Peacock Blue Elephant Ear Square Bottle
Peacock Blue Elephant Ear Square Bottle
Peacock Blue Elephant Ear Square Bottle
Peacock blue glaze is a beautiful colored glaze, named after peacock feathers. Glazes with a greenish tint are called peacock green, and those with a bluish tint are called peacock blue. It is also known as "peacock blue," "peacock green," "jade glaze," "French glaze," "French blue," and "auspicious glaze," among other names. Peacock blue glaze uses copper as a colorant and is a low-temperature glaze that produces a bright blue hue after firing. It boasts a gorgeous glaze, a rich variety of types, and further development led to the creation of decorative patterns, greatly enriching the variety of Chinese ceramics.
Pure and vast, the Silk Road shines brightly
"Peacock blue glaze" is a traditional glaze color from West Asia. Its products were brought to the Central Plains during trade exchanges in the Tang and Song dynasties and were successively produced in folk kilns during the Jin and Yuan dynasties. Judging from the craftsmanship of Jin and Yuan products, the turquoise blue ware of the Cizhou kiln system in the 13th century was of relatively high quality, and many exquisitely painted "turquoise blue with black flowers" pieces still exist today.
China began producing peacock blue glazed wares during the Song Dynasty. By the Tang Dynasty, Chinese peacock blue glaze had already been influenced by West Asia. According to current archaeological discoveries, the earliest known peacock blue glazed wares introduced to my country can be traced back to three peacock blue glazed pottery bottles unearthed from the tomb of Liu Hua of the Min Kingdom during the Five Dynasties period.
The three peacock-blue glazed pottery bottles unearthed from Liu Hua's tomb all have small mouths, long, bulging bellies, and small bases, resembling upright olives. The bottles are coated with a glaze between blue and green, with a relatively thick glaze layer; scholars refer to this glaze as "peacock blue glaze" or "peacock green glaze." Their origin is likely closely related to the developed overseas trade and transportation in southeastern coastal China at that time. During the Five Dynasties period of the Min Kingdom, rulers such as Wang Shenzhi actively promoted overseas trade, "attracting merchants from the foreign lands," resulting in bustling trading ports like Fuzhou and Quanzhou. The peacock-blue glazed pottery bottles unearthed from Liu Hua's tomb were likely imported into Fuzhou through the overseas trade channels of the time.
The three peacock-blue glazed pottery vases unearthed from Liu Hua's tomb shine brightly in the annals of history, telling the story of Fujian's glorious "Maritime Silk Road" thousands of years ago. These artifacts demonstrate that during the period when Chinese ceramics were extensively imported into Central and West Asia, a small number of foreign items also entered China.
Porcelain production flourished during the Xuande period of the Ming Dynasty, with significant advancements in peacock blue glaze. The strict requirements imposed by the rulers on the imperial kilns spurred the refinement of monochrome glazes and underglaze blue porcelain. Peacock blue imperial porcelain from the Ming Dynasty was extremely valuable even then, with few successful pieces. Those that have survived intact today are even rarer.
The Qing Dynasty blossomed with unparalleled beauty
The Qing Dynasty was the golden age of Chinese porcelain making, especially the early and middle periods, which represented the peak of Chinese ceramic history. The production of peacock blue glaze plummeted in the late Ming Dynasty, becoming extremely rare. However, during the Kangxi era, peacock blue glaze ware began to flourish again, gradually reaching another peak in its history.
The peacock blue glaze of the Kangxi period exhibited more variation in color than that of the Xuande and Chenghua periods of the Ming dynasty, ranging from deep, vibrant green to pale and pure. During the Yongzheng and Qianlong periods, the shapes and forms of peacock green glazed porcelain became even more diverse than those of the Kangxi era. From the mid-Qing dynasty onward, the porcelain industry gradually declined.
Quiet and noble, a darling of the collecting world
In its early stages, peacock blue porcelain was not produced in a wide variety of styles. However, as its color and the bonding between the glaze and the body were gradually mastered, its application in the ceramics industry became increasingly widespread. Based on the types of porcelain produced, we can roughly divide it into three categories: monochrome peacock blue glaze, peacock blue underglaze blue porcelain, and mixed-color porcelain related to peacock blue.
