Traditional Culture Encyclopedia - Traditional stories - What are the characteristics of ancient porcelain?
What are the characteristics of ancient porcelain?
Painted pottery is painted pottery, using hematite powder and manganese oxide as pigments, and drawing various patterns on the surface of pottery blank with tools similar to brushes. After firing at 900 ℃~ 1050℃, black, red and white patterns appear on the orange-red background. Since 19 12 was discovered in the Neolithic cultural site in Yangshao Village, Mianchi County, Henan Province, it has been unearthed in Gansu, Qinghai, Shaanxi, Ningxia, Henan, Hebei, Shanxi, Shandong, Jiangsu, Sichuan, Hubei and other provinces, belonging to different cultural types.
Early painted pottery
Yangshao culture Banpo painted pottery
1953 was first discovered in banpo village, Xi City, Shaanxi Province, hence its name. Mainly distributed in eastern Gansu and Guanzhong area of Shaanxi. Pottery is typical of pots and bowls with curled lips and round bottoms, pots with small mouths, thin necks and big bellies, and bottles with straight mouths and big bellies and pointed bottoms. Their shapes are relatively simple. According to radiocarbon dating, the age is from 4800 BC to 4300 BC. Its decorative patterns mainly include: ① animal patterns, with fish, frogs, deer and birds as decorative objects, especially the fish pattern on human face, fish pattern and fish-bird combination pattern, which are vivid and diverse and have distinct characteristics of the times. (2) Geometric patterns are mostly evolved from abstract animal patterns, plant patterns and woven patterns, including broadband patterns, triangular patterns, zigzag patterns and diagonal lines. ③ Weaving pattern, line pattern, basket pattern, rope pattern, etc. In addition, there are various symbols on the black wide band pattern along the painted pottery bowl mouth, which may represent various special meanings or a specific mark.
Yangshao culture temple bottom ditch painted pottery
1953 was found in Miaodigou, Shan County, Henan Province. Its distribution areas are Gansu, Qinghai, Shaanxi, Shanxi and Henan provinces. Pots, bowls and bottles are still the main shapes, and there are also urns and cans. Most of the shapes are flat bottom, big mouth, curved wall and small bottom, and most of them are inverted triangles, giving people a feeling of grace, fullness, lightness and stability. According to radiocarbon dating, the age is about 3900 BC. Its decorative patterns are: ① plant patterns, mostly spiral patterns and leaf patterns; (2) animal patterns, which are rare, have images such as frogs and birds; ③ Weaving pattern, line pattern, basket pattern and rope pattern; (4) Geometric patterns, mainly strip patterns composed of points, hooks, arcs, triangles and curves.
Majiayao Culture Majiayao Painted Pottery
1924 was found in Majiayao Village, Lintao County, Gansu Province, covering Qinghai, Ningxia, Sichuan and other provinces. Pots, bowls, cans and pots are still the main shapes of utensils, and the pointed-bottom utensils have basically disappeared. Its age is from 3300 BC to 2900 BC according to radioactive carbon. Its decorative patterns include: ① figures, such as 1973 painted pottery basin with dance patterns unearthed in Shangsunjiazhai, Datong County, Qinghai Province, with the image of 15 people dancing hand in hand in three groups; ② Animal patterns, including tadpole patterns and frog patterns; The most distinctive features of the times are vortex mode and wave mode. The pattern rotates and fluctuates, giving people a strong sense of movement.
Majiayao Culture Zhongshan Painted Pottery
1924 was found in the mid-level area of Hezheng County (now Linxia Hui Autonomous Prefecture) in Gansu, and distributed in the northeast of Gansu and Qinghai. There are short necks, wide shoulders, pot with bulging belly, pot with single handle, closed bowl, open flat-bottomed small bowl and so on. According to radiocarbon dating, it can be traced back to 2650 BC to 2350 BC.
Majiayao culture Machang painted pottery
It was discovered in Machangyuan, Minhe County, Qinghai Province in the autumn of 1924. Mainly distributed in Qinghai, Gansu and other provinces. The shape of the vessel basically follows the shape of the mid-level mountain, which is towering and beautiful compared with the mid-level mountain. A single-ear cylindrical cup appeared, and the shapes of ears and buttons were varied. According to radiocarbon dating, its age is from 2350 BC to 2050 BC. Decorative patterns include concentric circles, diamonds, humanoid frogs, parallel lines, palindromes and hook-and-loop patterns.
