Chapter 1,241 Decorated with Suma Liqing and bright red as treasure
In the Yuan Dynasty, the half-side flower head image was used more frequently. It appeared in both twisted-branch peonies and broken-branch peonies. It is the shape that best displays the characteristics of the peony flower head.
The front and side shapes of peonies in the Yuan Dynasty mainly appeared in the twining flowers, which played a role in enriching the image of the flower head.
The difference between the half profile and the front profile is mainly in the flower heart image.
For example, the center of the flower is at a front-side angle, and the entire flower head is at a front-side angle, that is, only the outermost petals are visible in the center of the flower, but the stamens are not visible.
For example, the center of the flower is half side, that is, there is a stamen image in the center of the flower, and the central petals surround the stamen, and the entire peony flower head is half side shape.
The shape of the peony pattern in the Yuan Dynasty is also very unique, and there are generally three types.
The first is a single peony pattern, which is the shape of a peony flower head.
By changing the different angles of the flower center, you can create three angle shapes: half side, front side, and top view.
And the front side is more common. Peony petals have two shapes: inwardly curved petals and outwardly rolled petals.
The shape of the peony petals rolled outwards can be seen to be influenced by the shape of the sea pomegranate's rolled petals and leaves in the late Tang Dynasty.
This shows that the expression of flowers has begun to develop from decorative to realistic.
Peony leaves are palmately shaped and have a turning effect at the tips of the leaves.
The shape of the peony stems is soft and stretched, and the stems have a large curvature.
Up and down, a wavy S-shaped skeletal vine is formed, connecting the flower heads, and wavy branches are dotted with realistic leaves to fill the gaps.
If it is a peony pattern in fabrics, the main composition form is in the form of twining branches, and a few appear in the form of broken branches.
The main stem of the flower stem is not obvious, it only serves to connect and connect, mainly to highlight the beauty of the flower head.
The main shape of peony leaves is that they have curved edges like palm-shaped leaves, mostly three-pronged leaves, and the leaf tips are curved like hooks, although the leaves can be flipped from side to side.
However, the image is diverse and unified. It is shaped only to fill the gaps in the layout, and serves the function of echoing and setting off the flower heads.
The second type is the combination of peonies and other flowers. Among the daily necessities of the Yuan Dynasty, peonies with entwining branches were often interspersed with other flowers.
Such as lotus, chrysanthemum, etc., which represent auspicious meanings.
The combination of lotus and peony means "prosperity and wealth for many years".
It is also often mentioned in "Lao Qida" and "Pu Tongshi" that there is "Four Seasons Flower" silk.
Fabric patterns that combined a variety of flowers in the Yuan Dynasty, as well as "one year scene", were popular flower themes in the Song Dynasty.
The third type is the combination of peonies and animals. From some surviving objects, it can be seen that in the Yuan Dynasty, the peony pattern with entwining branches was often combined with the phoenix to form the phoenix piercing peony pattern.
"Phoenix piercing the peony" means happiness and auspiciousness.
In addition, peonies are combined with deer to form "officials, wealth and wealth", and combined with the Capricorn fish in Buddhism, they represent auspicious meanings.
It can be seen that the peony flower itself symbolizes wealth and wealth, and when combined with the images of other animals and plants, it derives its auspicious meaning.
The images of animals and plants also mostly come from Buddhism, which also reflects the influence of Buddhism and Tibetan Buddhism in the patterns of the Yuan Dynasty.
Once you know the shape, you also need to know the characteristics.
To sum up, peonies became one of the most common plant patterns in Yuan Dynasty textiles.
This is a decorative pattern with the characteristics of the times that was only formed in the Yuan Dynasty after development in the Tang and Song Dynasties.
Therefore, the intertwining peony pattern used in the Yuan Dynasty is one of the most important decorative patterns.
It can not only show its tossing and stretching posture on its own, but also can be used as a background to connect a variety of auspicious birds and animals to express auspicious meanings, and the combination of "phoenix piercing peonies" is the most common.
