Traditional Culture Encyclopedia - Traditional festivals - Qing Palace's Old Collection: Dating and Appreciation of "Fish Porcelain" in Jingdezhen in Ming and Qing Dynasties

Qing Palace's Old Collection: Dating and Appreciation of "Fish Porcelain" in Jingdezhen in Ming and Qing Dynasties

Fish pattern, one of the traditional decorative patterns in ceramic decoration, can include the combination of fish pattern and other patterns in a broad sense, and only refers to pure fish pattern or fish pattern in a narrow sense. Fish patterns appeared in painted pottery unearthed from Neolithic sites in Anbanpo, Xi 'an, and painted pottery pots with fish and stone axes were unearthed in Linru, Henan. Later, fish patterns were widely used in bronzes and jades in Shang and Zhou Dynasties, lacquerware and painted pottery in Qin and Han Dynasties. In the Tang Dynasty, fish patterns began to be used for porcelain decoration. Ding Kiln, Jingdezhen Kiln, Longquan Kiln, Yaozhou Kiln and Cizhou Kiln are all decorated with a large number of fish patterns. During the Ming and Qing dynasties, there were many kinds of fish-pattern porcelain produced by Jingdezhen official kiln, which attracted the most attention.

I. Overview of Fish-pattern Porcelain in Ming and Qing Dynasties

1, Ming dynasty fish pattern porcelain

In the Ming Dynasty, the production of fish-pattern porcelain centered on Jingdezhen appeared unprecedented prosperity, with rich varieties and strong flavor of the times. The Palace Museum in Beijing has the following collections: small bowls carved with fish patterns in blue glaze, four fish patterns in Xuande glaze, white hualien pattern in Xuande Ji blue glaze, algae pattern in Xuande white glaze, five fish patterns in Chenghua, five fish patterns in Hongzhi, four fish patterns in red and green color, white fish pattern in red glaze, red peacock green glaze and red fish pattern in Zhengde, and Zheng Dehe pattern. 1), Jiajing blue-and-white fish lotus pattern jar, Jiajing imitation Xuande blue-and-white fish lotus pattern diamond fancy wash, Jiajing blue-and-white fish lotus pattern bowl, Jiajing blue-and-white fish algae pattern dish, Jiajing blue-and-white lotus pond fish peony pattern fancy wash, Jiajing blue-and-white fish algae pattern Ji Zun (color version 1, 2), Jiajing blue-and-white fish lotus pattern jar, Jiajing colorful fish algae pattern. It was the most common in Jiajing period, from painting a single crucian carp in the early days to painting mackerel, carp, carp and crucian carp, which were large in size. Draw a fish on each side of the bottle, jar, plate or bowl, which are symmetrical to each other, and the space is lined with water plants, lotus flowers and duckweed. Jiajing fish pattern is richer in decorative content and more advanced in artistic treatment than Yuan Dynasty. They can be closely combined with reality to present fish, shrimp, crabs, tadpoles and algae in deep water boldly and vividly through pictures. Delicate painting, dense decorative patterns, rich colors, strong decoration, influenced by the painting style of the late Ming Dynasty, and strong commercialization.

Ming Jiajing multicolored fish cover algae pattern jar

Ming Wanli blue and white fish algae garlic bottle

Ming Xuande Blue Glazed White Flower Fish Lotus Plate

Ming Xuande glazed red three fish lines Gao Zuwan?

2. Fish-patterned porcelain in Qing Dynasty

Porcelain industry reached its peak in Qing Dynasty. Decorative patterns not only inherited the excellent tradition of the previous generation, but also developed and innovated. The types, quantities and combinations of porcelain fish patterns exceeded those of the previous generation. The collection of the Palace Museum in Beijing is extremely rich. What you see is arranged according to year and color glaze as follows:

Fish-pattern porcelain in Kangxi period

At this time, there are 90 pieces of * * * in the palace. According to the varieties and utensils of glazes, there are the following types:

(1) Blue-and-white: blue-and-white fish dragon-patterned high-legged plate, blue-and-white fish dragon-patterned dish, blue-and-white fish dragon-patterned folding bowl, blue-and-white fish dragon-patterned pen holder, blue-and-white fish four-fish-patterned jar, and blue-and-white fish swimming in yellow land.

