silk, measuring 1.6 meters in length and over 1 meter in width.

There are four bamboos in the picture, staggered front to back, left and right, with lush branches and leaves.

There are several small bamboos below, with a strange flat slope.

The bamboo leaves are thinly dyed with dark ink, showing the yin and yang facing north.

The lake stones are blurred out with thick and light ink, making them exquisite and colorful.

The composition of the picture is well-proportioned, the brushwork is round and precise, and the colors are light and elegant.

The author also describes the surrounding scenery such as gravel and dead branches to further highlight the "noble and noble" character of bamboo.

There is no signature, but there are two appreciation seals "Li Yan Zhongxian" and "Xi Qi" in the middle of the painting.

From ancient times to the present, there are countless masters who have masterfully painted bamboo.

Wen Tong, a painter of the Song Dynasty, was good at painting ink bamboo and founded the "Huzhou Bamboo School", and was honored as the originator of ink bamboo painting by later generations.

In addition to Wen Tong, Su Dongpo, Tang Bohu, Zheng Banqiao, Wu Guandeng, and the famous modern painter Wu Changshuo are all masters of bamboo painting.

But compared with Li Yan, these people are far behind.

Li Yan is good at painting dead wood, bamboo and stone.

He is good at painting ink bamboo, especially double-hook bamboo. Together with Zhao Mengfu and Gao Kegong, he is known as the three masters of bamboo painting in the early Yuan Dynasty.

He wrote "Detailed Records of Bamboo Genealogy", which has a detailed discussion on the shape, properties and painting methods of bamboo.

The first student of Mozhu was Wang Danyou, and later he studied literature in Huzhou. The colorist studied under Li Po, who is famous in the world.

Later, Xianyu Boji suggested that he use color instead of ink to write bamboo, and then he learned the double hook coloring method of Li Po, Huang Quan and his son.

He once traveled all over the mountains and forests of the southeast, and later went to Jiaozhi to go deep into the bamboo village. He distinguished the shape and color of bamboo very well. He was a painter who not only had profound traditional skills, but also paid attention to learning from nature.

The style of bamboo painting was very popular in the Yuan Dynasty, but there are also many subtleties in the broad category of bamboo painting, such as the special painting of double-hook bamboo, green coloring, and fine brushstrokes.

There are also those who specialize in ink bamboo paintings, which are rendered with large strokes and have a freehand style.

Li Jin is a representative figure of ink bamboo painting. He created a unique style in painting bamboo, which combines both form and spirit. He pursues the pursuit of richness, nature, and the inner beauty that symbolizes the noble character of the character.

Li Jin wrote the book "Bamboo Book", which is a summary of his life experience in painting bamboo. It describes the shape and color of various types of bamboo in different regions in detail, and also discusses in detail the various painting methods of various types of bamboo.

Others only paint bamboo, but Li Yan has studied everything about bamboo very thoroughly.

Only with this foundation can we draw bamboo to perfection.

Don't look at Wen Tong, who is known as the originator of ink bamboo painting.

But Li Yan’s nickname is the Patriarch of Bamboo Painting.

Comparing the two, Wen Tong and Li Yan are completely incomparable.

Lu Fei was very excited to get Li Yan's work.

As for the rest of the entertainment and miscellaneous items, Lu Fei was too lazy to get started.

Together with Xu Maochen, he packed several important treasures and put them aside alone.

Let the little nanny call the professional team of Baihua Bank to pack the rest and temporarily store them in the Baodao Baihua Bank vault.