In addition, painted pottery has also been unearthed in Dawenkou culture, Daxi culture, Qujialing culture and Qijia culture. However, there is a certain gap between its quantity, scale and artistic level and the above cultural types.
black pottery
In the final stage of firing utensils, water is slowly added from the top of the kiln to extinguish charcoal, resulting in thick smoke, which is intentionally blackened by soot, resulting in black pottery. It is another peak of China Neolithic pottery industry after painted pottery. 1928, black pottery was first discovered in Chengziya, Longshan Town, Zhangqiu County (formerly Licheng County), Shandong Province. Its cultural remains are called "Longshan culture" by archaeologists. According to radiocarbon dating, its age is from 2500 BC to 2000 BC. This typical Longshan culture, also known as Shandong Longshan culture, is a late Neolithic culture developed after Dawenkou culture. Its distribution area is mainly in Shandong and northern Jiangsu. Black pottery, as an important feature of Longshan culture in Shandong Province, is another brilliant creation comparable to painted pottery in the Neolithic age in China.
Shandong Longshan black pottery
Compared with painted pottery, the types of vessel modeling are richer and more regular. There are mainly cans, pots, bowls, bowls, bowls, bowls, beans, cups, pots and so on. Compared with painted pottery, its shape is also different, which is more practical in life, novel and ingenious in design, pragmatic and more aesthetic. For example, the tripod was developed on the basis of the tripod, and the solid tripod was changed into a hollow tripod. The bottom of the hollow tripod was hollow, which expanded the contact area with fire and shortened the cooking time when boiling water and cooking food. Wei's modeling is particularly stable and symmetrical because of three plump bags, which reveals a flexible charm in stability. What evolved from Xi is not only unique in shape, but also more interesting in beauty. Modeling, may be inspired by birds, much like a bird with a long beak, there are three plump bags standing steadily. However, it is different from Wei in shape and structure. One side of the beak extends upward and outward, which is very lively and dexterous, echoing the curve, forming a new balance, which is convenient for holding and extracting, and for dumping the contents in the container. Other utensils, such as cups, beans, dogs, reeds, etc., are also designed and made with ingenuity. Compared with painted pottery, the accessories of various parts of the utensils are also rich and varied, such as the addition of covers, the dual use of one cover, and the use of animals as covers.
The production of black pottery was made by hand in the early days, and it was built with clay bars. Its tires are thicker and its surface is not so bright. By the time of Longshan culture in Shandong, the rotation system had been widely used. The improvement of pottery kiln and the mastery of kiln sealing technology greatly improved the technology. Therefore, black pottery is mostly round, its carcass is extremely thin and uniform, and it has the characteristics of black, thin and light, so it has the reputation of "eggshell pottery". The decoration of black pottery is very simple. In addition to the early weave, basket pattern, rope pattern and some hollowed-out carved patterns, decoration is generally not emphasized, and it wins with rich and diverse shapes and novel designs. In the process of making wheels, Shandong Longshan black pottery left many unexpected concave and convex lines (also called wheel lines or string lines) on its body, which also had a rhythmic beauty.
Other cultural types Black pottery ① Black pottery in the early Longshan period, with tripod and cloud types. , the production method is mostly clay strip construction method. The body is grayish white, rough in texture, decorated with basket patterns, rope patterns, scratches, overlapping ornaments and so on. Mainly distributed in southern Shanxi, western Henan, Shaanxi Guanzhong and other places. ② Black pottery in the late Longshan period, represented by the second phase culture of Hougang in Henan and the second phase culture of Keshengzhuang in Shaanxi. At this time, there are more shapes, such as retort, retort, retort, jar, cup and so on. And the number of pots and pans has decreased. Typical eggshell pottery appeared, and the decorative patterns were mainly basket patterns and rope patterns. Production methods include molding and wheel manufacturing, in addition to the mud slab construction method. (3) Black pottery of Liangzhu culture, distributed in northern Zhejiang and southern Jiangsu. Liangzhu culture is a late Neolithic culture with similar characteristics to Longshan culture. Its black pottery is also very developed, including beans, plates, cups, pots, reeds, pots and so on. , mostly in the wheel system, polished surface and black.
