Types of incense burners

When the incense burner originated is still inconclusive. Hu's "Analysis of Zhong Ding Instruments in Ancient Collection": "The ancients had gods and did not burn incense, so there was no incense burner. Today's so-called incense burners are all based on the sacrificial vessels of ancient ancestral temples. The Jue furnace is an ancient Jue, the Lu furnace is an ancient full bean, and the fragrant meatballs are ancient glutinous rice, and they are different. They are still newly cast and look like ancient ones. " However, Boshan furnace is used in Hantai uterus, and incense burner is made here. "

The Yue Kiln in the Eastern Han Dynasty is brown and glazed, vivid, simple and natural, and does not need a tray. This fragrance consists of an upper part and a lower part, which can be opened freely. The upper part consists of three layers of lotus petals in bud. Each row of lotus flowers has eleven petals, which are abstracted into triangles. Each petal is engraved with stems of different sizes, which is very clear. The top of the cover is decorated with a beautiful bird, slim and graceful, overlooking the distance, and below it is a cylindrical hollow pillar.

The green glaze furnace of Yue kiln in Jin Dynasty is very close to the traditional incense burner, and it is also a tripartite confrontation. But it has an elegant handle with a rotator on it, which is exquisite in workmanship and makes people have infinite reverie. The incense burner of Hongzhou kiln in the Southern and Northern Dynasties, with blue-yellow glaze and five feet, stood firmly on the plate and was intact.

Tri-colored incense burners in the Tang Dynasty are rare. Exposed tire powder, yellow, green and brown, the glaze naturally flows down, which looks calm and energetic.

Emperor Zhao, who was born in the Song Dynasty, has a high cultural accomplishment, likes retro and attaches importance to old ritual vessels. Three-legged tripod incense burner is the product of retro in Northern Song Dynasty. Due to the large number of bronzes, jades and pottery unearthed in the pre-Qin period, in the seventh year of Yuan You (A.D. 1092), Lu Dalin, a full-time keeper of palace cultural relics, compiled the Archaeological Map, collecting 2 10 bronzes and 3 jade 13 pieces. From then on, the identification of cultural relics was combined with academic research, which was not available before the Song Dynasty, which opened the precedent for the study of cultural relics in later generations and laid the foundation for porcelain to imitate pre-Qin ritual vessels in an all-round way.

Incense burners appeared in the imperial court of the Song Dynasty, and some small incense burners became playthings of literati, which had high artistic appreciation value and were imitated by later generations. The incense burner of Yaozhou Kiln in Song Dynasty was developed under the influence of Yue Kiln, with wide lips and green and natural glaze color, and it has the reputation of "being as clever as gold and more refined than jade". The Meiqing incense burner in Longquan study in the Southern Song Dynasty is exquisite and elegant, with three columns and three lines, three lines on the furnace body and a brown bottom.

The incense burners in the Yuan Dynasty did not escape the fashion in the Song Dynasty. There are many kinds of incense burners, mainly small and medium-sized incense burners. Hutian Kiln Blue and White Glazed Ear Tripod Incense Burner. The burner has a straight neck, a flat abdomen and a plump abdomen. A pair of rectangular vertical ears are attached to both sides of the shoulders. The foot has an obvious embossed animal face, and the whole body is painted with blue and white glaze. The tire is hard and greasy, and the glaze color is moist and opaque.

Most of the incense burners in the Ming Dynasty were blue-and-white porcelain, and colored porcelain also appeared in the blue-and-white incense burners in the Jiajing period of the Ming Dynasty. Emperor Xuande himself is a talented artist who is very sensitive to color, and colorful porcelain has been developed unprecedentedly.

Three-legged incense burner for colorful figures in Wanli period of Ming Dynasty: The production of colorful products reached its peak in Wanli period, which was characterized by thick carcass and milky white glaze. The decorative effect of the three opening patterns is excellent. The color of the old man's coat is dark red, light yellow and grass green, which looks calm and elegant, or immersed in reading, or bent down to meditate, or sitting at his desk. There is a "Daming Wanli system" around the neck.

