I Can Extract Abilities From Antiques

Still five minutes of enjoyment time.

When the time was up, He Rui asked the staff to remove the lotus leaf-shaped lidded jar from Longquan kiln.

In its place is a third curio.

This is a bronze vessel.

Since ancient times, bronze ware has been regarded as the "important weapon of the country"

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Since the Song Dynasty, there has been a collection of bronzes.

From the end of the Qing Dynasty to the period of the Republic of China, due to social unrest, many handed down bronzes were scattered overseas.

Therefore, most of the world's high-end bronze utensils are concentrated in foreign countries rather than domestic ones.

The bronze ware in front of Hu Muzhi can definitely be called a national treasure.

Because this is a bronze taotie pattern square statue of the late Shang Dynasty.

There is also a layer of very beautiful erythema and green rust on the surface of this taotie-patterned square statue.

You know, rust color is a very important aesthetic standard for bronzes.

In the early Western Zhou Dynasty, Zun was also a wine vessel, generally round.

This one is a square with a round mouth.

Fang Zun has exquisite casting, strong lines and great tension, which fully reflects the superb artistic language and technical level of bronze casting in the late Shang Dynasty.

The most eye-catching decoration is the round-carved dragon-head-shaped bird at the four corners of the shoulders.

This strange bird has a long tail and a big beak, and a dragon head with a cylindrical angle is placed on the head of the bird "613", like wearing a crown.

The image of this combination of dragon and bird can be seen on Shang Dynasty bronzes.

Hu Muzhi remembers that this late Shang bronze taotie pattern square zun was auctioned at Christie's abroad in 2017.

At that time, the starting price was 6.5 million US dollars, and it was finally sold at 33 million US dollars, plus a commission of 37.2075 million US dollars.

About RMB 251 million.

In one fell swoop, it set the world's highest auction of ancient bronzes.

"The appreciation of the three antiques is over." He Rui's voice pulled everyone's eyes back from the bronze taotie pattern square statue.

"Let me announce that the next round of access to ancient and modern is Taiping Pavilion, Jinmanlou, Donglongju, Yunhai Pavilion..."

Tong Fan couldn't help showing a look of joy on his face after hearing the name of Donglongju.

Just as he was about to say something to Hu Muzhi, Zhao Hongzhen, who was beside him, took the lead and said, "Boss Tong, congratulations, you Donglongju have entered the third round.

"Elder Zhao, I'm happy, I'm happy." Tong Fan said with a light smile.

Because he had heard that Haitiantian, where Zhao Hongzhen was, also entered the next round.

With the full announcement of the list, it is natural that several families are happy and have family worries.

Those who are happy are promoted to the next round, and those who are sad are naturally not promoted.

But this is also impossible.

After all, this appreciation speaks with eyesight.

"Next, please move to the left side of the venue for the 28 appreciators who have advanced to the ancient and modern times. The organizer has already prepared the three antiques that need to be appreciated in the third round.

As He Rui's voice sounded, Hu Muzhi got up and came to the left side of the venue.

Compared to the crowdedness of the first two rounds, at this time, it seems to be a lot more empty.

After all the twenty-eight connoisseurs had arrived, He Rui said loudly.

"This round of access to ancient and modern, the organizer will come up with three antiques."

"There is a six-minute time limit for each piece of antique."

"During these six minutes, you must not only judge the authenticity of the antique, but also determine its chronology and give the estimated market value of this antique."

"The difference between the estimated value is correct within 20w.

"Anyone who matches all three pieces of antiques can enter the final round."

"Next, invite twenty-eight connoisseurs to appreciate the first antique.

The voice fell, and the staff who had been here early removed the red cloth on the side, revealing an antique covered under the transparent glass.

Seeing this artifact, Hu Muzhi's eyes narrowed slightly.

This is a plum bottle, more than 40 centimeters high, with a small mouth, a short neck and a large shoulder.

It gradually converges below the shoulders, and slightly outwards near the bottom.

The whole is mainly blue, and its upper ring is decorated with a white three-clawed dragon.

Other than that, nothing else.

The deep blue and the holy white are intertwined, like the blue sky and white clouds.

Soon, Hu Muzhi already had the answer to this plum bottle.

Yuan Dynasty Ji-blue-glazed plum vase with white dragon pattern.

The reason for this inference is that the Yuan Dynasty was a dynasty ruled by nomads on horseback.

In their place, apart from the greenness of the grassland, looking up is a blue sky and white clouds.

The streams, lakes, and flocks that feed life are also blue and white.

Nomads ate, drank, and watched, and everywhere was white and blue.

Therefore, it is logical to burn the utensils in life blue.

Of course, the main point is that Hu Muzhi had seen similar plum bottles in three different places in his previous life.

They are the Summer Palace in Beijing, the Jimei Museum in the country and the Yangzhou Museum.

The plum bottles in the Summer Palace and Jimei Museum are both slightly smaller and flawed.

Only the one in the collection of Yangzhou Museum is big and good, it can be called the best of the best, and the fighter among the planes.

And now, the piece that Hu Muzhi has seen is comparable to the piece in the Yangzhou Museum in terms of appearance and size.

