What are the characteristics of porcelain in Sui Dynasty?

In 58 1 year, Emperor Wendi of Sui Dynasty annexed Northern Zhou and Southern Chen, unified the Central Plains, and ended the years of melee since Wei, Jin, Southern and Northern Dynasties. The excavation of the Grand Canal at the end of Sui Dynasty also played a great role in the economic and cultural exchanges between the north and the south of China. The Sui Dynasty has a history of less than 40 years, but it is a dynasty connecting the past and the future, paving the way for the establishment of the Tang Empire. In terms of ceramics, the ceramic technology of Sui Dynasty also opened a curtain for a new ceramic era. Before the Sui Dynasty, porcelain kilns were mainly concentrated in the south of the Yangtze River and the upper reaches of the Yangtze River in Sichuan, and porcelain kilns in the north were extremely rare. After the Sui Dynasty, the porcelain industry in the north and south began to advance by leaps and bounds. Kilns and their fired porcelains increased obviously, and porcelains of various colors, styles and styles began to appear, forming a competitive situation.

The center of porcelain making in Sui Dynasty was still in the south, but it gradually moved to the north. The production of ceramics inherits the traditional style of northern celadon and absorbs the characteristics of southern celadon. The variety of fired utensils has obviously increased, and the daily-use porcelain has undergone transitional changes. The carcass is generally heavy, and the tire color is mostly gray.

The technology of porcelain in Sui Dynasty has made many achievements, surpassing the previous generation. Porcelain mud is generally washed, and the technology of controlling the proportion of iron in raw materials is mastered.

Sui porcelain is mainly supported and fired by brackets. When the support is supported and burned, the object directly contacts the flame in the kiln and is smoked by the fireworks in the kiln. The glaze is uneven, and a lot of ash and kiln slag are often stuck.

However, at this time, a cylindrical sagger appeared. Although it was not popularized and developed immediately, it also marked another leap in porcelain firing technology, which gradually changed the production and modeling of porcelain.

The tire wall tends to be light and thin, and the bottom foot changes from flat bottom and cake-shaped foot to jade bottom and circle foot, and the glaze surface is not polluted by smoke in the kiln, which keeps the purity of color and makes the modeling of utensils tend to be light and exquisite.

In terms of modeling, celadon of the sui dynasty basically inherited the modeling of the Northern and Southern Dynasties, mainly including four or six series of pan-mouth pots, dragon-handle chicken-head pots, spit pots, multi-grid plates, five-cup plates, tall plates, bottles, inkstones, plates and bowls.

The green glazed octagonal short-flow pot fired in Yue Zhouyao, Hunan Province is a new pot type. Four-series celadon bottles from Huainan kiln in Anhui province are also missing from other kilns. Moreover, porcelain kilns all over the country have blue glazed stilts, which are typical artifacts in Sui porcelain.

Celadon is the main product in the production of porcelain in Sui Dynasty, but the glaze color is still unstable. The glaze used at this time is still lime glaze, which has strong transparency. Glaze, whether cyan, yellow or tan, is glassy and has great fluidity at high temperature. Beads often appear after firing, and the fetal quality is hard. Generally, containers are full of glaze, and the bottom is not glazed, so that the tire is exposed at the lower part.

At this time, the decoration of bottles and cans is mainly concentrated on the shoulders and abdomen, and it is generally a strip pattern composed of flowers and rolled leaves. The decorative techniques of Sui porcelain include printing, carving, applique and plastic carving. Some have added black and brown colors, among which printing is the most common and representative.

Printing is when the porcelain tire is still wet, it is made by pressing a positive seal made of porcelain clay into a pattern and then glazing and firing. Its patterns include flowers, grass leaves, lotus petals, rolled leaves, wave chords and so on. , respectively, are displayed on the round surface of the neck, abdomen and high leg plate of a three-dimensional object, which looks neat, simple and patterned. In addition, the products of Xiangyin kiln, Huainan kiln and Anyang kiln are mostly decorated with prints.

In the Sui Dynasty, there was a blue glaze printed four-series pot, which was 35 cm high, with a long neck, a long belly and a flat bottom. There are four double lines on the shoulder, and the neck, shoulder, line and abdomen are decorated with four layers of printing. Printing is a group of flower and leaf patterns composed of fan-shaped petals, which embodies the decorative characteristics of porcelain in Sui Dynasty.

There is also a covered spittoon printed with Sui Qing glaze, with a height of 14.cm, a diameter of 8.4 cm and a foot diameter of10.6cm.. The spout is turned outwards, the neck is short, the shoulders are flat, the abdomen is drooping, and the abdomen is miniature and round. Cover the groove, and the buttons are like wax strings. Light cyan vitreous transparent glaze was applied to the whole body, the glaze color was not as good as the bottom, and gray fetal bones were exposed near the feet. Carve triangular tassels on the shoulders for a week, and print flowers, leaves and honeysuckle patterns on the abdomen for a week.

Carving is to carve various patterns with sharp tools when the porcelain tire is still wet, then glaze it and fire it in the kiln.

The decal paper is made by filling porcelain clay into the mold, pressing it into various patterns, and adhering it to the surface of the object with porcelain clay water when the porcelain tire is still wet, which is very rare. `

Celadon of the sui dynasty is still dominated by Yue Kiln, and the typical utensils are four series cans with lotus pattern in Sui Yue Kiln, with straight mouth, smooth shoulders, flat belly and solid feet. Shoulder is a square bridge system with symmetrical distribution. Two layers of inverted lotus petals are pasted on the outer wall of the device, and the decorative technique of relief is adopted, which is full of three-dimensional sense. Apply green glaze, the bottom is not glazed.