Qing Kangxi blue and white fish algae jar?

(2) Glazed red, red color: glazed red water witch with three fish patterns, glazed red double fish pattern bottle, glazed red fish pattern pan bottle, glazed red sea fish pattern jar, glazed red fish algae pattern fish tank, pink green glazed red water city with four fish patterns (color plate 1 3), Fan Hong fish pattern folding bowl, Lang Yaohong goldfish algae pattern basin, and Fan Hong five-color fish.

(3) multicolored: multicolored fish dragon pattern washing, multicolored four-fish pattern dish, multicolored four-fish pattern folding bowl, multicolored five-fish pattern bowl, multicolored fish algae pattern jar, multicolored betta silver ingot cup, multicolored fish pattern dish outside Li Long, multicolored poem pattern dish of Pisces, multicolored fish algae pattern dish of Sichuan Joy and multicolored fish algae pattern dish of Sichuan Joy.

Qing Kangxi colorful fish algae pattern croquet bottle

(4) Imitation of Ming Fish Pattern Porcelain: Imitation of Xuande Five Fish Pill Pattern Plate, Imitation of Xuande Blue Glazed White Fish Algae Pattern Plate, Imitation of Xuande White Glazed Convex Fish Dragon Pattern Plate, Imitation of Chenghua Doucai Drawing Bowl, Imitation of Chenghua Eight Fish Pattern Bowl, Imitation of Chenghua Yellow White Fish Pattern Shi Liuzun, Imitation of Chenghua Blue Red Fish Pattern Skimming Bowl.

(5) Other varieties: red fish pattern plate sprinkled with blue gold, goldfish pattern croquet bottle painted with wine blue (color plate 1, 4), white fish algae pattern bowl painted with blue, yellow glazed fish pen mountain, white glazed fish algae pattern bowl, peacock green glazed fish water injection, plain three-color fish grass pattern bowl, etc.

Fish-pattern porcelain in Yongzheng period

At this time, there are * * * 465,438+0 pieces in the palace, which are classified according to glaze varieties and utensils as follows:

(1) Blue and white: blue and white fish algae pattern plate, blue and white fish algae pattern basin, blue and white purple five fish pattern sea gourd bottle, imitation blue and white four fish pattern bowl, etc.

(2) In-glaze red color: In-glaze red three-fish bowl, three-fish handle bowl, three-fish tall plate, three-fish plate, red three-fish bowl, red fish algae Guanyin bottle, etc.

(3) Pastel, multicolored and bucket color: pastel fish-algae pattern plates are washed along, pastel flower four-fish pattern plates, multicolored fish-algae pattern bowls, multicolored fish-algae pattern bowls and bucket color imitation running water cups.

(4) White glaze: Pisces pattern bottle (swatch 1 and 5)

Ganlong fish pattern porcelain

At this time, there are 36 pieces of * * * in the palace, which are divided according to glaze varieties and utensils as follows:

(1) Blue-and-white: blue-and-white fish algae bowl, blue-and-white fish algae basin, blue-and-white sea fish dragon mottled high-legged plate.

(2) Red in glaze: broken-branch Pisces ear wash, five-fish pattern plate, three-fish pattern bowl, and red fish algae plate in blue-and-white glaze of bean green land.

(3) Pastel: fish algae pattern basin, landscape fish algae pattern folding basin, four-line goldfish rotating bottle (color plate 1, 6), red five-bat pattern plate in the pastel fish algae outside the bean green land, yellow pastel fish pattern bottle, beige pastel wood grain glazed fish dragon pattern lying foot bowl.

(4) Others: imitation Longquan glazed fishbone goblet, azure glazed Pisces bottle, black square bucket cup with fishbone pattern on the outer landscape, imitation black gauze fishbone pattern embedded time-table gourd wall bottle, etc.