Bai Tao
Fired with kaolin, the texture is white and delicate. It originated in the Neolithic Age, and in the Shang Dynasty, due to the improvement of production technology, the raw materials were more refined and the firing temperature was just right, thus making the fired objects more pure and lovely. The shapes of white pottery are mostly daily necessities, including pots, cans, rafts, rafts and so on. Its decorative patterns mainly absorb the decorative patterns of bronzes, such as animal face pattern, gluttonous pattern, Yun Leiwen, zigzag pattern and so on. There are two methods of decoration: carving and bas-relief. The decoration of white pottery is often all over the utensils, with rigorous composition and varied. For example, the Shang Dynasty "White Pot" collected by the Palace Museum was restored according to the fragments, and its main body was carved with bas-reliefs, and the bottom was given to Yun Leiwen according to the size of the blank position. Shading and bas-relief are distinct, patchwork and harmonious with each other, which makes the objects look solemn and luxurious.
White pottery was used by slave owners and nobles at that time, and gradually disappeared in the Western Zhou Dynasty.
Printed pottery
On the finished ceramic blank, before it is dried, the required pattern is imprinted on the fixed part with a stamp, and then fired. According to the firing temperature, it can be divided into embossed soft pottery and embossed hard pottery. The former is divided into argillaceous and fine sand, mostly reddish brown, grayish white, gray and other colors, which were popular from the late Neolithic period to the Shang Dynasty. The latter is developed on the basis of the former, because the firing temperature is high, so the fetal quality is hard and gray, which appeared after the Shang Dynasty. Pottery seals are mostly daily utensils, including jars, pots, bowls, cups, plates, beans, reeds, elephants, pots and other utensils. Manufacturing methods include manual manufacturing, molding manufacturing and wheel manufacturing. The decorative pattern is printed on the blank with a stamp. At first, it was only to prevent the vessel from deforming and strengthen the ceramic blank. Therefore, there are many traces of cloth, mat and rope patterns on early printed pottery. Later, with the improvement of technology and the development of people's aesthetic ability, the patterns gradually became rich and exquisite. The patterns of printed pottery are geometric figures, mainly including water ripples, rice grains, palindromes, checkered patterns, woven patterns and Yun Leiwen. Its decorative patterns are mostly in harmony with the shapes of utensils, such as zigzag, Yun Leiwen, palindrome and other rough patterns, which are mostly used in urns, altars and larger pots. Small pots and pans are mostly decorated with exquisite patterns such as rice grains and checkered patterns, especially in the Shang, Western Zhou and Spring and Autumn Periods, with uniform lines, rigorous structure and a sense of rhythm.
The decorative process of relief pottery is in the stamping process after the objects are stripped, which is relatively simple to make, and once it is made into a mold, even people who can't depict it can do stamping. Therefore, it is simple and suitable for mass production, so it has developed greatly in a certain area and has become a pottery-making process with distinctive regional characteristics since the late Neolithic age in China. Mainly popular in Zhejiang, Jiangsu, Shanghai, Fujian, Guangdong, Guangxi, Taiwan Province, Jiangxi, Anhui and other provinces, prevailing in Shang, Western Zhou and Spring and Autumn Period. It declined with the rise and rapid development of black pottery and painted pottery in the Warring States period, and gradually disappeared after the Han Dynasty.
coloured pottery
In other words, after firing, pottery depicts colorful patterns such as Zhu, Huang, white and black, and the colors are easy to fall off, which flourished in the Warring States and Han Dynasty. Most of the utensils are imitation bronzes and ceramics, mainly including cups, plates, bowls, pots, boxes, ding, chopsticks, stoves, beans, pots and so on. There are two manufacturing methods: wheel system and molding, with wheel system being the majority. The tire colors are gray and brown. Gray tires are painted with black pottery first, then white powder, and then black line, red and other colors. Brown tires are mostly coated with white powder or yellow powder, and then coated with red, with bright colors and strong contrast. There are also lines drawn with gold and silver. In the Han Dynasty, its colors increased, and it was painted in red, gray, brown, green, blue, yellow and orange. Decorative patterns include: ① geometric patterns, which account for the largest proportion, including chordal patterns, rhombic patterns, sawtooth patterns, triangular patterns, grid patterns, circular patterns and so on. 2 moire; (3) Petal patterns, including plum blossom, persimmon, rolling grass and other patterns; (4) Birds and beasts, such as dragons, phoenixes and paving stones. Its pattern organization is mostly continuous in two directions, with bright colors and strong contrast, which makes painted pottery more brilliant and rich.