Among glaze colors, "peacock blue" is widely recognized as beautiful by collectors of antique ceramics; it's the color of a sky after rain. In 2004, a peacock blue porcelain plate from the Xuande period of the Ming Dynasty sold for HK$12.38 million. The fact that such a small piece of porcelain could fetch such a high price demonstrates the allure of its beautiful color to the collecting world. In 1989, at a Sotheby's auction, a Ming Xuande peacock blue glazed dish with an incised design sold for HK$3.74 million.
Peacock blue, as a member of the copper glaze family, is an intermediate color between reduction and oxidation atmospheres. Its development laid the foundation for porcelain makers to fully understand the chemical properties of copper, master other coloring techniques, and promote the creation of new glazes. In the nascent stage of polychrome porcelain before the Yuan Dynasty, peacock blue stood alone, playing an immeasurable role in the flourishing development of polychrome porcelain at that time. During the prosperous Ming and Qing Dynasties, it was integrated into monochrome glazes, blue and white porcelain, and polychrome porcelain in different roles, further contributing to the development of porcelain making.
Peacock blue glaze is a low-temperature glaze variety, and the glaze color is generally not very uniform. Upon close inspection, fine crackles can be seen everywhere. Tu Jinghua, an inheritor of the intangible cultural heritage of the preparation of peacock blue glaze, calls it "fish roe pattern." The local accumulation of glaze is as deep as the ocean, which is intriguing.
Born in 1969 into a ceramic family in Jingdezhen, Tu Jinghua is a representative inheritor of the Jingdezhen intangible cultural heritage—the preparation of Fa Cui glaze. He is also the only inheritor in Jingdezhen who has mastered the preparation, coloring, and firing techniques of medium-temperature Fa Cui glaze.
He began learning the craft from his father in 1987; in January 1989, he joined the Jingdezhen Sculpture Porcelain Factory; in 1996, the company underwent restructuring, and he independently established a ceramic studio specializing in medium-temperature jade glaze decoration materials, which he still runs today.
Apprenticeship: Grandfather Tu Yixin, a late ceramic glaze blending master in Jingdezhen during the Republic of China era (later joined the Ceramic Research Institute of the Ministry of Light Industry);
Apprenticeship: Tu Jincai, father, a veteran craftsman at the Jingdezhen Sculpture Porcelain Factory;
Features:
1) It is made by hand-pouring glaze and adding colors directly onto the unglazed porcelain body and then firing it;
2) The glaze and body are tightly bonded, and the glaze contains fine crackles resembling fish roe.
3) The glaze is bright, thick, warm, elegant and clean, with a strong glassy texture, giving people a pleasing feeling.
Mid-temperature glaze decoration is mainly used for traditional porcelain. In recent years, while working on decorating traditional porcelain with mid-temperature glaze, Tu Jinghua has also been committed to promoting the combination of glaze and modern art porcelain, so that more people can understand glaze.
In 2014, the artwork "Chang'e Flying to the Moon" by Liu Yuanchang, a master of Chinese arts and crafts, was decorated. In the same year, it was also decorated with "The Dawn Ceremony" by Chen Peihuo, an inheritor of provincial intangible cultural heritage. The decorative effect of the colored glazes in the artworks received high praise and recognition from experts.
They also participated in the recording of the large-scale documentary "Craftsmanship in Pottery" about the 72 porcelain-making processes in Jingdezhen, which enabled more people to recognize and understand the medium-temperature jade glaze.
Peacock blue glaze is a beautiful colored glaze, named after peacock feathers. Glazes with a greenish tint are called peacock green, and those with a bluish tint are called peacock blue. It is also known as "peacock blue," "peacock green," "jade glaze," "French glaze," "French blue," and "auspicious glaze," among other names. Peacock blue glaze uses copper as a colorant and is a low-temperature glaze that produces a bright blue hue after firing. It boasts a gorgeous glaze, a rich variety of types, and further development led to the creation of decorative patterns, greatly enriching the variety of Chinese ceramics.
Pure and vast, the Silk Road shines brightly
"Peacock blue glaze" is a traditional glaze color from West Asia. Its products were brought to the Central Plains during trade exchanges in the Tang and Song dynasties and were successively produced in folk kilns during the Jin and Yuan dynasties. Judging from the craftsmanship of Jin and Yuan products, the turquoise blue ware of the Cizhou kiln system in the 13th century was of relatively high quality, and many exquisitely painted "turquoise blue with black flowers" pieces still exist today.