Second, the cultural connotation of fish-pattern porcelain in Ming and Qing Dynasties

The extensive use of fish decorative patterns in Ming and Qing porcelain is not accidental, but the result of historical accumulation. Tracing back to the source, fish patterns run through the whole ancient China society. For example, painted pottery basin with fish pattern in Neolithic Age, turquoise fish pendant unearthed in patriarchal society, turtle fish pattern plate in the middle of Shang Dynasty, bronze Pisces bottle in the middle and late Western Zhou Dynasty, copper plate with fish pattern in the early spring and autumn period, fish pattern tile with bird's head in Qin and Han Dynasties, fish bag and fish symbol on official clothes in Tang and Song Dynasties, "fish contract" for sending troops in Tang Dynasty, "fish key" in the palace in Song Dynasty, fish and algae map in Song Dynasty, etc. Among them, fish-pattern ceramics are the most abundant and have a long history, which has been around for 7 thousand years.

Fish, as the most common animal in water, why can it be active in the long history of China for a long time? It has become a cultural factor deeply integrated into the blood of the Chinese nation, but why can fish be intertwined with the history and culture of China? This is the further discussion of this paper.

1, Fish and Sacrificial Religion

Engels pointed out in the preface to the first edition of The Origin of Family, Private Ownership and State: "According to the materialist point of view, the decisive factor of history is, in the final analysis, the production and reproduction of direct life. However, there are two kinds of production itself. On the one hand, it is the production of means of subsistence, that is, food, clothing, housing and transportation and the tools necessary for this, on the other hand, it is the production of human beings, that is, the reproduction of species. " In the long-term economic life of fishing and hunting, the ancestors of primitive society had a deep understanding of fish. "There are many children in the belly of a fish" has triggered the association of ancestors to reproduce. Wen Yiduo believes that the symbolic significance of fish comes from the fact that fish is the most fertile, which is directly related to primitive people's worship of reproduction and their attention to racial perfunctory. Breeding events such as "carp swing" inspire people to fantasize about improving and enhancing people's reproductive ability with the help of fish's vigorous reproductive function, so that future generations can flourish and fish can become the object of reproductive worship. 1958, Fan Ye's early rock paintings discovered in Xigaze County, Tibet, showed a similar concept of reproductive worship. One of them painted the sun and the moon, male and female organs, birds and fish. In the picture, there are ten small fish in the belly of a big fish, four people wearing bird-shaped masks are dancing below, and there are three small fish around. The sun, moon, male and female genitals, fish and birds in the painting all represent the correspondence of yin and yang, and the concept of reproductive worship is rendered in many directions. The fish pattern on Banpo's face is a portrayal of people in fish. Some people say it is a symbol of totem, others say it is a "fish man", and others think it is an early religious ceremony.

According to Zhao Guohua's On Reproductive Worship Culture, people think that the appearance of Pisces symbolizes the vulva, from which menstruation flows. They symbolize women's menstrual blood and create a fish blood sacrifice, so that women can have more menstrual blood and reproduce their own population. Ancient humans also used water as a symbol of women's menstruation, which was called "believing in water", "moonlight water" and "passing water" Because women have menstruation (believing in water), menstruation is associated with water phase. After human beings entered a society dominated by agriculture, the concept of water as a symbol of women was handed down by primitive people, so the fish blood sacrifice evolved into a ritual of offering sacrifices to fish for rain. "The Century of Emperor Earth": "The Yellow Emperor crossed Luoshui and saw a big fish, killing five animals with wine. It's raining heavily. " In the method of seeking rain described in Dong Zhongshu's Spring and Autumn Stories, eight live fish ("eight raw fish") were sacrificed to worker ants during the spring drought; When praying for rain in autumn, Tai Hao also offered sacrifices with nine paulownia fish ("nine paulownia fish"). In the pre-Qin classics, there are many records about taking fish as sacrifices. For example, "Gouzi Li Lun" said that "Shogen wine is respected, fish is still raw, and beans are the first soup." "Tube. Light and heavy articles: "The sacrifice of the five virtues is the five senses of Yao. Orchids are worshipped in spring and fish are preserved in autumn, and giants are considered as a dish. If this is the case, the signs of Zeyu will be a hundred times different. "

