Chapter 1586: Cellaring Yuan Qinghua (Wish all brothers good health in the New Year)
At the end of the Yuan Dynasty, those strongmen who passed through Jingzhen needed military expenditures, so they needed blue and white porcelain.
At the end of the Yuan Dynasty, fighting was very fierce around Jingzhen, and the fires in Yaoli and Hutian were also very prosperous.
After several combinations, the firing of blue and white porcelain flourished, especially the pictures on porcelain, which were greatly improved.
Before the Yuan Dynasty blue and white period, the painting and engraving of porcelain were all completed by folk ceramic craftsmen.
Because of the war at the end of the Yuan Dynasty, a large number of folk artists and Han calligraphers and painters from the north gathered in the rear where the war was relatively calm.
The joining of professional painters greatly improved the painting level of blue and white porcelain in the late Yuan Dynasty.
For example, in the Yuan blue and white moon shadow plum pattern, we can see the shadow of the calligraphy and painting of Wang Mian and other literati.
In the late Yuan Dynasty, JDZ painters discovered that this kind of thing called Suma Liqing, which has a melancholic blue with purple in it, is naturally suitable for writing one's own emotions.
Scholars from the south of the Yangtze River were crowded into narrow mountains and rivers. As time went by, they naturally accumulated more power to break through.
Suma Liqing achieved a breakthrough in blue hair color, from inky black near to deep blue in the distance.
When the painters in Jingzhen walked out of their study room yesterday, the landscape before their eyes suddenly became clear.
Blue pine smoke hair color, bright and intense, clear and transparent;
The crystal spots at the agglomeration are flickering. The dark and thick crystal spots are concave under the glaze and penetrate deep into the fetal bones. The skin is also uneven, like the ups and downs of emotions.
The worship of nature and the pursuit of the realm of life continued the cultural context from the Song Dynasty to the Yuan Dynasty.
Blue and white painters found emotional resonance in troubled times.
They hid in the courtyard in the south, painting the proud dragons, phoenixes and unicorns, the skinny moon-shadowed plum blossoms, and the entangled summer lotuses and autumn chrysanthemums.
Of course, I also painted the "Eight Immortals", the "Seven Sons of the Quanzhen", and the stories of heroic characters.
Gui Guzi went down the mountain to help Sun Bin, General Meng Tian, Xiao He chased Han Xin under the moon, Zhou Yafu stationed his army in Xiliu Camp, Yuchi Gong single-handedly rescued the king of Tang, Liu Guan and Zhang San visited the thatched cottage to invite Zhuge Liang, the tiger-fighting hero Wu Song couldn't win three bowls...
After actually making porcelain, Chen Wenzhe couldn't help but want to copy them all.
Except for the three works given to Wu Er, the others are really good for collection.
Now that you have collected it, you have to do it all.
There are now many Yuan blue and white flowers in China. The most famous one is that on the afternoon of November 29, 1980, the brilliant blue and white flowers bloomed at the infrastructure construction site of Xijiang Gaoan Second Electrical Machinery Factory.
A hoe of migrant workers opened the door to a treasure house.
The cellar with a diameter of 1.3 meters and a depth of 0.8 meters actually contains 245 cultural relics of the Yuan Dynasty, 19 of which are blue and white porcelain.
This confirms the existence of Yuan blue and white flowers from the perspective of archaeological discoveries, and the handed down collections of Yuan blue and white flowers in Yiguo and Tuji definitely show that Yuan blue and white flowers come from our country.
For a long time to come, cultural relic experts continued to pursue this batch of cultural relics with passion, amplifying the charm of the discovery little by little.
This is a major discovery of blue and white porcelain from the Yuan Dynasty, ranking first in the country and third in the world.
The star among the treasures - among the 19 Yuan blue and white pieces, one is a jar with a cloud-dragon pattern and an animal ear cover, two are a jar with a cloud-dragon pattern and a lotus leaf lid, four are a plum vase with a cloud-dragon pattern, and two are a peony cloud shoulder.
Plum vases with patterned lids, one is a flower goblet with patterned lids, and nine are various goblets.
A jar with an animal ear lid, an animal ear and nose ring, a lid, and an animal head.