Celadon of the sui dynasty's masterpiece is the petal pattern of blue glazed rabbit Niulian, with a height of12cm and a base diameter of12.7cm.. Right flat bottom, round hole at the bottom, hollow, and rabbit button at the top. A thin layer of green glaze is applied to the blank, and the glaze turns yellow, but the glaze is not applied to the end. The outer wall is stamped with lotus petals for a week, with 6 groups of flowers on it and stripes in the middle.

This right has dignified modeling, lifelike rabbit buttons, strong glazed glass texture, fine broken lines, clear patterns, regular layout, smooth lines and full of artistic beauty.

During the Sui Dynasty, the northern porcelain-making industry made new progress, and most of the porcelain-making areas were concentrated in Henan, Shaanxi, Hebei, Shandong and other provinces. The northern celadon kilns in Sui Dynasty are Jiabicun kiln in Hebei, Anyang kiln in Henan, Gongxian kiln in Anhui and Huainan kiln in Anhui.

Their tire glaze is characterized by: the tire bone is thick, the tire soil is washed and the tire color is mostly gray. Among them, the porcelain body of Huainan kiln is thick, the glaze is glassy and the transmittance is good. The glaze is often streaked, the outer wall is semi-glazed, with glaze flow, and the glaze color is green or slightly yellow.

The decorative patterns of northern porcelain not only follow the lotus patterns prevailing in the Southern and Northern Dynasties, but also adopt patterns such as flowers, grass leaves and rolled leaves, which are interspersed and replaced in the layout. Decorative techniques include printing, depicting flowers, applique, etc.

There is a four-series vase with green glaze and hualien petal pattern made in Huainan kiln in Sui, Anhui, which is 43 cm high, with a diameter of 15 cm and a foot diameter of 13.5 cm. The bottle mouth, long neck, shoulders and shoulders are provided with four vertical systems consisting of double mud bars, which are bulging and gradually converge below the abdomen, leaving a gap near the bottom. Green glaze is applied to the whole body, and the glaze only reaches the lower part of the abdomen. White makeup soil is applied under the glaze, and there are stripes on the glaze.

The underglaze color pattern of the pan bottle is carved printing, and the neck and shoulder are embossed with circular patterns. There are two carved patterns on the shoulder, the upper one is covered with lotus petals, the lower one is covered with gold and silver patterns, and the abdomen is covered with three carved patterns, the upper and lower ones are covered with lotus petals and the middle one is covered with gold and silver patterns. Each layer of decorative sounds is separated by chords.

Huainan kiln products in Sui Dynasty also have yellow glazed stilts, with a height of 12.5cm, a diameter of 27.5cm, and a foot diameter of14.5cm. This tray is straight and slightly outward, with a flat center, printed decoration and five Zhi Ding marks, supported by hollow trumpet-shaped stilts. Yellow glaze is applied inside and outside the whole body, and only half glaze is applied on the outer wall.

Gaozupan is a kind of porcelain commonly fired in China northern and southern kilns. First seen in the Northern Dynasty, it was popular in the Sui Dynasty and can be seen in paintings and murals in the Sui Dynasty. It is found that the porcelain kilns for firing high-legged plates in Sui Dynasty are Jiabi kiln in Hebei, Anyang kiln in Henan, Huainan kiln in Anhui, Xiangyin kiln in Hunan and Qiongyao kiln in Sichuan.

The Sui Dynasty also produced a large number of high-quality white porcelain, especially the white porcelain in Yao Xing, Hebei Province in the north, which was complementary to the celadon produced in Yuezhou, South China. The development of northern porcelain industry initiated the prosperity of Tang and Song porcelain industry, and famous kilns blossomed everywhere.

But at this time, the white porcelain glaze is not really white, but a layer of transparent glass glaze covers the white tire. The fetal quality of the objects is white and the glaze is smooth, and there are basically no traces of bluish yellow or flashing yellow of white porcelain in the Northern and Southern Dynasties.

This successful process of using white cosmetic soil on porcelain tires is one of the important achievements of porcelain-making technology in Sui Dynasty. That is, before glazing, the white porcelain clay with less iron content is carefully hung on the blank, which plays an important role in improving the transparency and color stability of white porcelain glaze.

There is an Sui white glaze jar with a height of 19.2 cm, a diameter of 9.7 cm and a foot diameter of 15.2 cm. Can lip, no neck, shoulder light, shoulder hanging to the foot, flat bottom without glaze. The bones of the fetus are white and thick. White glaze is applied inside and outside, and the glaze near the foot of the external wall is not as good as the bottom. The glaze is thin and uniform, white and flawless, covered with fine fragments. The shape of the tank is full and dignified, elegant and simple.

Sui white glazed dragon handle compound bottle is the representative of northern white porcelain. The two bottles are connected, the dragon is the handle, the dragon opens its mouth, and the two hold the bottle mouth, which is vivid in shape. The tire color of this bottle is white, the texture is hard, the glaze is not applied, and the glaze layer is thin and slightly yellow. Since the appearance of long-necked bottles in the Northern Dynasties and the Northern Qi Dynasty, the bottle types were more abundant in the Sui Dynasty, and they were fired in all subsequent dynasties with different shapes.

In addition, in 608, a batch of white glazed porcelain was unearthed from Li's tomb, such as the white porcelain double-headed chicken pot. Compared with the white porcelain found in Fan Cui's tomb in the Northern Qi Dynasty, the enamel has been greatly improved, and there is no trace of early white porcelain flashing yellow or blue, which is a precious material representing the development of white porcelain in Sui Dynasty.