2. Zhuangzi's thought of "fish music"

"Zhuangzi Qiushui" says: Zhuangzi and Keiko swim on the Hao Liang. Zhuangzi said, "Fish swim leisurely and have fun." . Keiko said, "You are not a fish. How can you know that fish are happy?" ? "Zhuangzi said: I am not a child." Do you know that I don't know the happiness of fish? "Keiko said," I am not a son, and I really don't know my son. "Children are not fish. Children don't know the happiness of fish. That's everything." Zhuangzi said, "Please follow the book". Confucius said, "Women are happy to know fish." If you know what I know, ask me, I know it very well. During the Warring States Period, Zhuangzi regarded swimming in the water as a symbol of meditation and recognition of natural life. While watching a group of jumping fish, Zhuangzi deeply realized the joy of life. He understood the feeling of fish with the concept of "harmony between man and nature". Zhuangzi can not only melt fish, but also become a butterfly, which fully shows that in China culture, people have the ability to cross the natural categories and boundaries and understand the feelings of other different creatures. China's view of animism, the unity of things and me, and the blending of scenes has a long history and far-reaching significance. Zhuangzi's Taoist worldview originated from the ideological framework of the Book of Changes. Zhuangzi's idea of "fish music" has evolved into a unique painting theme in ancient China paintings, such as fish music pictures, fish algae pictures and fish swimming pictures, which are unique to China. Paintings about fish music are recorded in Xuanhe Painting Spectrum and Painting and Calligraphy in Shengjing Palace Museum. Now, the Palace Museum in Beijing has fish and algae in a spring stream and fish in a play. In the National Palace Museum in Taipei, there are fish and algae of Yi Yuanji, a painter in the Song Dynasty, and wisteria and jade in Shou Ping in the Qing Dynasty. All kinds of fish and algae pictures on ceramics in Yuan, Ming and Qing Dynasties are deeply influenced by the above paintings. The painter described the lively posture of the fish in a plain way. They sometimes float and wander among algae, sometimes suddenly shuttle through the clean whirlpool, sometimes sink into the lotus pond or jump out of the water. The painter painted the rhythm of natural life with fluent pen and ink. And this recognition of vitality is the artistic conception that Zhuangzi, who is on the shore of the vast beam, is deeply impressed in his heart, unable to communicate with words, and forgets both things and me.

3. Auspicious implication of fish pattern

Because fish symbolizes fertility, eating fish can get rid of illness and not get old, and it can also be used to become immortal. Goldfish can ward off evil spirits, and the auspicious meaning of fish has been shown in the Han Dynasty. For example, the "Double Carp Map" on the copperplate prints in the Han Dynasty is followed by auspicious words such as "Long Yisun" and "Junyi descendants". Since Ming and Qing Dynasties, it has become a new fashion to use homophonic images to form auspicious language and give symbolic expression to things. The symbolic construction of fish and other things not only shows the blessing to population reproduction, but also tends to enrich farming, products and annual transportation.

Prayer has evolved into auspicious images, such as fish, fish, fish halberd, fish peony, fish swimming, etc., which shows that people's reproductive worship of fish has been transformed into physical objects. The popular fish dragon change in Qing Dynasty means that fish can be turned into dragons and everything can be sanctified. This shows that the worship of fish reproduction and the hope of harvest have been transformed into auspicious celebrations of wealth, future and opportunity, and the significance of fish patterns has been sublimated with the times.

It is precisely because of the unique cultural connotation of fishing gear that the fish culture of China people, literati and royalty flourished, thus promoting the development of fish pattern porcelain.

Thirdly, the social background of fish-pattern porcelain in Ming and Qing Dynasties.