Painted pottery is mainly used as funerary wares. Therefore, it was especially popular in the Han Dynasty when the wind of reburial prevailed. Originated in the Central Plains, and later spread to most parts of the country, Luoyang, Huixian and Shanxian in Henan Province, Changsha and Changde in Hunan Province were more unearthed.
(Excerpted from China Encyclopedia of Art)
Porcelain; (China) China
Porcelain clay is used as raw material, which is made by proportioning, molding, glazing and firing at a high temperature above 1 200℃. It is compact in texture and does not absorb water, and its knocking sound is crisp.
Primitive porcelain in China first appeared in the middle of Shang Dynasty, and was unearthed in Zhengzhou and Panlongcheng, Huangpi, Hubei Province, but the materials and production were not precise, and the glaze layer was easy to fall off. Standard blue glazed porcelain and black glazed porcelain can also be fired in the Eastern Han Dynasty.
During the Wei, Jin, Southern and Northern Dynasties, great progress was made in porcelain-making technology, among which Zhejiang Yueyao celadon had the highest quality. Porcelain production in Tang Dynasty is characterized by "blue in the south and white in the north". Yue kiln is the center of firing celadon in the south, and Xing kiln is the center of firing white porcelain in the north.
China porcelain flourished in the Song and Yuan Dynasties. The famous porcelain kilns in northern China are Ding Kiln, Yaozhou Kiln in Shaanxi, Jun Kiln in Henan and Cizhou Kiln in Hebei. Cizhou Kiln is a representative of folk kilns, mainly firing white glazed black (brown) porcelain.
There are Jingdezhen kilns in Jiangxi, Longquan kilns in Zhejiang, Jian Yao kilns in Fujian, Jizhou kilns in Jiangxi and Dehua kilns in Fujian. The production of celadon is mainly Longquan Kiln, and Jingdezhen Kiln is the center of porcelain production in China during the Yuan, Ming and Qing Dynasties.
Blue and white porcelain was the mainstream of porcelain production in Ming and Qing Dynasties. Colored porcelain and various glazed porcelain have also made great achievements.
greyish-green
Celadon is one of the traditional glazed porcelain varieties in China. Named after the blue glaze. The color of ceramic glaze depends not only on the firing temperature, but also on the metal composition contained in the glaze and the flame properties in the kiln. If the content of iron oxide in the glaze is about 3%, celadon can be obtained by firing with proper reducing flame. Due to the different iron content, firing temperature and reduction flame, green glaze is mostly green, but there are also a lot of yellow and gray colors.
The primitive porcelains of Shang and Zhou Dynasties were all painted with blue glaze. From the appearance of porcelain in the Eastern Han Dynasty to the Tang Dynasty, China porcelain was dominated by blue glaze. In the Song Dynasty, with the development of white glaze, blue-white glaze and black glaze, blue glaze gradually lost its dominant position, but it still accounted for a large proportion in the early Ming Dynasty.
Since the Five Dynasties, there have also been important celadon kilns in the north, such as Yaozhou Kiln in the Northern Song Dynasty, Ruyao Kiln in the Northern Song Dynasty and Official Kiln. The south, represented by Zhejiang, has long been the main producing area of celadon. Important kiln sites in Zhejiang include Yue Kiln in Han and Tang Dynasties, Ou Kiln in Southern Song Dynasty, Guan Kiln and Longquan Kiln in Song and Yuan Dynasties. In particular, the pink and plum glazes of Longquan kiln in the Song Dynasty brought the elegant beauty of celadon to the extreme.
Ruyao
China Song Dynasty Porcelain Kiln. The kiln is located in Liang Qing Temple, Baofeng County, Henan Province, because Baofeng belongs to Ruzhou in the Song Dynasty. The Yaozhou kilns in Linru and Baofeng are carved celadon, which is now generally called Linru Kiln. In the late Northern Song Dynasty, the imperial court set the kiln mouth without glaze, which was inconvenient to use, but the royal celadon was fired in Baofeng, which was called Ru kiln in ancient and modern times.