Ji blue glaze is mainly colored with metallic cobalt elements.

It was first seen in the application of Tang Sancai utensils in real objects.

At that time, cobalt blue was very precious and only appeared in a small number of Tang Sancai.

Later collections highly praised such artifacts.

Known as the three-color hanging blue, the priceless praise.

However, the cobalt blue in the Tang Sancai is colored in the low-temperature lead glaze, which has a gorgeous feeling.

But it lacks calm tones and is not mature enough.

my country's high-temperature blue-glazed porcelain was first born in Jingdezhen in the Yuan Dynasty.

In the early Ming Dynasty, Cao Zhao mentioned in "Ge Gu Yao Lun": In the Yuan Dynasty, there were blue and black gold, mostly wine pots and wine cups, which were very cute.

The blue and black refers to the blue glaze.

It's just that the name is different now and then.

This blue-glazed gold utensil has been handed down and is very rare.

To say that among the blue glaze ware, the most high-grade and rare variety, it is undoubtedly the one in front of me.

It firstly uses a knife to shovel out a rough outline on the finished porcelain tire.

Then, a special white porcelain clay is used to form decorations in the recesses carved before.

Finally, use hard objects to draw out details, such as dragon scales, phoenix feathers, etc.

After this is done, a transparent glaze is applied to the ornamentation.

The remaining part is coated with cobalt blue glaze and fired once in the kiln at a high temperature of about 1300 degrees Celsius.

Since the works of this craft are very rare and not seen in other periods, there is no professional title...

Today, we temporarily call this process blue glaze shovel ground whitening.

The dragon-patterned plum vase in front of me is of this variety.

This kind of craftsmanship sounds very complicated today, but it can be imagined how difficult it was when it was made six or seven hundred years ago.

This process is not only time-consuming and labor-intensive, but also very expensive.

Cobalt blue applied on a large area is imported from abroad and is very expensive.

If it is used to burn blue and white porcelain, the same amount of blue material can depict more utensils.

And the production of this kind of blue glaze and plastic white utensils, only a few pieces can be produced.

Therefore, in the Yuan Dynasty, blue glaze utensils, whether painted in gold or in white, could only be enjoyed by the nobles of the court.

Of course, the most eye-catching aspect of this plum vase is the line of dragons decorated on its body.

The appearance of the dragon stems from an emotion with our nation.

The Dragon Kingdom chose the dragon as a totem when it was very young.

It is from vague to concrete, from casual to focused.

After thousands of years, the image of the dragon began to be perfected little by little, and finally became the symbol and symbol of the dragon country.

In the Yangshao culture more than 6,000 years ago, and the Hongshan culture more than 5,000 years ago, we can see the appearance of dragons.

Shang, Zhou and Warring States, Han, Sui and Tang Dynasties, Song, Liao, Jin and Yuan Dynasties, the appearance of the dragon is too numerous to mention.

The Yuan Dynasty was a very special dynasty in the history of the Dragon Kingdom.

Contrary to Song's Wenzhi, Yuan Dynasty emphasized Wuzhi.

In the largest period of the territory, the territory was as much as 33 million square kilometers.

Yuan people have had business customs since ancient times.

Because the rulers of the Yuan Dynasty paid special attention to commerce and handicrafts, in addition to its vast territory, the Yuan Dynasty was also the most prosperous country in the world at that time.

Under such a strong background, it is inevitable that dragon patterns will be popular on Yuan Dynasty artifacts.

The style of the Han and Tang Dynasties maintained by the Dragon of the Yuan Dynasty was a bit more fierce and confident than its agility.

In front of the dragon-patterned plum vase, the white dragon was placed on a dark blue background.

It is the expression of the ninety-five in "Book of Changes", the flying dragon is in the sky, and it is beneficial to see adults.

Ninety-five lines are the royal lines, only 2.8 is my sole honor.

The attitude of dominating the world was vividly expressed by the craftsmen of Jingdezhen in the Yuan Dynasty.

Hu Muzhi stood in front of this Yuan Dynasty blue-glazed and white dragon-patterned plum vase, as if he heard the echoes of the Yuan Dynasty's golden horse and iron horse.

Taking back his thoughts, Hu Muzhi picked up the pen in his hand and wrote on the paper the age of this white dragon-patterned plum vase and its current market value of 330w.

Regarding this estimated price, Hu Muzhi has his own basis.

He remembered that in the late 1990s, an auction house in Beijing had auctioned a similar plum vase with a white dragon pattern.

It was a piece that was slightly smaller in size than the one in front of me, about 20 centimeters high, and the bottom was still a bit crippled.

Because the things were too precious, some people didn't dare to recognize them at that time, and they didn't believe that there was a fourth one in addition to the three in the public collection.

In fact, ceramic utensils are not like paintings and calligraphy, one is just one in those days.

There must be multiple quantities in the firing of porcelain.

For example, Chenghua Doucai Chicken Cups, although expensive, there are as many as seventeen.

In the end, the white dragon-patterned plum vase was bought by the footpen Chinese for 215w.

After being bought, the plum bottle never showed up again.

Putting away the paper, Hu Muzhi waited for the display of the second antique.