1, Fish Appreciation and Fish Culture in Ming and Qing Dynasties

Fish appreciation in China probably began in the Tang Dynasty. Han Yu said in a poem: "The old man is really like a child. He drew water, buried a basin and made a small pool. Frogs crow at dawn one night, which is just the time for fishing. " "The water in the morning is very clear, and there are countless unknown bugs. Suddenly, there is no trace of them, only fish are forming. " Han Yu described himself as burying pots, feeding fish and enjoying it. In the Song Dynasty, the wind of watching fish became more prosperous. Song Dynasty poet Jiang wrote a poem about golden crucian carp. If gold and silver are hidden as treasures, it should be a bait sniffer, always a scale. Jiang compared the golden crucian carp to a precious scholar. Fish farming was quite common in the Ming Dynasty. At this time, a monograph "Cinnabar Fish Manual" was published on fish breeding, fish appreciation and fish tasting, and there was also a "goldfish race" in the palace. According to the article "Good Diet in Ming History", every August Mid-Autumn Festival, there will be a "goldfish competition" in the palaces and courtyards of dignitaries, and each family will compete to display the exotic varieties carefully cultivated to show their wealth. Fish culture and fish appreciation in Qing Dynasty were part of court life. The Royal Garden in the Forbidden City, Wenyuan Pavilion and Crystal Palace in Yan Xi Palace all used to raise fish. "History of the Imperial Palace" continued: "The first leader of the imperial garden was seven products, the second leader was eight products, and the eunuch was twenty-four. He specialized in burning incense at the altar and four temples in the garden, watering the flower trees and raising fish in the pond ... "... The Crystal Palace of Yan Xi Palace used to raise fish. According to the history of Qing dynasty, "the palace stands in the middle, and there are three floors and nine floors here. There is also a pavilion in each corner, with a total of 39 questions. It is made of copper, with glass as the wall, and looks empty and bright. People who enter it are like being in a glass world. In the interlayer of the wall, water was put to store fish. The lower floor is also made of glass. Looking down, the fish in the pond can be counted one by one, and the algae are uneven and picturesque. Jingdezhen Imperial Kiln Factory in Ming and Qing Dynasties specially made all kinds of fish tanks for the court in order to meet the demand of fish appreciation in the court. The fish tanks in Ming Dynasty were very beautiful. Rich people boast of their wealth and make jars with gold, jade and other materials; Jingdezhen porcelain pots are often used in the palace. According to the "Cinnabar Fish Spectrum", "The white burned in Cizhou is the first, and the burned in Hangzhou and Yixing is ok, but the color is not good." Porcelain state, that is, Jingdezhen today, the blue-and-white embryo fish tank fired by the palace kiln, or the painted drum fish tank, is very popular among fish farmers. "Fuliang County Records" records: "In the thirty-three years of Ming Jiajing, there were 680 blue and white fish tanks". The firing of fish tanks in the Qing Dynasty was unprecedented, and there were many precious varieties, such as Kangxi red fish tank in the Palace Museum in Beijing, Yongzheng mottled bamboo glass fish tank and Yongzheng Tianlan glass bowl. During the Ming and Qing dynasties, Jingdezhen burned a large number of fish tanks, which showed the prosperity of fish culture and fish appreciation in the two dynasties.

2. The emperor's pursuit of fish-pattern porcelain.

Jingdezhen ceramic production reached its peak in Ming and Qing Dynasties. Its developed productivity, advanced technology and the strong support of the royal family enabled it to produce a wide variety of palace fish-patterned porcelain, which fully met the needs of emperors in previous dynasties. According to Jiangxi Dazhi Jiajing Tao Shu Yu Gong, it is recorded that:

"Twenty-one years, blue and white pond full of jiao ducking Ba carp longitudinal algae fish tank two hundred.

In the past 30 years, there have been 2300 clouds and flower bowls in Bali.

In thirty-three years, there were nineteen thousand eight hundred "④" lotus algae outside Longfeng, Li Qing.

As can be seen from the above, there was a great demand for fish-pattern porcelain in the court during Jiajing period of Ming Dynasty.

The Qing Dynasty is the most glorious era in the history of China ceramics development. Jingdezhen, the capital of porcelain, is still the center of porcelain production in China, and its products are in a leading position in China. The Qing dynasty abolished the craftsman registration system in the Ming dynasty at the earliest, and the products were burned by the government and the people. Due to the reform of craftsman system, the enthusiasm of production has been greatly mobilized and the development of ceramic production has been promoted objectively. After three generations of deliberate management, China ceramic production has entered a golden age of all-round development. "Tao Shuo" says: "The mayor of Jingdezhen is only more than ten miles away, surrounded by mountains and waters, and pottery merchants come from all directions in a corner. There are hundreds of thousands of craftsmen in the area of 200-300 private kiln, and there are many people eating. " ⑤ It reflected the prosperity of ceramic production at that time, and it was able to produce many varieties and large quantities of fish-pattern porcelain for the court. The Qing government also sent pottery officials to manage kiln affairs and burn fish-pattern porcelain.