When Ru Ci paid tribute, he mostly used small utensils, such as plates, dishes, washing supplies, urns, statues, bottles and so on. , almost no decoration. Some of them are made in imitation of ancient bronzes, which are quite exquisite. The method of firing is often used to make the glaze cover the carcass as much as possible. The tires are fragrant gray and quite delicate. The glaze color is mainly azure, which is extremely uniform. Under the microscope, we can see that there are sparse pores in the glaze layer, so the color is soft, and the agate crystal in the glaze is consistent with the Ru kiln with agate powder as glaze described in the Song Dynasty, and the glaze surface is fine.
In the history of ceramics, Ru kiln has a prominent position. It combines the beauty of ceramics, with elegant shape and jade enamel, which has a great influence on later generations.
Yaozhouyao
Ancient porcelain kilns in China. The kiln site is in Tongchuan City, Shaanxi Province. Tongchuan was named Yaozhou Kiln because it belonged to Yaozhou in Song Dynasty.
Burning in the Tang Dynasty, the products in the Tang Dynasty are mainly black glaze and white glaze, as well as blue glaze, flower glaze and tricolor. Before the late Tang dynasty, the utensils were still relatively simple. Since the late Tang Dynasty, the output and quality of celadon have been improved. In the Five Dynasties, celadon was dominant, and the objects were delicate in texture. In the late Five Dynasties, light blue, pink blue and other glaze colors appeared, and "official" celadon was also fired to bind feet. In the early Northern Song Dynasty, the simple carving of decorative flowers was similar to Yue Kiln, so it was called Yue Kiln, but it was rough to make. It reached its peak in the mid-Northern Song Dynasty, with decorations such as printing and hollowing out, depicting vigorous and free and easy, while printing was full of rigor, green glaze, very regular shape, and products entered the palace. Entering the Jin Dynasty, it gradually declined, and the glaze turmeric and decoration mostly turned to simplicity.
The influence of Yaozhou Kiln is very extensive. Kilns of the same strain are mostly distributed in Henan, as far away as Guangdong and Guangxi, and there are also porcelain kilns that burn celadon close to its appearance.
Songguanyao
China Song Dynasty Porcelain Kiln. In the Southern Song Dynasty, Gu's Miscellaneous Notes on Negative Noisy said that there were three official kilns: the late Bianjing (now Kaifeng, Henan Province), the Xiunei Temple kiln after the period and the suburban altar kiln in Lin 'an (now Hangzhou, Zhejiang Province). Xiunei Temple Kiln is "the legacy of attacking Beijing", "brilliant glaze" and "extremely exquisite", while the level of suburban altar kiln in the later period is greatly inferior. Today, the kiln site in Hangzhou was discovered.
Similar to Ru kiln products, products usually have no decoration, and win with exquisite porcelain glaze and quaint modeling. The tire color is mostly dark, often black or dark gray, and the glaze color is thick. Its color is mostly pink, blue-gray, blue-yellow, which is extremely moist and has a jade-like texture. Glazes generally open at different densities. Smaller vessels are burned with supports, and more vessels are burned with mats. Because the tire color is dark and the glaze layer is thick, when firing, the glaze layer at the mouth of the container hangs down, exposing the tire bone. In order to avoid adhesion with the cushion cake, the scraping foot is exposed from the tire, forming the characteristics of purple iron foot. There are a large number of antique furnishings and ritual vessels, which are imitated as ancient bronzes and jade articles. This is not only because Song people like the past, but also because the ritual vessels in the Southern Song Dynasty are often made of porcelain.
Junyao
Ancient porcelain kilns in China. The kiln site is located in Yuxian County, Henan Province. It belonged to Zhou Jun in the Jin and Yuan Dynasties, hence the name. It was burned in the early years of the Northern Song Dynasty, and it was more prosperous in the Jin Dynasty. In the Yuan Dynasty, the kiln system was formed in the Central Plains, and then it gradually declined.