The flower head mainly has three visual angles: top view, front side view, and half side view, and the shape is more stylized.
The naturally flipped flowers and leaves have diverse and unified images, filling the gaps in the shading.
The flower stems are soft and curved, and the main trunk is hidden among the flowers and leaves.
The peony pattern in the gold brocade is tightly laid out and less of the underlying color is exposed.
The peony pattern represented by brocade and embroidery retains the sparse composition form of the Southern Song Dynasty, with more exposed background colors.
The popularity of the peony pattern with entangled branches in the Yuan Dynasty stems from the foundation of the Central Plains culture.
For example: the development of realistic flower-and-bird paintings in the Tang and Song Dynasties, and the development of floral patterns in the Song Dynasty.
Such as the influence of the popular theme of "One Year Scenery";
On the other hand, we cannot ignore the influence of the Yuan Dynasty's Manchu, Traditional and Mi style Ilan decorative art style, which is a popular decorative theme formed in a multicultural background.
After the development of the Song Dynasty, in the Yuan Dynasty, in addition to the widely used peony pattern, the second one was the lotus pattern.
Influenced by the realistic painting style of the Song Dynasty, the lotus pattern has natural and diverse shapes.
This is comparable to the peony pattern, and may even surpass the peony pattern in later generations.
There are also broken branch flowers, twining branch flowers and striped borders in the lotus pattern.
The image uses a realistic expression technique to show the half-side flower head and the front-side flower head.
The flowers and leaves have two shapes: lotus leaves and palmate lotus leaves.
Since lotus is a homophonic word for "lian", it has become an element that expresses different auspicious meanings when combined with other animals, plants and people.
Now that Chen Wenzhe is studying the peony pattern, he will no longer be distracted by studying the lotus pattern.
He can only wait for the opportunity to systematically study this kind of decoration from ancient times to the present.
At this time, it was still most important to make Yuan blue and white peony pattern vessels. After all, he was currently studying Yuan blue and white and had suitable materials.
It has to be said that as long as you are willing to spend money, there is nothing you cannot buy.
The clay, glaze and kaolin he bought at the beginning were very different from the Ma Cang clay and Suma Liqing used in the Yuan and Ming dynasties.
However, as time went by, perhaps because the funds spent were in place, the raw materials purchased later were very close to the kaolin mined in the Yuan and Ming dynasties.
Although it is not yet Ma Cang soil, with a little processing, you can get perfect Ma Cang soil without even changing the ancient craftsmanship.
Not to mention Suma Liqing. As mentioned before, this kind of thing originally disappeared in China only because of historical limitations.
In that ancient period, communication was very difficult even between countries.
But what about now? As long as you are willing to spend money, you can still find it?
In fact, the origin of this cobalt material is in the village of Kwamsa in Boska Mountain.
Local villagers believe that a man named Suleiman discovered this cobalt material, so they named it after him.
Another way of saying it is that Su Ni Ma Qing should be Su Ma Li Qing, which is the transliteration of English small, which means a kind of blue glass.
During the Yongle period of the Ming Dynasty, Zheng He made seven voyages to the West and brought back a batch of "Suma Liqing" materials from the Samarra region of Iraq.
The article "Yongle Xuande Kiln" in the "Shi Cyan Pearl" of the 19th year of Wanli in the Ming Dynasty (1591) records: "Both kilns were fired in the inner palace, with brown eyes and sweet white as the common color, with suma and green as the decoration, and with bright red as the treasure.
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Sumaliqing is a low-manganese and high-iron cobalt material. The blue and white flowers are rich and green in color and the color is stable.
Because Suma Liqing contains high iron and low manganese content, it shows a bright sapphire-like color when fired at an appropriate temperature.
Of course, there will also be silver-black iron oxide crystal spots, which are "rust spots", commonly known as "tin light".