The Fuliang County Records records:

"In September of the 19th year of Kangxi, the imperial vessel was burned, and it was widely stored, so the doctor should reduce it. In February of 20 years, it was built in the factory. The actual estimated value of each manufactured device is presented one by one. Pottery includes pots, pots, pots, plates, bottles, pots, dishes, bowls, cups, lamps and the like, decorated with flowers, clouds, birds, beasts, fish, water, flowers, grass, or paintings, or cones, or dark flowers, or exquisiteness, all with originality.

In the sixth year of Yongzheng, he resumed his charge of burning classics, and he was good at politics and fine. He made a detailed pottery, so that the inscription of Taocheng Chronicle in Tang Ying, Shenyang was prepared on the left. Provisions on the design, manufacture and production of various colors:

Imitating Longquan glaze and Bao Shao, there are four new products in this dynasty: Sanyu, Sanguo and Sanzhi Five Blessingg.

The exquisiteness of fish-pattern porcelain in Qing dynasty is also closely related to the direct participation of court painters. A large number of accomplished painters and artists, such as Liu Yuan and Gao, famous painters in Kangxi Dynasty, were concentrated in the court of Qing Dynasty, and their works were directly reflected in porcelain patterns. The Draft of Qing History records: "Liu Yuan, named Ruan, was born in Xiangfu, Henan Province, and was a flag bearer. When Kangxi was in charge, the official punishment department sacrificed to the court and supervised Wuhu and Jiujiang. ..... When Jingdezhen, Jiangxi Province opened the kiln, the source was hundreds of porcelain samples, based on ancient and modern styles, with novel ideas and ingenious production. In painting figures, landscapes, flowers and birds, especially each kind is extremely prosperous. And become, its exquisite too Ming dynasty official kiln "8. ShiNing Lang, a court painter of three generations, Kangxi, Yongzheng and Qianlong, came to China in the fifty-fourth year of Kangxi, specializing in portraits of flowers, birds and animals. It is characterized by western painting, with a slight reference to China's techniques, emphasizing perspective and light and shade, detailed description, well-proportioned daubing and realism. Its influence can be seen in Kangxi's blue painting of goldfish sticks and bottles, Kangxi's glazed red four-fish water demon, and Qianlong goldfish turning bottles.

Four. conclusion

To sum up, fish-pattern porcelain in Ming and Qing dynasties not only has high historical and artistic value, but also has profound cultural connotation and background. It flourished with the development of ceramic technology, and then became a traditional porcelain with national characteristics.

Precautions:

(1) (Qing Dynasty) Qing Gui et al. : the continuation of the court history of national dynasties (volume 100), Beijing Zhan Ji publishing house, 1994.

(2) written by Cao Rong, etc. : General History of Manchu Dynasty (29 volumes).

(3) (Qing Dynasty) Cheng Tingji compiled Linglun Brocade "Fuliang County Records" (volume 12), which was engraved in the forty-eight years of Qing Qianlong.

(4) Tu Bian of Ming Dynasty: Volume VII of Jiangxi Dazhi, Tao Shu Yun Jie, thirty-five years of Ming Jiajing.

⑤ (Qing Dynasty) Zhu Mei wrote: Tao Shuo (six volumes).

⑥ (Qing Dynasty) Qiao Guixiu supplemented the "Fuliang County Records" (22 volumes), and the Qing Daoguang was supplemented for three years and twelve years.

⑦ Liao Xiong, editor-in-chief: Annotated Edition of China Ceramics Professional Integration, 132, Jiangxi Science and Technology Press, 1999.

Dai Yi: Draft of Qing History, Jilin People's Publishing House, 1995.