Court out of the plaything ** pot

**, since the introduction of China into Europe in the Ming Dynasty, it immediately spread to courts and palaces and formed a fashion from the top down. Both **, natural need to contain ** containers, easy to carry, good sealing ** pot came into being.

During the reign of Emperor Kangxi of the Qing Dynasty, a German writer published an article in Leipzig titled "The Craving for Nose Longing for Needs." The article said: "The world has risen to a ridiculous, ridiculous custom - intoxication. All countries have The people of the stratum are smelt and smelt; from the highest emperors to the poorest people at the bottom, I am sometimes amazed at the monarchs, the men’s servants, the nobility, the poor, the odd jobs, the lumberjacks, the servants, the small bureaucrats, The homesickers all open pots and suck with their hands. This makes their noses often dirty and dusty, and they are ridiculously known as fashionable decorations."

The German writer said that the entire world of course also includes China. In fact, with the opening up of the sea during the Kangxi era, a large number of glass bottles filled with ** and costumes were brought to China by Western missionaries. Western countries also paid tribute. , ** gradually become fashionable. The emperor Kangxi once gave all the gifts brought by the missionaries, and left only the pot; the Emperor Yongzheng personally controlled the making of pots in the palace, leaving behind many imperial edicts about the pots; There are as many as 2,400 pots; the Emperor Jiaqing was the emperor of the Qing Dynasty who used pots as the most rewarding. All kinds of signs show that the **pot has become a royal heart.

The fact that the court’s outflow of playthings was not born in China but was a genuine exotic, but soon after it was introduced to China, it became popular inside and outside the customs. Wang Shizhen wrote in the “Jinzu Notes”: “The glass is used for bottle storage. The bottle has a variety of shapes. The colors are red, yellow, purple, white, black and green. White is like crystal, red is fire-fighting and extremely cute. Ivory teeth are spoons, just like the nose, far out of the bottle." The earliest material used to make pots was glass. Zhao Zhiqian, a famous painter at the end of the Qing Dynasty, wrote in his book “Courage and Leisure” that “the beginning of making pots was glass only, and all of them were late.” However, in the end, the number and types of imported vessels were extremely limited and could not meet the needs of the time. As a result, Chinese craftsmen began to try to use pots such as jade, gemstones, jade, porcelain, lacquer, aggregate, and metal to make pots. The more smokeless pots made of precious materials, the more they can reflect the owner’s Identity. The material quality pots of the Kangxi period were simple and elegant. With the advancement of the Yongzheng and Qianlong periods, the material smoke pots were more exquisite and wonderful. At the beginning of the 18th century, Chinese pots made by merchants, envoys, and missionaries gradually spread to other countries. The Emperor Kangxi even gave imperial pots as a valuable gift to other countries.

In ancient Chinese crafts, the pot of this type appeared at the latest, but the variety is the most complete. Basically covers five categories, made of the most common ceramics, precious jade, novelty glassware and other types of materials. This container, which has been brought to the extreme, has also profoundly affected Westerners. During the reign of Qianlong, westerners imitation of the Chinese style, made a very beautiful pot, and in turn sent it to the Chinese emperor. Westerners have a special liking for pots and pots, and there is a huge pot of pots in the West, the China Pottery Association, which has a long history. In Asia, it took Singapore, Malaysia, and the Philippines to start the earliest places. Before the reform and opening up, collectors in these areas went to the cultural relics stores in the Mainland to buy pots. At the time, a common quality pot required only a few dollars. This has led to a large number of ** pots flowing into their hands, and the domestically produced pots of paintings are also sold mainly in this area, and the collection heat has driven the development of local pot research.

There are many overseas fans. Today, the world’s most important pot collectors are overseas. For example, Canada’s rich Ken Thomson has donated numerous precious collections to the Ontario Museum of Art, including sculptures of the Renaissance, Baroque arts and crafts. It also includes more than 100 Chinese ** pots. The most prestigious Chinese potter connoisseur Oder in 1968 organized the creation of the first Chinese potters association in China. According to statistics, Odel has a total collection of more than 600 pieces of Chinese pots, including crystal pots imitated by Spanish silver coins.

Far away in Europe, you can also see the exquisite Chinese pottery collection. In the 18th century, the wife of Louis XV had spared no expense in collecting pots of Chinese porcelain, allowing French collectors to see the exquisite craftsmanship of Chinese craftsmanship, and the women of the aristocratic class to follow suit. Since then, the collection of pots has been received in France. The collectors' attention. In addition to private collectors, famous museums in France, Germany, Italy, Moscow, and London all have a large number of Chinese pots.

The most potent **pot collectors in recent years are Mary and Zhuang Zhibo. In November 29th, 2011 in Hong Kong's Bonhoeas Marie and Zhuang Zhibo Collector's Pot Special Auction, the China ** pot auction record was refreshed to 25 million Hong Kong dollars, and 170 pots totaled 59.637 million Hong Kong dollars. As the protagonists of the history, the collection of pots and pots jointly provided by Mary and Zhuang Zhibo not only represented their dedication to the collection of Chinese art, but also witnessed their love. These pots are the accumulation of 40 years of their lives. , Each one is selected by two people together to buy back.