After the rulers of the Qing Dynasty entered the Central Plains, they ruled the world with "filial piety", and the ritual atmosphere prevailed during the Kangxi period, and the Qianlong period became an unprecedented period of social development and prosperity. A generation of famous teachers and skilled craftsmen in Jingdezhen pushed porcelain production to the peak of history with their intelligence. Qinggan Longdou green glaze two-ear three-legged furnace, with delicate porcelain, thick glaze color, full internal and external glaze color, smooth and even, plump as jade, natural connection of ears, elegance without losing elegance. At the bottom, there is a green glaze model of "Qing gan long nian system"

The imperial incense burner in Guangxu period of Qing Dynasty was made of jade and was very thin. You can shine a flashlight on the light source outside.

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There are many styles of incense burners, including large, small, square, round, long and short; Materials such as copper, iron, tin, stone and ceramics are also different to show their different values; Carved with different patterns and words, indicating different uses. At home, there is an incense burner on the altar for ancestors to use. If Buddhists worship Buddha statues at home, don't forget to put an incense burner; Taoists worship God and use incense burners, all of which are used to burn incense. There are many kinds of incense burners with different shapes, which are used to burn different incense at different positions. For example, the big incense burner in the center or outside the hall of the Great Hero is mostly cast or carved from copper, iron and other metals, and the temple number is engraved on the furnace body for believers to insert incense. The incense burner on the table in the main hall is copper, stone or porcelain, which is used to burn sandalwood. There is a rectangular furnace tray in the main hall of the Buddhist temple, on which there is a delicate small incense burner burning sandalwood. Embroidery furnace is hung in front of the plate, which is very solemn and beautiful, and is dedicated to the abbot and monk. After the Buddhist ceremony in the main hall is completed, if you want to worship Buddha in other attached halls, the waiter will take the stove first, and the monk will go to the attached hall to burn incense. Lying incense burners are more suitable for Buddhist temples of believers at home, and there are also two kinds of bronze and porcelain. Cut off a bamboo branch below the incense line and burn it flat in the incense burner, so that the ash burner will not fly and pollute the altar. A small wooden incense burner carved with the shape of lotus has a long handle. Only one incense can be inserted, in the hands of monks and vegetarians during Buddhist ceremonies. It's called a hand stove. There is also a box incense burner dedicated to burning incense powder, mostly made of copper, which is divided into three layers. Put incense-burning model vessels in the lower layer and incense powder in the middle layer to make the upper layer burn incense; Most of the models are "shou" or "fu" in seal script, and they are cast into a continuous back-shaped hillock pattern with a thickness of about 0.40 cm. Put the powder on the model to make beautiful patterns; Burn at the starting point, cover the furnace cover and let it burn in order, which is elegant; This kind of incense burner is rarely used for offering sacrifices to Buddha or ancestors, but is mostly used for burning incense in Sichuan.

Incense burner has a long history in China society. At first, they were only used to burn incense. Later, it was collected by antique lovers and became antiques and works of art that people appreciated. In this way, the bronze incense burner with a long history, precious materials and exquisite carving is priceless, and it has lost the meaning of burning incense and supporting.

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Folding Ming Wanli blue and white chest and foot stove

The Wanli period of the Ming Dynasty was the decline period of the Ming Dynasty. Politics is dark and corrupt, aristocrats are extravagant, natural disasters and wars have been going on for years, people are hungry and cold, and social contradictions are unprecedentedly intensified. Emperor Wanli reigned for 47 years and was the longest-serving emperor in the Ming Dynasty. He did not hesitate to requisition a lot of manpower and material resources to build Dingling for himself. The quality of porcelain in this period of the Ming Dynasty also went from bad to worse because of the incompetence of state affairs.

This Ming Wanli blue and white chest and foot furnace, from Jingdezhen kiln, is a typical representative of the technology of that era. It is 22 cm in diameter and 9 cm in height. Blue-and-white parrot with peony pattern is full of flowers, with exquisite picture conception and smooth lines.