Products are printed celadon, white porcelain, black porcelain and so on. Higher output and more distinctive blue opacified glazed porcelain, the most luxurious blue-and-white purple kiln furniture. The color of blue glaze is thick and light, the thick is azure and the light is moonlight. Purplish red is made of copper oxide and fired in reducing atmosphere. Because of different colors, it is also called rose purple and begonia red. Jun porcelain has delicate fetal quality, heavy body, regular and quaint shape, and common display porcelain such as Zun, Wash and Flower Pot. The utensils are not decorated, winning by the beauty of kiln transformation, and there are "earthworm mud patterns" that are naturally formed by firing and unpredictable in glaze.
Ding Yao
Ancient porcelain kilns in China. The kiln site is located in Quyang County, Hebei Province, named after Quyang belonged to Dingzhou in ancient times. Its porcelain history can be traced back to the late Tang Dynasty, flourished in the Northern Song Dynasty, entered the Yuan Dynasty, and gradually declined.
Influenced by Xing Kiln, the white glaze wares in the late Tang Dynasty and the Five Dynasties were multi-faceted. Ding kiln in Song Dynasty is famous for its milky white glaze, and it also burns black glaze and blue glaze. Although the amount of crimson glaze is small, it has a long reputation. White porcelain has delicate fetal quality, moist glaze color and regular shape, and is often used for decoration. In the early days, it was often carved with flowers, with simple patterns and beautiful and elegant images. Since the mid-Northern Song Dynasty, dense and clear prints have become popular, while gold and silver are noble and rare decorations. Overturning was invented by Dingyao in the middle of Northern Song Dynasty. Because it can save kiln space and reduce firing cost, it is imitated by many kilns. The defect caused by over-burning is that the mouth edge is rough due to lack of glaze, so the mouth edge is covered with metal sheet.
Repairing kilns has a great influence. At that time, kiln systems had been formed in Hebei, Shanxi and other places, and later Jingdezhen kilns often used this as a model. South Korean celadon often "plagiarizes the fixture system".
Jingdezhen kiln
Ancient porcelain kilns in China. The kiln site is located in Jingdezhen, Jiangxi. Because it belonged to Raozhou in ancient times, before the Ming Dynasty, Jingdezhen kiln was called Raozhou kiln. China Porcelain Production Center since Yuan, Ming and Qing Dynasties.
Jingdezhen porcelain production was not earlier than the middle Tang dynasty, and the Tang and Five Dynasties mainly fired celadon. Since the Song Dynasty, the ceramic industry has developed vigorously, with more than 300 kilns. The government appoints officials to supervise the production and sales. The products are famous for blue and white porcelain. In the Yuan Dynasty, the government set up the only local official porcelain workshop, and the products were egg white glaze, blue white glaze, blue glaze, red glaze and underglaze red, among which the creation of blue and white porcelain had the most far-reaching influence. Jingdezhen in the Ming and Qing Dynasties was still the location of the Imperial Ware Factory, mainly blue and white, as well as colored porcelain such as fighting colors, multicolored colors and famille rose, and various glassware. Not only the official kilns flourished, but also the folk porcelain kilns flourished. In the early days of Qianlong, "there were hundreds of thousands of craftsmen in the 200-300 area of folk kiln".
Jingdezhen ceramics in Yuan, Ming and Qing Dynasties not only enjoy the highest reputation in China, but also sell well overseas because of its unique raw materials and superb technology, which has a great influence on the development of ceramics in the world.
Underglaze blue
China traditional colored porcelain varieties. The method is to draw a pattern on the green tire with cobalt oxide, coat it with transparent glaze, and then fire it in reducing flame at a temperature of about 65438 0300℃. The effect is mostly white and blue flowers, and occasionally blue and white flowers.
Blue and white porcelain appeared in the Tang Dynasty. Inspired by the blue and white pottery of West Asia, it was fired in Gongxian County, Henan Province. In the Song Dynasty, the works were relatively simple and few in number. In the middle and late Yuan Dynasty, due to the rapid development and brilliant achievements of Mongolian Shang Qing, white porcelain and blue and white porcelain, it became the representative of China porcelain. Although the production area is increasing, Jingdezhen has been taking large quantity and high quality as the production center since the Yuan Dynasty. In the Ming and Qing Dynasties, blue and white was not only the mainstream of imperial ware factory firing, but also an important variety produced in folk kilns. The former is exquisite, while the latter is usually extensive. The color of Yuan, Ming and Qing patterns is often influenced by the origin of cobalt materials. Usually, western materials with high iron content are rich in color, while domestic materials with high manganese content are dark in color.