China began producing peacock blue glazed wares during the Song Dynasty. By the Tang Dynasty, Chinese peacock blue glaze had already been influenced by West Asia. According to current archaeological discoveries, the earliest known peacock blue glazed wares introduced to my country can be traced back to three peacock blue glazed pottery bottles unearthed from the tomb of Liu Hua of the Min Kingdom during the Five Dynasties period.
The three peacock-blue glazed pottery bottles unearthed from Liu Hua's tomb all have small mouths, long, bulging bellies, and small bases, resembling upright olives. The bottles are coated with a glaze between blue and green, with a relatively thick glaze layer; scholars refer to this glaze as "peacock blue glaze" or "peacock green glaze." Their origin is likely closely related to the developed overseas trade and transportation in southeastern coastal China at that time. During the Five Dynasties period of the Min Kingdom, rulers such as Wang Shenzhi actively promoted overseas trade, "attracting merchants from the foreign lands," resulting in bustling trading ports like Fuzhou and Quanzhou. The peacock-blue glazed pottery bottles unearthed from Liu Hua's tomb were likely imported into Fuzhou through the overseas trade channels of the time.
The three peacock-blue glazed pottery vases unearthed from Liu Hua's tomb shine brightly in the annals of history, telling the story of Fujian's glorious "Maritime Silk Road" thousands of years ago. These artifacts demonstrate that during the period when Chinese ceramics were extensively imported into Central and West Asia, a small number of foreign items also entered China.
Porcelain production flourished during the Xuande period of the Ming Dynasty, with significant advancements in peacock blue glaze. The strict requirements imposed by the rulers on the imperial kilns spurred the refinement of monochrome glazes and underglaze blue porcelain. Peacock blue imperial porcelain from the Ming Dynasty was extremely valuable even then, with few successful pieces. Those that have survived intact today are even rarer.
The Qing Dynasty blossomed with unparalleled beauty
The Qing Dynasty was the golden age of Chinese porcelain making, especially the early and middle periods, which represented the peak of Chinese ceramic history. The production of peacock blue glaze plummeted in the late Ming Dynasty, becoming extremely rare. However, during the Kangxi era, peacock blue glaze ware began to flourish again, gradually reaching another peak in its history.
The peacock blue glaze of the Kangxi period exhibited more variation in color than that of the Xuande and Chenghua periods of the Ming dynasty, ranging from deep, vibrant green to pale and pure. During the Yongzheng and Qianlong periods, the shapes and forms of peacock green glazed porcelain became even more diverse than those of the Kangxi era. From the mid-Qing dynasty onward, the porcelain industry gradually declined.
Quiet and noble, a darling of the collecting world
In its early stages, peacock blue porcelain was not produced in a wide variety of styles. However, as its color and the bonding between the glaze and the body were gradually mastered, its application in the ceramics industry became increasingly widespread. Based on the types of porcelain produced, we can roughly divide it into three categories: monochrome peacock blue glaze, peacock blue underglaze blue porcelain, and mixed-color porcelain related to peacock blue.
Among glaze colors, "peacock blue" is widely recognized as beautiful by collectors of antique ceramics; it's the color of a sky after rain. In 2004, a peacock blue porcelain plate from the Xuande period of the Ming Dynasty sold for HK$12.38 million. The fact that such a small piece of porcelain could fetch such a high price demonstrates the allure of its beautiful color to the collecting world. In 1989, at a Sotheby's auction, a Ming Xuande peacock blue glazed dish with an incised design sold for HK$3.74 million.
Peacock blue, as a member of the copper glaze family, is an intermediate color between reduction and oxidation atmospheres. Its development laid the foundation for porcelain makers to fully understand the chemical properties of copper, master other coloring techniques, and promote the creation of new glazes. In the nascent stage of polychrome porcelain before the Yuan Dynasty, peacock blue stood alone, playing an immeasurable role in the flourishing development of polychrome porcelain at that time. During the prosperous Ming and Qing Dynasties, it was integrated into monochrome glazes, blue and white porcelain, and polychrome porcelain in different roles, further contributing to the development of porcelain making.