In daily life, parrot is a kind of auspicious bird that everyone likes. It has gorgeous feathers, beautiful posture and cleverness. After domestication, it can imitate human language. In ancient times, it was kept as a pet by dignitaries and literati. It is the symbol and expression of status, wealth and cultural accomplishment. The parrot in the picture has bright eyes and closed lips, and is ready to fly to the place it yearns for. Here, parrots play the role of finishing touch. The parrot flying with its wings spread and the peony with strong spring breeze are combined together, moving and static, and the combination of the two has a strong three-dimensional effect. The whole picture is vivid and natural, fresh and refined, showing warm and unrestrained humanistic feelings.

There are three peony flowers painted on the stove, which are in full bloom in the wind, and two budding flowers are shyly hidden aside. Peony flower is known as "the king of flowers" and "the beauty of the country", and it is famous for its large, colorful and gorgeous flowers. People in China have a tradition of liking peonies. In China, peony has been cultivated for more than 1500 years. As the saying goes, "Three Dynasties Peony in Grain Rain." Elegant peonies blossom everywhere in the Central Plains. Pi Rixiu, a poet in the Tang Dynasty, wrote in Peony: "When the residual red flowers are exhausted, the fragrance begins to bloom, which is called the king of flowers. Strive for the beauty of a westward journey, and the first fragrance among independent people. " The most interesting thing is that a little bee fills the gap between the stamens and leaves of peony, adding a bit of movement to the picture.

Whether it's a parrot or a peony, all the compositions are drawn in a single line. These lines are as tall and straight as steel wire, powerful and amazing. The tube in the furnace is coated with blue and white glaze, and the glaze is fat and positive. The upper and lower sections, leaving a gap at the interface, are the common technological characteristics of bottles, stoves and other porcelains made in the Ming Dynasty. The joint of this furnace is fine and smooth, and the joint is completely glazed. Only by touching it gently, the slightly uneven interface will make you feel where the interface is. Careful observation shows that there are some scattered small black spots on the bottom of the furnace, commonly known as sticky kiln, which were left by plant ash when he was burning porcelain. Nowadays, sticking kiln has become one of the secrets to identify the authenticity of porcelain. It can be seen that the porcelain clay used for sole exposure is a typical milky white kaolin. The three breasts of the stove are extremely full, leaving deep friction marks. It should be a sacrificial vessel of a temple or a big family, passed down from generation to generation.

Another feature of this incense burner is that the hair color of blue and white glaze is relatively pure. At the end of the Ming Dynasty, from the early years of Jiajing, green materials were transported back and forth from the western regions, and Jiangxi Shi Ziqing was used as the pigment of blue and white. If the proportion of recycled materials is slightly higher, the blue and white color will be bright and quiet; If Shi Ziqing uses too much, the color will be grayish blue. Because rejuvenation materials are expensive, Shi Ziqing is often used to describe decorative patterns from the end of Wanli to the year of Apocalypse. The blue and white flowers on this stove are bright and fresh, which should be artifacts from the middle and early Wanli period.

The new imitation porcelain is too bright to look fake. In order to imitate the "truth", manufacturers often adopt the method of polishing, that is, constantly polishing potatoes or hides until the matte effect is achieved. Unfortunately, this practice often leaves many traces of friction on the surface of porcelain. This incense burner is different, because it has high temperature and good uniformity when fired, and the glaze color is pleasing to the eye so far; After hundreds of years of tempering by nature, it is even more dazzling, and nature is different from the new imitation.

Folding Boshan incense burner in Southern and Northern Dynasties

Boshan incense burner in the Southern and Northern Dynasties is small and exquisite, with novel shape, which makes people fondle it. I have been collecting porcelain for nearly 20 years. When I first met you, I could see its preciousness.

