Enamel, also known as "Fulang", "Folang" and "Blue", is a vitrified substance. It uses feldspar and quartz as main raw materials, adds soda ash and borax as fluxes, uses titanium oxide, antimony oxide and fluoride as opacifiers, and adds copper oxide, cobalt oxide, iron oxide, manganese oxide and antimony oxide as colorants. After crushing, mixing, calcining and melting, it is poured into water and quenched to obtain enamel frit, and then finely ground to obtain enamel powder. Enamel powder is mixed and coated on metal utensils such as gold, silver and copper, and baked to become metal tire enamel. If you use glass as a tire, it is called glass glaze; Those who take porcelain as embryo are called porcelain embryo enamel. People are used to calling things attached to the surface of porcelain "glaze"; Attached to the metal material is called "enamel color"; What adheres to building materials is called "glass glaze".
In Kangxi dynasty, an important feature of enamel color was that its embryo was not made in this dynasty, and the actual age was earlier than Kangxi dynasty. The fetal quality is slightly rough and not as delicate as this. At that time, yellow, blue, red, bean green, crimson and other colors were used for the outer wall of the unglazed part of the ground. The walls are painted with enamel. The theme is mainly wrapped in flowers, but there are no birds, flowers and birds, and no landscape figures. Sometimes some words are filled in flowers, such as "longevity" and "Changchun". Chinese characters are mainly seal script. Because the pigment is thick, it feels like a pile of materials protruding, and there are tiny ice cracks on the color surface under the magnifying glass. There were also enamel-coated products on Yixing purple sand tires in Kangxi period. It was forty years after Kangxi, and most of the money was in blue or carmine. Two boxes were added to the four-character pile of money in the regular script "Kangxi Imperial System". With a few exceptions, lettering is used.
In the early period of Yongzheng, a few people still used Kangxi's colored land paintings, but most of them have been changed to white glaze paintings. Therefore, white glaze painting enamel was only available after Yongzheng. Color materials were also made in China from Yongzheng, which changed the situation that Kangxi only used imported materials and the color was monotonous. Yongzheng dynasty also made great breakthroughs in painting. It changed the monotonous schema that Kangxi only painted flowers and painted flowers instead of birds. There are flowers and birds, bamboo stones, landscapes and other patterns on the theme. And integrated with poetry, poetry and calligraphy.
There are several styles of enamel porcelain in Yongzheng period: there are two styles of blue embossed seals, and the writing method of "Yongzheng year system" is imitated by Song Dynasty; Write "Yong Zhengdi System" in regular script. In addition, there are two kinds of characters: one is blue; One is blue and white.
The enamel color of Qianlong dynasty integrated the characteristics of the previous two dynasties and formed the so-called "multicolored enamel color". The theme of painting has been further expanded. Apart from the themes of the previous two dynasties, the themes of fairy figures, pavilions and pavilions are more common, and painting and decoration have more western charm. Different from Yongzheng's sloppy painting, during the Qianlong period, ornaments were piled up and the pictures were complicated and full. Also developed a kind of brocade (that is, drawing dark flowers on porcelain tires with fine needles to form brocade), which makes the picture appear double-layered effect. The money is mainly blue printed with the words "Qianlong Year System" on a white background, and there are also a few ochre coins. But on some gadgets, there is no border, there is blue material, and a few use red. On the turquoise land, the words "Qing Gan Long Year System" or "Gan Long Year System" are also written.
Strictly speaking, the firing of enamel porcelain ended in the late Qianlong period. However, during the Republic of China, a batch of enamel-like porcelain appeared. Among this batch of imitation porcelain, the most popular one is to imitate the painting style of ShiNing Lang, a court painter in Kang Yong. Imitate his paintings of figures, birds and animals with western realistic style and perspective. These porcelain products are generally of high technical level. Most of them are thin-walled porcelain, with fine paintings, bright colors and high artistic style (of course, there are not only enamel porcelain here, but also other colorful and pastel porcelain).
The identification of imitations in the Republic of China can be distinguished from their glaze color and pigment. Most of the imitations of this period have obvious characteristics of the late Qing Dynasty and the Republic of China. It is that the tread is not smooth enough and the tire quality is loose. The glaze is thin and white. Enamel porcelain in the Republic of China and the Qing Dynasty used different coloring materials. Except for a few, most of them are pastels. There are dry pastels similar to Kangyong, heavy pastels with strong colors, or pink pastels. According to these differences, we can distinguish right from wrong by careful discrimination.
1. Enamel-colored porcelain has complex technology, extremely high technical difficulty, precious glaze color, superb value and outstanding art, and can also become the most luxurious works of art today.
Enamel is a kind of exquisite painted porcelain specially used by the Qing Dynasty royal family. Enamel color began at the end of Kangxi and flourished in Yongzheng and Qianlong years. It is a monopoly craft treasure of the court. The required white porcelain tires are specially made by Jingdezhen Imperial Kiln Factory. After being transported to Beijing, it was painted and burned in the Qing Palace. The required drawings were drafted by Ruyi Pavilion, the manufacturer, decided by the emperor, and painted on porcelain by court painters. Among them, the enamel color level in Yongzheng period was the most exquisite. Transplanting the enamel painted by western metal tires to porcelain tires is a successful pioneering work and is known as the "queen of colored porcelain". Enamel porcelain is the king of all kinds of porcelain, with the emperor as the supervisor and the Forbidden City as the kiln. Because it is imperial porcelain, the emperor personally participated in the design and firing, regardless of the cost, and the process was extremely complicated. It often takes three or four months to make an enamel vial, and each one is different.
Second, enamel porcelain is a very precious royal porcelain, with very little output, and the craft has been extinct for hundreds of years. The original survivors are even rarer.
Enamel porcelain is a very valuable royal porcelain, which is the "crown of glaze color" and its output is very small. From creation to decline, it was monopolized by the royal family, limited to the palace for the use of the royal family.
There are few artifacts handed down from generation to generation for more than a thousand years. However, due to thousands of years of feudal history and cultural heritage in China, the practice of reburial and cellaring is a social and cultural custom and a way of cultural heritage. For thousands of years, emperors and generals have always brought the material and spiritual wealth of an era into the underground world for different reasons and purposes, kept it in secret, and then reappeared in different ways at a certain time. If it is a national archaeological excavation, the unearthed cultural relics are national wealth, with clear sources and clear inheritance, and naturally preserved as national treasures. However, if they are found or stolen among the people intentionally or unintentionally, most of these cultural relics will inevitably flow into the people, and the actual situation is indeed considerable. At present, the identification of these cultural relics is not recognized in front of mainstream institutions, for reasons that are known and unknown. However, these artifacts are different from the masterpieces handed down from generation to generation, with exquisite materials and exquisite workmanship, brand-new external characteristics and high artistic aesthetic value, which have attracted the collection and research of a group of folk collectors with unique vision.