Peacock blue glaze is a low-temperature glaze variety, and the glaze color is generally not very uniform. Upon close inspection, fine crackles can be seen everywhere. Tu Jinghua, an inheritor of the intangible cultural heritage of the preparation of peacock blue glaze, calls it "fish roe pattern." The local accumulation of glaze is as deep as the ocean, which is intriguing.
Born in 1969 into a ceramic family in Jingdezhen, Tu Jinghua is a representative inheritor of the Jingdezhen intangible cultural heritage—the preparation of Fa Cui glaze. He is also the only inheritor in Jingdezhen who has mastered the preparation, coloring, and firing techniques of medium-temperature Fa Cui glaze.
He began learning the craft from his father in 1987; in January 1989, he joined the Jingdezhen Sculpture Porcelain Factory; in 1996, the company underwent restructuring, and he independently established a ceramic studio specializing in medium-temperature jade glaze decoration materials, which he still runs today.
Apprenticeship: Grandfather Tu Yixin, a late ceramic glaze blending master in Jingdezhen during the Republic of China era (later joined the Ceramic Research Institute of the Ministry of Light Industry);
Apprenticeship: Tu Jincai, father, a veteran craftsman at the Jingdezhen Sculpture Porcelain Factory;
Features:
1) It is made by hand-pouring glaze and adding colors directly onto the unglazed porcelain body and then firing it;
2) The glaze and body are tightly bonded, and the glaze contains fine crackles resembling fish roe.
3) The glaze is bright, thick, warm, elegant and clean, with a strong glassy texture, giving people a pleasing feeling.
Mid-temperature glaze decoration is mainly used for traditional porcelain. In recent years, while working on decorating traditional porcelain with mid-temperature glaze, Tu Jinghua has also been committed to promoting the combination of glaze and modern art porcelain, so that more people can understand glaze.
In 2014, the artwork "Chang'e Flying to the Moon" by Liu Yuanchang, a master of Chinese arts and crafts, was decorated. In the same year, it was also decorated with "The Dawn Ceremony" by Chen Peihuo, an inheritor of provincial intangible cultural heritage. The decorative effect of the colored glazes in the artworks received high praise and recognition from experts.