Boshan incense burner, also known as Boshan furnace, is a common incense device in the Western Han Dynasty, which can be used to smoke clothes and quilts to deodorize and avoid filth. In the picture, the height and diameter of Boshan incense burner in the Northern and Southern Dynasties are 13cm and1cm. It has two layers and can be opened and closed naturally. The upper part of the work is fine and beautiful, linear carving, like a burning torch, passionate and unrestrained; It is also like a fairy mountain, with peaks and peaks. The whole mountain range is strewn at random from bottom to top, and the central spire is exactly 13, which is an auspicious number in our traditional culture. Boshan incense burner has four small holes. When incense burns in the belly of the furnace, smoke flows out from the hollowed-out "mountain", which is full of fairy gas, giving people a feeling of being in a fairyland. Its lower part is a flat-bottomed cup-shaped support, and its glaze is beige glaze. No makeup soil is applied, except that the local glaze is slightly thick, the glaze is evenly applied, and there are many small pieces on the glaze. The lid and the stove are consistent and integrated.

Boshan incense burner was popular in bronzes and ceramics in Han and Jin Dynasties. The furnace is a bronze bean-shaped, covered, high and pointed, hollow, mountain-shaped, and mountains overlap, among which birds and animals are carved, symbolizing the legendary sea fairy mountain-Boshan, hence the name. It is said in the Han Dynasty that there are three fairy mountains on the sea: Penglai, Boshan and Yingzhou. According to Miscellanies of A Tale of Two Cities, Chang 'an skillful craftsman is good at making Boshan furnace, and can carve rare birds and animals to decorate the surface of incense burner. The complexity of Boshan furnace technology far exceeds that of the five-legged or three-legged incense burner that appeared later. Lu Dalin, an archaeologist in the Northern Song Dynasty, recorded in the Archaeological Map: "An incense burner is like a mountain in the sea, and it is like the four rings of the sea."

Boshan furnace appeared in the Western Han Dynasty, which was related to the raw materials for burning incense and people's lifestyle. Before the Western Han Dynasty, people used Maoxiang, that is, put incense or wormwood in a bean incense burner and light it directly. Although the fragrance is rich, the smell of fireworks is very strong. During the period of Emperor Wu of the Han Dynasty, borneol and storax from the South China Sea were introduced to China, and spices were made into fragrant balls or sweet cakes, and charcoal fire was lit. These resin spices are slowly ignited under the high temperature of charcoal fire, with rich fragrance and little fireworks smell, so Boshan furnaces with different shapes and wonderful workmanship appear. The poem "Fu on Boshan Furnace" in the Six Dynasties said "Going to the King of Qin, riding a crane with purple smoke", and the poem "Yang Rebellion" by Li Bai in the Tang Dynasty said "In Boshan Furnace, agarwood is on fire, and two cigarettes fill Lingzixia", all of which describe the charming artistic conception of cigarettes lingering when Boshan furnace is fragrant.

In the Han dynasty, Boshan furnace was popular in the life of the court and nobles. 1968 The Cuojin Boshan Furnace unearthed from the tomb of Liu Sheng, King Jing of Zhongshan, Hebei Province is a witness, and its shape and craftsmanship have reached the peak. In addition to Boshan incense burner, celadon or white five-legged and three-legged porcelain incense burners appeared in Wei, Jin, Southern and Northern Dynasties.

Folding northern song dynasty ceramic lotus incense burner

This grey pottery lotus incense burner is13cm high and14cm in diameter. It looks atmospheric and has a unique shape. It is very rare to hold it in your hand. In order to write the book Searching for Famous Kilns in China, I visited ancient kiln sites all over the country, but I couldn't judge the origin of this incense burner. According to a friend, I bought it from the junction of Fujian and Jiangxi. Judging from the modeling style of the base, it should be something from the middle of the Northern Song Dynasty. But at that time, porcelain making was very popular in the Central Plains, and the pottery-making era of "Qin Brick and Han Wa" was a thing of the past. Pottery is no longer produced in most places. In front of us is a real ceramic incense burner, which makes people have to reconsider.

