Yang Jing couldn't think of any other country's porcelain except Japanese porcelain that had such obvious features as bright red, bright green, black and white, or a variety of colors on the same piece of porcelain.
Although there are also colored porcelains such as Tang Sancai and underglaze colored porcelain among Chinese porcelains, the colors of Chinese porcelains are definitely not as colorful as Japanese porcelains.
The most important thing is the shape. Although Japanese porcelain is inherited from China, a small place is a small place, and the porcelain made there lacks a sense of grandeur. In the eyes of Yang Jing, who is used to seeing the fine porcelain made by the ancestors of China, the more than ten Japanese porcelains in front of him all reveal a sense of pettiness.
However, it is still a rare thing to see Japanese porcelain in this era. This is only 1982, and it is far from being like the 21st century in the original time and space, where Japanese porcelain can be seen from time to time. In this era, although Japan and China have reconciled their relations, Japanese porcelain still rarely appears in China.
So what about these dozen or so Japanese porcelains in front of us?
Yang Jing asked the stall owner in Jinling dialect: "Boss, can I start?"
Yang Jing studied in Jinling for four years and spoke the Jinling dialect quite fluently. At least if you didn't listen carefully, you couldn't tell that he was from another place.
The boss hadn't said anything until now, and just nodded slightly at this time.
Seeing this, Yang Jing reached out and picked up a plate with a diameter of about 27 or 28 centimeters and began to look at it.
The plate is dark blue all over, but there are also some yellow, cyan, green, purple and other colors on it. At first glance, it looks like a naughty child has knocked over a palette.
Of course, although these colors are a bit messy, the graphics are fairly regular, like petals, and a bit like splash graphics. Although Yang Jing couldn't figure out what the graphics on the plate were after looking at them for a long time, the graphics gave people a pretty comfortable feeling.
Almost subconsciously, Yang Jing activated the "identification" skill, but the answer given by the holy ring made Yang Jing stunned.
"Reviving Kutani, 1880, Abe Bihai."
According to the Japanese pronunciation of porcelain, "烧" means porcelain.
Among Japanese porcelains, the most famous one is Kutani ware. Although Kutani ware is not the earliest porcelain produced in Japan, it is the most famous and artistic porcelain in Japan.
The earliest ancient Kutani ware was influenced by the dyeing and painting of Kyushu Arita ware, and was produced by the interaction with the porcelain style of the northern Kaga region. It is said that the first lord of Kaga Daishoji Temple, Maeda Toshiharu, ordered his retainer Goto Saijiro to go up the Daishoji River in the Meireki years and open a kiln in the remote village of Kutani in the mountains, which lasted until the early Genroku period. In order to distinguish it from the "Revival of Kutani" that began at the end of the shogunate, it is generally called "ancient Kutani ware".
In other words, Kutani ware is actually divided into two stages. The first stage is from the emergence of Kutani ware until the kiln was shut down in 1730. The Kutani ware of this period is "ancient Kutani ware", which is the earliest Kutani ware.
From 1810, Kasugayama Kiln was established in Kanazawa, ushering in an era of Kutani porcelain revival. Kasugayama Kiln popularized the non-wooden style; Yoshidaya Kiln advocated the restoration of the ancient Kutani porcelain style; the Guanben Kiln was known for its fine red painting; and the Yongle Kiln created the Jinlan hand-made porcelain school.
This stage of Kutani ware is called "Revived Kutani".
The plate in his hand was actually produced in 1880, and was obviously a Zaixing Kutani ware. Although Yang Jing was a little confused about who this "Abe Bikai" was, his intuition told him that this plate should be a very good old item.
In fact, no matter who made it, no matter whether it is Japanese porcelain or not, the porcelain from 1880 is more than a hundred years old, and it is still an old object after all.
1880 was exactly the sixth year of the reign of Emperor Guangxu. Porcelain produced in this era, even if it was produced by folk kilns, was of considerable value.
Yang Jing calmly put down the plate in his hand and picked up a teacup. The color of this teacup was similar to the plate, and it was very likely that they were made by the same person. After identification, it turned out that this teacup was also made by "Abe Bikai", but three years earlier.
Moreover, this teacup is a set. Four teacups and a teapot together form a set, and they are well preserved.
In tea culture, a teapot is paired with four teacups, representing east, west, south, north, or spring, summer, autumn and winter. Therefore, most tea sets are paired with a teapot and four teacups.
After putting down the teacup, Yang Jing looked at the remaining porcelain and found three bowls of different sizes, a bottle that looked like an open bottle, and a jar with a lid that was not much bigger than a garlic mortar.
There are eleven pieces of porcelain in total. Yang Jing handled them one by one and identified them. He found that these Japanese porcelains were all made by the same person.
Yang Jing put down the porcelain in his hand, pointed at it and asked the boss: "Boss, how much do you sell these porcelains for?"
The boss looked at Yang Jing, stretched out two fingers and shook them at him.
This gesture puzzled Yang Jing, so he asked carefully: "Twenty?"
The boss' eyes suddenly widened, an angry look appeared on his face, and he continued to shake it vigorously.
Yang Jing was stunned for a moment. It was obvious that he had guessed wrong, so he whispered, "Could it be two?"
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