China blue and white not only sell well at home, but also sell abroad in large quantities, which has a far-reaching impact on exotic ceramics. /kloc-after the 0/4th century, in the world ceramic production, the utensils with white background and blue flowers have always been the one with the highest output.
Underglaze red
China traditional colored porcelain varieties. The method is to draw a decorative pattern on the blank with copper oxide as colorant, then cover it with transparent glaze and fire it at high temperature. The pattern shows the effect of red flowers on white background or white flowers on red background.
Kiln burning in Jingdezhen in Yuan, Ming and Qing Dynasties. The earliest known work is a barn with the inscription of the fourth year of Yuan Dynasty (1338). At the end of Yuan Dynasty and the beginning of Ming Dynasty, a large number of underglaze red porcelain appeared, and their shapes and patterns were basically the same as those of blue and white porcelain of the same period. Later, it was rarely fired, which was related to the difficulty in braising copper. During the Ming and Qing Dynasties, most of them were products of Imperial Ware Factory. To Kangxi (1622 ~ 1722), it was burnt into blue and white and red under the glaze. Yongzheng (1723 ~ 1735) glaze red is pure and bright, with a high level.
Lang Yaohong
China Jingdezhen Kiln Red Glazed Porcelain in Qing Dynasty. That is, the governor of Jiangxi, Lang Tingji, created and fired a kind of red glazed porcelain in Jingdezhen (1705 ~ 17 12).
At that time, Jingdezhen Imperial Kiln Factory copied porcelain from Xuande and Chenghua periods in Ming Dynasty, which can be confused. The characteristics of Lang Yaohong's imitation of the red glaze of Xuande gem. Thick glaze, strong sense of glass, the best product is bright red. Bottle is the most common handed down product, such as Guanyin bottle, stick pestle bottle, straight neck flat belly bottle; There are also many plates and bowls, some of which are in the shape of chrysanthemum petals. The mouth of the utensils is mostly white, similar to the mouth of the red glaze of Xuande, and the bottom is white, beige and light green. There are two kinds of year numbers written at the bottom of the document, namely "Xuande Year System in Ming Dynasty" and "Kangxi Year System in Qing Dynasty", but the number is small.
Mixed glaze
Colored porcelain varieties in China since Qing Dynasty. Founded in the reign of Kangxi, the heyday of Yongzheng, most of the exquisite Qing Dynasty works came from Jingdezhen Imperial Ware Factory and were glazed. The pattern drawing adopts rendering method, paying attention to the expression of theme yin and yang. Before painting, the decorative part adopts "glass white" (that is, arsenic is added to lead-containing glass) to soften the color pattern.
During the reign of Kangxi, there were few pastels, thick pigments and slightly convex patterns. By the time of Yongzheng, famille rose was favored by the emperor and the upper class, and became the largest variety of glaze colors, especially the official kiln works, which were rich in patterns and beautifully drawn. The most respected themes are flowers and flowers and birds, which show high artistic attainments, and the white and delicate carcass sets off the femininity of the utensils. Although the dry dragon pastel still maintains a high level, the decoration gradually presents a complicated trend and the shape will be whimsical. After Qianlong, although the output was high, the art gradually declined.
Fengshouhu
China Tang Dynasty porcelain modeling. Its glaze color is blue or white, which is a kind of holding pot shaped like a phoenix head after closing the lid. Its shape is strange and tall, similar to the western pot. The so-called Hu bottle in the Tang Dynasty refers to such vessels.
The celadon pot with bitter handle in the Palace Museum in Beijing is the representative of this kind of utensils. It is 4 1.2 cm in height, 9.3 cm in diameter and 10.2 cm in base diameter, unearthed in Jixian County, Henan Province. The tire color is gray, the carcass is thick, the glaze color is blue-green, and there are pieces in the glaze. Decoration is mainly based on overlapping stickers, supplemented by descriptions. The decorative belt is composed of lotus beads, lotus petals, rolled leaves, lux, precious flowers and other patterns, which surround the body layer by layer. Not only is the shape similar to the western pot, but many decorative belts are also obviously influenced by the west. It is a masterpiece of northern celadon in the early Tang Dynasty, and similar works have been unearthed in Cangzhou, Hebei Province.
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