Lotus petals rise up one by one, naturally closing slightly, which is very solemn. The lotus petal furnace body has as many as five layers, which are strewn at random and have three layers of abutments connected together. The proportion is appropriate, calm and elegant. It can be seen from the peeling of the glaze of gray pottery that the fetal bone is orange clay and the firing temperature is about 850℃. From the point of view of lotus incense burner, it is closely related to the Buddhist culture and sacrificial activities in China. Since Buddhism flowed into China in the Eastern Han Dynasty, Lotus has formed an indissoluble bond with Buddhism and has become a symbol and sacred flower of the Buddhist country.

The sitting statue of Sakyamuni, usually seen in temples, is wearing a shoulder-length gown and holding a statement seal, sitting on the lotus platform. Guanyin Bodhisattva is famous for its great kindness and compassion. Guanyin is a free translation of Sanskrit. It is said that in the Tang Dynasty, Emperor Taizong Li Shimin was taboo, and the word "the world" was referred to for short. Dressed in white, she sits on the Bai Lianhua, holding a pure bottle in one hand and clinging to a Bai Lianhua in the other, as if to show a pure bodhisattva's heart with avalokitesvara, and make every effort to guide believers out of the dust, help the world to lift the disaster and reach the pure land where the lotus is in full bloom. "Hokkekyo" introduces the merits of Guanyin Bodhisattva in detail, as well as all kinds of rescue deeds. She can save suffering through various incarnations, so there are all kinds of Guanyin with different names and images, such as Baiguanyin, Songzi Guanyin, Shuiyue Guanyin and Thousand Hands and Thousand Eyes Guanyin.

When people read Buddhist scriptures, they often see that the Buddhist scriptures refer to the Buddhist country as "lotus boundary", the temple as "lotus room", the monk's robe as "lotus dress", the monk's handprint as "lotus fight", and even the "rosary" used by monks is made of lotus seeds.

According to fossils studied by paleobotanists, lotus was distributed in many waters in the northern hemisphere10.35 billion years ago. China scholars also attach great importance to lotus, which has richer and more complex cultural connotations than plum, orchid, bamboo and chrysanthemum. Lotus is of special significance in four aspects: reproductive worship, practical utility of Confucianism, nature and practice of Buddhism, and personality cultivation of Neo-Confucianism. There is a sentence in Nineteen Ancient Poems: "Lotus is picked on the river, and Lanze is full of grass. Who is eager to leave? Thinking far away. " "Folk Songs of Yuefu in Southern Dynasties" says: "In autumn, lotus is picked in Nantang, and the lotus is over the head." Bow your head and make lotus seeds, green as water. "These poems are lofty in artistic conception, reflecting real life, which is memorable. People can see the beauty of lotus flowers and enjoy the beautiful scenery of "red powder reflecting clear waves"

The pottery lotus incense burner shows its rich cultural connotation. In the era of porcelain unification in the Northern Song Dynasty, this kind of pottery lotus incense burner was unique.

Folding Ming lacquer incense burner

Incense burner is an ancient tripod-shaped utensil. In the past, most incense burners in temples were made of copper and iron. Some smaller incense burners are made of jade, stone, pottery, porcelain, wood, copper and so on. , suitable for practical use and viewing. A censer with a lid can hold spices. After ignition, the smoke rises from the hole of the lid, diffuses, and sometimes gathers and disperses, giving people infinite reverie.

This large lacquer incense burner in Ming Dynasty is 157cm high and 60cm in diameter. It consists of three parts: the bottom foot is covered with mud, the belly furnace body and the head Malone furnace cover. The overall shape is like a bronze tripod in Shang and Zhou Dynasties, the furnace body is like a three-legged round tripod, and the furnace foot is like a four-legged Fang Ding, which integrates the softness of the round tripod with the rigidity of Fang Ding. The dragon horse on the stove cover is a leading horse with wings spread and flying. The connection between the stove belly and the stove foot is a turtle, and the stove foot is an elephant trunk. Throughout the whole treasure furnace, the shape is simple, the standard atmosphere, simple but not simple, Gu Zhuo but not crude, ethereal but not empty. The relief turtle face is made of clay gold, the details are exquisite and simple, and the beast is vivid and vivid. The dragon horse, roaring with its head held high and ready to go, is full of strength and movement. Linling fills the whole furnace body, especially the outside of the furnace body is painted with black paint, and the cinnabar base is painted with gold. The paint surface is as bright as new, the painting technique is exquisite, the color is calm and shiny, and the patina is thick.