The solid and round shape gives people a sense of security - like Maitreya Bodhisattva, with a big belly, all the necessary and unused groceries can be packed in without overturning.
Peony decorations and cloud dragons are carved on the most open abdomen.
The large group of peonies is opened in the most folk manner, with no reservations.
The wandering dragon leaves a large area of flying white above and below the dragon pattern, giving people the impression of sky and white clouds.
The dragon is an inspired product of the ancient Chinese. It represents a certain kind of sacred and inviolable power and status. It is regarded by the emperors and sought after by the common people.
The dragon depicted on the blue and white pot is slender and curved, with its head pointing upward, its horns tilted back, its eyes facing forward, its narrow neck, its curved belly, its tail, its scales densely covered, and its three claws particularly powerful.
The strength of these three claws is different from the painting methods of all dynasties after the Yuan Dynasty.
Cultural relic experts use this as a symbol to distinguish the dragon patterns of the Yuan, Ming and Qing dynasties.
There are two jars with lotus leaf lids, and the main bodies are three-clawed dragons and twining peonies.
The chasing dragon demonstrates some mysterious power.
Peony gives this mysterious and unpredictable feeling a sense of wealth and splendor that people like to see.
The realistic lotus leaf cover and the wonderful combination with mandarin fish, herring, catfish and crab give the aristocratic aesthetic of strength and wealth a natural interest, as well as the liveliness and vitality of the folk.
The dynamic dragon, as well as those small fresh objects, are set off by the static peony and lotus leaves. The aesthetic pursuit of opposites and unity is clearly a blue and white, pleasing midsummer color ink picture.
In June, the pond in the south was surprisingly quiet in the afternoon.
There is wind blowing in the distance, and the sound of the wind is very thin and fast, carrying the raindrops farther away.
The corners of the lotus leaves suddenly lifted up, as if they were about to fly.
Then, the protagonist, the three-clawed dragon, will appear - it is it that stirs up the ups and downs of the afternoon.
Plum vase with lid. Still with peonies and dragon patterns.
However, the dragon pattern appears with four claws.
The official kiln system of the Yuan Dynasty has not yet been clearly established, but the dragon as a symbol of imperial power has long been deeply rooted in people's hearts.
With five claws, the power in the hands of the emperor has reached its extreme.
Four claws, three claws, the status level moves down.
The number of claws provides the identity information of the owner of blue and white porcelain.
The six plum vases embody the highest level of desk furnishing aesthetics since the Song Dynasty.
The plum vase was originally used to hold plums. In the porcelain vase with plums, the blue and white flowers also became lively with the subtle fragrance of plums.
There are six plum vases, each with the words "Li, Yue, Shu, Shu, She, Yu" written in ink on the bottom by the owner.
Since the Zhou Dynasty, rituals have gradually become our daily aesthetic routine.
The "Six Arts" were written on the bottom of the plum vase by the owner, and the motto was worshiped and followed devoutly.
Rules correct your daily attitude every day.
These are like six attitudes towards life, not just craftsmanship.
Judging from the grade of the unearthed blue and white vessels, researchers believe that this batch of blue and white vessels in the cellar should not be owned by ordinary families.
They found information about a family in Gao'an County Chronicles - Wu Xingfu, Wu Liangchen and his son in Wujia Village, Shangquan, Gao'an in the middle and late Yuan Dynasty. Wu Xingfu also served as the prince-in-law of the Yuan Dynasty.
People believe that the owner of Gao'an's cellar is the Wu family.
It is said that there are still descendants of the Wu family in Gao'an.
"Gao'an County Chronicles: Military Defense Chronicles" records that in the eleventh and twelfth years of the reign of Zhengzheng, the war in Gao'an was particularly chaotic.
Industry insiders speculate that this batch of blue and white flowers was probably once owned by the Duwei family and was hidden to avoid the war.
Today it has been rediscovered and has become a cultural relic that links the gaps in ceramic memory.
The painters' hero-worship complex was expressed in blue and white paintings, creating the most unique character and story themes in blue and white paintings of the Yuan Dynasty.
The blue and white paintings in the Yuan Dynasty cellar in Gao'an, Xijiang are all about flowers and birds, but the most unique and talked-about art of the Yuan blue and white paintings is about characters and stories.