In the last century, Mary and Zhuang Zhibo loved pots based on different opportunities. In 1917 Mary's parents came to settle in China from Warsaw, Poland. Mary, born in Tianjin, can speak Mandarin with a slight Tianjin accent. When she was 7 years old, she met the daughter of a Belgian consul and often visited her home. At that time, the smashing pot inside the display cabinet lost Mary. She made up her mind that in the future she would also have to fill her kennel in her own bedroom. Zhuang Zhibo, who was born in an industrial family in Vienna, was somewhat influenced by Mary. In the 1930s, Zhuang Zhibo, who was studying in the UK, heard a lot of bad news. His father died in Vienna, and the Nazi Germans captured Austria at this time and made Zhuang Zhibo’s family business public. In 1938, Zhuang Zhibo, who was stung to £20, came to Shanghai where the Jews gathered. However, he soon found a job at the local construction materials wholesale company and left the company several years later to start his own business until 1949. Then Zhuang Zhibo moved to Japan, which is under the jurisdiction of the U.S. military, and sold watches to U.S. soldiers and personnel stationed at the Asia-Pacific base, and created his Xingli International Co., Ltd. In 1969, Zhuang Zhibo and Mary met and married in Hong Kong and began collecting art together.

Due to the fact that there weren’t many special books related to pots in the early days, Zhuang Zhibo’s couples often chose their own favorites in the collection process. There are three criteria that they set: first, they must have great attraction and perfect artistic expression; second, they must be unique or made of exquisite and interesting materials; and third, they must have important artistic and historical interest, for example, Title, year, signature, money, and donation. For the first time, these treasures of Mary and Zhuang Zhibo show the world their unique charm in Sydney L. The gallery of Moss Ltd. was inspired and stimulated by these exquisite articles. Robert Kleiner published the book “The Pot of Mary and Chuang Zhibo”.

In 1990, their second exhibition of pots was held at the Galeries Lafayette in Paris. Three years later, they held their third exhibition at the Creditanstalt in Vienna. Both of these exhibitions were well-made pamphlets published in the same period. In 1994, they staged a ceremonial ceremony at the Hong Kong Museum of Art. This is an important chapter in the history of the ** pot exhibition. The book “The Investing in Fine Grains and Fibres: The Collection of Mary and Zhuang Zhibo’s Pots” was published. The book also became the authoritative work of the pot collection. In the second year, their pots were exhibited at the British Museum in London and the National Museum of Singapore, making the heat of the pot collection sweep across Eurasia. In the same period, authored by Robert Kleiner, the Monograph published by the British Museum, "The Collection of the Pots of Mary and Zhuang Zhibo," was published. Two years later, these treasures were splendid in the Israeli Museum in Jerusalem.

Material process determines value In ancient China, the pots used by the feudal aristocrats headed by the emperor, usually made from precious materials, were specially designed and created by highly skilled craftsmen. During the Daoguang period of Qing Dynasty, the establishment of the palace of the palace was a royal potter's workshop. The small pots of the pot lid made by the pottery were very convenient. In foreign countries, the profound ** pot art is a window for people to understand oriental art. In terms of materials, **pots are divided into six categories: feeders, jade, organics, ceramics, metals, and internal paintings; on the production process, calligraphy, sculpture, precision casting, inlaying, welding, sintering, forging, spotting, and boring are set. Adhesion, molding and other technologies in one; all kinds of appropriate material style is even more dizzying, and thus very popular with collectors. The best products are often sought after once they appear. Today, about 90% of the boutique pots are hidden overseas, including a large number of exquisite kiln pots in the Ming and Qing dynasties, and are also collected by foreign collectors.

For the collection ** pot, material selection is basic. Generally speaking, metal pots have fewer deposits, valuables such as gold and silver products are rarer, copper is more, and most of them come in the form of stencils, and the collection value of such pots is relatively high; Class ** pot, its value mainly depends on the texture, and more because of the rare and precious production materials; bamboo and horn pots are extremely rare, the teeth ** ** pots in the middle of the market value, not low is not low; pots and pots Is the most common pot, because of its more simple, the price is not high.

In addition, the decision ** pot collection value is its technical level, such as the lacquer ware pot is very common material, but because there is too little, but the production process is very beautiful, so the value is relatively high. In addition to the factors of the famous name, due to the difference in craftsmanship, objects made of the same material will often be in a world of difference, which is particularly prominent in the enamel, nesting and inner draw pots. Bronze fetal painting 珐琅 ** pot makers must carefully compose the picture on a square-sized table, use a variety of painting techniques to clearly draw it on the copper tire, and then go through a number of processes such as roasting to make the finished product. , The cost is also very high; the use of multi-layer sintering technology is needed to make the material pots, so that the color materials with different shades are highly plentiful after high temperature fusion, resulting in the effect of embossing; the inner painting pots, that is, with a special deformation The fine brushstrokes use skills to draw delicate figures, landscapes, etc. on the inner wall of the pot. If the famous pots are used, their value is even higher.

It is worth noting that in the recent international pot auctions, in addition to some well-known overseas collectors, new collectors in mainland China have also emerged. Through their active bidding, more and more quality products are returned to China. In the hands of people. In the recent “Mary and Zhuang Zhibo ** pot collection” auction, a bronze kimono for Western figures was purchased by a Asian buyer for HK$4.2 million, and held in New York in March 2011. The "Linda Ridell Huffman China ** pot collection special auction" scene, the number of Asian buyers exceeded the Western buyers for the first time, Los Angeles collection's biggest player Clare Chu said: "The most striking is that Chinese buyers have entered the market one after another and are actively participating in the bidding, which is unprecedented in the international pots industry and has also created an exciting and prosperous picture for the pot market."