The dragon horse on the stove cover stepped on the water ripples, forming a strange pattern of dotted lines. There is a turtle at the waist of the stove, which is the meaning of "the river makes a picture, the book makes a book, and the sage makes it" in the Book of Changes. Confucius prefaced The Story of Shangshu Houbao River, saying that "the husband has the world, and the dragon and the horse have the negative picture from the river", and Shangshu Hongfan said: "Heaven is a gift, and Hongfan has nine realms"-one of the legends is that Fuxi painted eight diagrams with the jumping dragon horse's back, and achieved "nine kinds of common ways" with the turtle's back. The floor-to-ceiling lacquer incense burner is an important ritual vessel placed in temples, ancestral halls and palaces in the Ming Dynasty. When major sacrificial activities are held, it stands solemnly in a prominent position, and the dragon and horse hold their heads high on the furnace cover and slowly spit out plumes of smoke from their mouths. Smoky, mysterious and solemn ... Over the past few years, the situation has changed, and great changes have taken place in Wan Muchun. There may be one or two temples in the Ming dynasty, but there are large ritual vessels such as lacquerware and incense burners in the old temples.

Folding incense burner of Jiexiu kiln in Song Dynasty

In Song Dynasty, the incense burner of Jiexiu kiln in Shanxi was unique in shape, with uniform glaze color, yellow in white, bright in color, dense in small pieces of glaze, exquisite in craftsmanship and elegant in style, which was rare in the development of ancient incense burners in China. Someone used to use this stove as a lamp, but Shaanxi Yaozhou Kiln Museum exhibited it as a incense burner. Some people think that this incense burner can be seen in the Tang and Five Dynasties, but I think there is still room for dating. After all, the peak of Jiexiu kiln was in the Song Dynasty.

This incense burner is 10.5cm high and1cm in surface diameter. The mouth of the incense burner is thick and naturally droops, forming a small slope. The thick lips are 3cm wide and look very natural and harmonious. The furnace core is round, about 6 cm deep, and the tire is exposed inside, clearly leaving traces drawn by craftsmen at that time. The base is flared, not glazed, revealing gray fetal bones, and there are three Zhi Ding for shooting on the soles of the feet. The whole utensil is divided into three layers, from small to large, very regular. Although the incense burner utensils are not big, they conform to the principle of "small things make great things" in the Song Dynasty. It looks noble and simple, and it is also pleasing to the eye to play with in your hand.

The shape of this incense burner is indeed very similar to the pottery beans in the Neolithic Age or the pre-Qin period, and also similar to the bronze beans in the Shang and Zhou Dynasties, so we have reason to say that it has a certain relationship with pottery beans and bronze vessels.

Taodou was popular from Neolithic Age to Han Dynasty, and its shapes were mostly shallow dish, high circle foot, shallow charity shape, trumpet shape, hollow shape and so on, which was the characteristic of Majiabang culture. Majiabang culture is about 6000 years ago, which is a typical culture in the matriarchal period around Taihu Lake Basin. From pottery beans to bronze beans, the shape of beans has always maintained the basic shape and has always been an important member of the ritual combination. In the composition of the word "ceremony", "bean" is also the protagonist, which fully shows the weight of bean utensils in the hearts of the people. According to research, the peach bucket is mainly used to hold "vegetables". In ancient times, pottery bowls were tableware for personal use, similar to modern rice bowl utensils. Taodou is shallow and small in shape, which is different from the bowl for "rice". Only a small amount of "non-staple food" can be loaded, which is probably the predecessor of porcelain plate. There is a difference between staple food and non-staple food, which is a way of life derived from rice farming society and one of the traditional characteristics of oriental food culture. The tall and steady pottery bean can not only highlight the visual effect of the "dish" in the bean container, but also conform to the lifestyle of the ancients sitting on the floor, making it convenient to clip the "dish". The wisdom of the ancients can be seen.