They also participated in the recording of the large-scale documentary "Craftsmanship in Pottery" about the 72 porcelain-making processes in Jingdezhen, which enabled more people to recognize and understand the medium-temperature jade glaze.
法翠是一种美丽的色彩釉，其釉色之名称是以孔雀羽毛为标准，釉色偏绿的称孔雀绿，釉色偏蓝的称孔雀蓝，亦称之为“孔雀蓝”、“孔雀绿”、“翡翠釉”、“法翠”、“法蓝”、“吉翠釉”等，是以铜元素为着色剂，烧制后呈现亮蓝色调的低温彩釉。釉光华丽，品种丰富多彩。而且在此基础上又发展成了法花，大大丰富了中国陶瓷品种。
“孔雀蓝釉”属于西亚地区的传统釉色，据目前考古发现表明，孔雀蓝釉器物传入我国， 最早可追溯到五代闽国刘华墓出土的三件孔雀蓝釉陶瓶。中国在宋代已经开始生产孔雀蓝釉器物，明代初期，孔雀蓝釉烧制进入崭新阶段，于成形素胎之上施釉，再经二次低温烧就，对于工匠技艺要求颇高。
纯净辽远 丝路生辉
“孔雀蓝釉”属于西亚地区的传统釉色，其制品在唐宋期间的商贸往来时被带到中原并在金、元民窑中陆续制作。从金、元产品工艺看，十三世纪的磁州窑系翠蓝器水平相对较高，至今有不少绘画精美的“翠蓝黑花”器存世。
中国在宋代已经开始生产孔雀蓝釉器物。在唐代，中国的孔雀蓝釉已经受到西亚的影响。
明宣德时期制瓷发展迅猛，明代孔雀蓝官窑瓷器，在当时就极为名贵，现在能够完好保存下来的更是寥若晨星。
清代绽放 至臻至美
清代是中国制瓷的鼎盛时期，尤其是早中期，为我国陶瓷史上的巅峰时代。而孔雀蓝釉这一品种在明代晚期曾一度产量剧降，难觅其踪，但到了康熙年间，孔雀蓝釉器又开始兴盛起来，并逐步走向孔雀蓝釉史上的又一高峰。
康熙孔雀蓝釉较明代宣德、成化烧造的釉色变化更多，有的浓重葱翠，有的淡而纯净。雍正、乾隆时，孔雀绿釉瓷器的造型种类较康熙时更为丰富。清代中期以后，制瓷业逐渐走向衰落。
沉静高贵 藏界宠儿
釉色之中，“孔雀蓝”有着大多古陶瓷收藏家公认的美丽，那是一抹雨过天晴的色彩。
孔雀蓝釉属于低温釉品种，釉色一般不太均匀，仔细看基本上都可见细碎的小开片，法翠釉配制非遗传承人涂景华称之为“鱼籽纹”。局部的积釉宛如海洋一般深邃，耐人寻味。
法翠釉配制非遗传承人涂景华说，由于传统“浇釉”的手法，釉水天然的流动性在瓷胎上可形成上薄下厚的质感。涂景华加彩所用的色釉都是自己亲手配制的釉水，由于手工制品的手法不可能尽数相同，因此每次烧成的效果都不同，每一件作品都是孤品。
关于法翠釉（孔雀绿釉）第一个重要特征是釉色青翠亮丽，在中国古代陶瓷釉中极为少见。第二个重要特征是釉层清澈，很少气泡、析晶和未熔釉料。第三个重要特征是釉面密布鱼子纹大小的细密开片，很有特色。而一路走来，涂景华制作的法翠釉深受藏家喜爱，其作品工艺精湛，釉色美艳，整体光泽碧翠亮丽，有一种古典的华丽。由于孔雀绿釉制作工艺较为复杂，先要有成型的素胎或绘制好的成胎，经高温烧制成器，然后在烧制好的瓷器上施孔雀绿釉，再经中温烧成。由于烧造难度非常大，烧造量又少，所以十分珍贵。
各种古老的制瓷工艺是文明史上的一颗颗璀璨明珠，由于种种原因它们沉入了历史的长河，我们需要重拾起古人曾经使用过的朴素的原料，揣摩他们当初的制作工艺，抹去拂尘，重现明珠的光芒，去欣赏先人的智慧。而涂景华正是这些工艺传承人中的一员，他正亲身实践着。 釉料的配置对人们来说是很神秘的，由于大多数人缺少亲身实践经验或相关的理论知识，即便长时期从事古陶瓷收藏和研究恐也对这一领域感到陌生。我们不能总是局限于对器物表面纹片、颜色、缩釉点等方面的了解，最重要的是要去找回失落的传统技艺，让法翠釉瓷不再显得那么神秘。
法翠釉配制非遗传承人 涂景华
1969年出生于景德镇市陶瓷世家的涂景华是景德镇市非物质文化遗产—法翠釉配制代表性传承人，也是至今景德镇市唯一 的一位能够全面掌握中温法翠釉的配制、加彩和烧成工艺的传承人。
1987年随父学艺; 1989年元月进入景德镇市雕塑瓷厂; 1996年企业实行改制，自主开设了以中温法翠釉装饰体材为主的陶瓷工作室至今。
师承:祖父涂宜鑫，已故民国时期景德镇市陶瓷配釉老艺人(后进入轻工业|部陶瓷研究所) ;
师从:父亲涂金财，景德镇市雕塑瓷厂老艺人;
特点:
1)在成瓷素胎上直接采用手工浇釉加彩烧制而成;
2) 其胎釉结合紧密，釉内有细小鱼子纹开片;
3)釉色鲜艳，釉面肥厚、温润、雅洁，玻璃质感强，给人赏心悦目之感。
中温法翠都是以装饰传统瓷为主。这些年涂景华从事中温法翠装饰传统瓷的同时，致力于推广法翠釉与现代艺术瓷相结合，让更多的人了解法翠釉。
2014年装饰了中国工艺美术大师刘远长老师的作品《嫦娥奔月》，同年又装饰了省非物质文化遗产传承人陈培火先生的作品《报晓》。作品色釉装饰效果得到专家的好评和认可。
并参加了景德镇市七十二道制瓷工艺大型纪录片《匠心冶陶》的录制，使得中温法翠釉让更多的世人认识和了解。
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