Blue-and-white porcelain in Ming dynasty is orthodox and tianshun

Official kiln porcelain is rare, because it is illegal to burn blue and white porcelain in the orthodox period. However, Jingdezhen Imperial Ware Factory did not completely stop making porcelain, but did not write a formal official kiln model.

1986, a blue-and-white peony animal ear statue (incomplete repair) appeared in Hong Kong, and the words "The first month of the next year (1437) was auspicious, and disciple Jincheng offered it" were revealed at the bottom. Its calligraphy is in the Ming Dynasty style, with rich shapes, strong cyan, distinct peony patterns, and its modeling, painting and blue and white colors do not lose its virtue. In our daily life, we often see similar bottles and jars, and often draw peacocks and peonies, immortals riding cranes, dragons, phoenixes and unicorns, high leisure, chess, calligraphy and painting, visiting friends, Lao Tzu preaching, lotus pond mandarin ducks and so on. The picture of Xianshan Pavilion surrounded by clouds is more prominent.

1973, five blue and white cans were found in the tomb of Zhu Panxuan, the eldest son of Zhu Quan, Ning Wang, in the second year of Ming Dynasty in Xinjian County, Jiangxi Province. All of them are decorated with lotus flowers, and the whole jar is covered with five layers of wheel patterns. Some are lined with lotus flowers and eight treasures, and blue-and-white porcelain is rich, which is consistent with Xuande's blue-and-white porcelain style.

There are also two identical blue and white pen holders, both in the shape of Wufeng Mountain. A blue-and-white painting of a mountain cloud pavilion is called "Yuntang Hand" by Japanese ceramic circles. The other one is written in China blue and white on the front, and the back is painted with a decorative pattern similar to the dermatoglyphics of bamboo shoots to show that the mountains overlap, the color is black and brown, and the brushwork is heavy. Although it is made in a folk kiln, it is a masterpiece of orthodox blue and white porcelain.

Jingtai's blue-and-white porcelain has not been seen yet. A number of blue and white wares of folk kilns, such as three-legged drum furnaces and halberds, were unearthed in the tombs of Jingtai in Jingdezhen, Jiangxi Province in the fourth and seventh years. The painting style is simple and the characteristics are similar to those of the previous dynasty. The firing quantity is large, and the imported materials and the domestic "Ping Dengqing" materials are used together. "Ping Dengqing", also known as "Bite Tang Qing", originated in Leping County, Jiangxi Province. Later, it came from behind and gradually replaced "Su Nibo Qing". It is characterized by stable color, bluish gray or blue fur, and low iron content, so it does not appear black spots, is heavy but not floating, and is famous for its warmth and elegance. Its ornamentation and painting are exquisite, the pen is slender and soft, clear and thorough, and it is lined with white and delicate glaze color, which makes the blue and white wares of this period become exquisite works of art.

1973 and 1987, a large number of Chenghua imperial kiln broken porcelain were unearthed at the site of Jingdezhen imperial ware factory, with blue and white porcelain being the largest. Among them, there are plates and bowls with decorative patterns such as pine, bamboo and plum, there are double lion balls, Kirin and marine animals, and there are tanks of Ganoderma lucidum or Feilong. , different shapes and sizes. During Chenghua period, plates, bowls, cups, saucers and Gao Zubei were the most common small utensils with thin tires, light weight and beautiful shapes. Decorative patterns are mostly outlined and colored with double lines, which are extremely exquisite and neat. Flowers and birds, ice lotus, okra, Jiuqiu, Lianchi Yuanyang, seaweed, Jilong, Capricorn, Yunting, nobles and other paintings. All of them are vivid and elegant, with Buddhist cross pestle and Sanskrit scriptures fluent. It is a miracle of a generation to repair the Sanqiu Hua Die Cup as thin as an eggshell. There are few official kiln wares, most of which are fired in private kilns. The blue and white colors of the apocalypse are bright and vivid, and there is also a blue with a large gray degree. Compared with the early Ming dynasty, the craft is obviously rough, and the decoration is mainly painted and dyed. Some are blue-black or gray, and at the same time, there are shades of mixed water, distinct layers and lush colors, which are fresh tones that transition to clear colors. There are plum bottles, stoves, pots, pots, altars, flower beds, water purification bowls, plates, bowls, cups and so on. Generally, the carcass is thick, loose and compact. His fine works, thin and light, understated, as soft as Song paintings, are rare in past dynasties. For example, the Eight Immortals Dragon Button Bell and the official kiln pine and bamboo pattern small cups painted in the book "Summer Dream and Moon Creation in the First Year of Tomorrow" are all fine works in the late Ming Dynasty. Green flowerpot, bright and deep in color, is painted with Zhejiang materials. At first, the dyeing method was adopted, which changed the dense style of Wanli and made the decoration extensive. There are stories of Dharma, Lohan and others, as well as animals such as tigers, cows, deer, geese, fish and shrimps, as well as freehand landscapes, which have the characteristics of bold and exaggerated freehand brushwork. Japanese ceramic scholars call this kind of work "ancient dyeing salary", which belongs to export goods and has Japanese ceramic style.

During the Chongzhen period, Jingdezhen Imperial Ware Factory stopped waste. Up to now, there are many kinds of folk kilns with poor technology, and most of them are suppliers, such as cylindrical incense burners, which often draw rough dragon patterns, mostly gray to dark brown in color and mostly faint in color. The artifacts of Chongzhen in 7 years, 8 years, 9 years and 10 years have the same style, with thick colors and dark spots, which seriously affect the clarity of ornamentation and fonts and are often blurred. At this time, the blue-and-white porcelain ware has a special style of transition to the Qing Dynasty, such as the blue-and-white round box with the style of "Chongzhen Year in the Ming Dynasty", which has a delicate and neat white lotus pattern on the blue-and-white bottom, a flat bottom and more exposed tires on the toes; Another example is the blue-and-white incense burner depicting the pattern of Lohan. Dharma climbs to the top, and the honeysuckle pattern is engraved on the upper shoulder. The pattern is simple and elegant, and the blue color is bright. At the bottom, there are the words "Chongzhen Year of Daming" with neat handwriting.

Decorative patterns are mostly thick lines, some with light strokes and some with splash ink. The subject matter is mainly sketching, and the characters drawn are coarse and fine, which has an extensive and vivid style in the late Ming Dynasty. Its exquisite and beautiful figures and beautiful landscapes are the forerunners of blue and white flowers in the Qing Dynasty, and there are pictures of stories from various countries, nobles in the mountains, the Eight Immortals and arhats, which are quite typical.