When I was writing the book Looking for Famous Kilns in China, I visited Jiexiu Kiln, which is located in Hongshan Town, Jinzhong, and was discovered by accident when I was engaged in irrigation and water conservancy in 1957. Experts believe that the firing level, firing scale and historical influence of Jiexiu kiln white porcelain are slightly inferior to Ding kiln, but its whiteness is high, which is 78.3℃ by scientific test. The fetal quality is delicate, bright and hard, and the knocking sound is crisp. The firing temperature should be around 1300℃, which is similar to modern white porcelain. There is a "small jasper" demeanor.

Bowls, plates, lamps and other utensils are usually packed and burned by Zhi Ding mats. Generally speaking, there are three small Zhi Ding pads on the round foot of the vessel. When burning, the nails are facing down and stacked in turn. After burning out of the kiln, bowls, plates, lamps and other utensils will leave three tiny burn marks on the inside. This burning method is unique to Jiexiu kiln, which is why I regard this incense burner as Jiexiu kiln incense burner.

Folding blue-and-white sea scented incense burner

Ming Yongle blue and white sea incense burner, 55.5 cm high, 37.3 cm in diameter and 38 cm in foot distance.

This stove has a wide mouth, a short neck and a bulging belly. Take three legs, put your shoulders and your ears in the air. White glaze is applied inside. The outer wall is painted with sea cliffs.

This device is similar to the bronze furnace of "Yongle Year in Ming Dynasty" collected by Qinghai Provincial Museum. Its shape is huge, the blue and white colors are rich, the halo is obvious, and the condensed black spots are densely covered in the ornamentation. The pattern means that mountains and rivers will last forever. Being able to burn such magnificent and beautifully decorated porcelain reflects the superb porcelain-making skills of Jingdezhen kiln workers at that time.

The sea patterns on porcelain in Yongle and Xuande periods in Ming Dynasty were generally undulating and choppy, which was much more decorative than that in Yuan Dynasty.

Folding editing this culture

The history of incense burner culture in China can be traced back to Ding in Shang and Zhou Dynasties. The bronze tripod in ancient China was used for cook the meat, sacrifice and so on. Ancestors gave everything they had to pray for peace for their tribe and country, but this is still different from the incense burner we see today.

"Rizhao incense burner produces purple smoke", and the great poet Li Bai's "Looking at Lushan Waterfall" has been circulated throughout the ages. The work describes the incense burner peak on Lushan Mountain, reflecting the first day, purple smoke, waterfalls hanging high and rushing, showing the weather in the prosperous Tang Dynasty and people's preference for incense burners. In people's living habits, it is considered that the biggest function of incense burner is to worship Buddha or ancestor. In fact, incense burners are also the favorite things of literati. If it is placed on the desk in the hall or study, it will smell fragrant when reading, and there will be a wonderful artistic conception of "reading at night with tea". Spiritual incense burner endows people with more spiritual life. It transcends simple visits and pursues and appreciates profound history and culture.

After Indian Buddhism was introduced into China, it had a relationship with the local culture, gradually changed its appearance and merged into the traditional culture of China. Confucianism, Buddhism and Taoism constituted the mainstream of China culture. During the Wei and Jin Dynasties, people interpreted Buddhism with Laozi and Zhuangzi. After the Eastern Jin Dynasty, Buddhism and metaphysics tended to merge, which was deeply appreciated by literati. Until the Southern and Northern Dynasties, the independent status of Buddhism, together with its deep-rooted spiritual and cultural influence, was in full swing, especially when Dharma, the founder of Zen Buddhism, came to China, and Zen Buddhism in China began. It has become a common practice to build buddhas and temples everywhere, and incense burners are widely used as sacrificial vessels.