Official kiln porcelain was mainly used by a large group of bureaucrats.
The formal requirements are relatively low, and they are mostly limited to themes other than "ritual" such as myths about flowers, birds, insects, and fish.
Sometimes the royal family purchases them as "fun" toys, but they are mostly used by officials and wealthy businessmen.
This type of porcelain is generally purchased by the Ministry of Internal Affairs, and there is a special pottery supervisor in JDZ who fires it all year round.
Production was suspended after the end of the Qing Dynasty, and production was officially resumed by my country Guanyao Ceramics International Group on October 28, 2008.
Chen Wenzhe definitely wants to re-fire official kiln porcelain from all eras, but this is unlikely to be possible in a short time.
Therefore, this time he mainly studied the official kilns of the Song Dynasty.
Official kiln originated in the Tang Dynasty and has two meanings: one refers to tribute vessels and the other refers to official factories.
From the Tang Dynasty to the Yuan Dynasty (eighth to fourteenth century AD), there were many official kilns with tribute wares and few official factories.
The form adopted at that time was "burning by officials and civilians", and the porcelain produced was "selected from 10 out of 1000 or 1 out of 100" and presented to the ruling class as tribute.
This kind of porcelain is called tribute porcelain and official kiln.
At that time, the Tang Dynasty had administrative offices in porcelain-producing areas.
For example, in the early days of Emperor Jinglong of the Tang Dynasty, Chu Sui was the secretary of Xinping (Jingzhen) and was ordered to supervise the burning of the mausoleum sacrificial vessels.
Supervisors were set up in the Song Dynasty. For example, during the Taiping and Xingguo years, Zhao Renji was sent to supervise Yuezhou kiln affairs.
In the Yuan Dynasty, a bureau was set up to supervise Tao, and later it was changed to the main supervisor.
The porcelain they produced in styles such as "Jingde Year System" and "Shufu" were called "Jingde Kiln", "Shufu Kiln" and so on.
The term "official kiln" has different connotations in the history of ancient Chinese ceramics.
In a broad sense, it is a porcelain kiln that is different from private kilns and is specially run by the government, and its products are monopolized by the palace.
In Song Dynasty porcelain, official kiln is a special name.
Refers to the celadon produced by the palace kilns in the capital cities of Bianjing (Bianliang, today's Kaifeng) and Lin'an (now Hangzhou) during the Northern Song Dynasty and the Southern Song Dynasty.
Therefore, there are "old official" and "new official" divisions. The former is the official kiln of the Northern Song Dynasty, and the latter is the official kiln of the Southern Song Dynasty.
The official kiln was built in Bianliang during the Daguan and Zhenghe years of the Song Dynasty. The celadon glaze is crystal clear, cracked or in the shape of ice flakes, and the pink, blue and purple iron is definitely its characteristic.
The Song Dynasty moved south and established an official kiln at the foot of Fenghuang Mountain, also known as Xiuneisi official kiln or inner kiln.
The official kiln under the Jiaotan altar built under the Jiaotan altar has many types of wares, including large products with a diameter of more than one foot.
From 1128 when Kublai Khan, the founder of the Yuan Dynasty, set up the "Fuliang Magnetic Bureau" to the fall of the Qing Dynasty in the 20th century, Jingzhen was the location of the royal porcelain factories of the Yuan, Ming and Qing dynasties.
my country's official kiln system lasted for 632 years in Jingzhen.
Jingzhen also has the longest firing time, the largest scale, and the most exquisite craftsmanship of the government-run porcelain factory.
Therefore, there are a large number of ancient broken porcelain buried underground in Jingzhen because they were not allowed to flow into the public.
Let this city become the official kiln site and the "underground porcelain capital" with the most complete categories, the most reliable age, and the richest information in my country.
Let’s go back to the official kilns of the Northern Song Dynasty. The official kilns of the Northern Song Dynasty were also called Bianjing official kilns.
According to legend, during the Daguan and Zhenghe years of the Northern Song Dynasty, a kiln was set up near Bianjing to exclusively burn porcelain for the palace, that is, the official kiln of the Northern Song Dynasty.
Gu Wenjian of the Southern Song Dynasty recorded in "Ning Xuan Zalu": "During the Xuanzheng period of the Song Dynasty, the capital built its own kiln for firing, and it was named 'official kiln'".
The capital city at that time was Bianjing. Since the Bianjing ruins in the Song Dynasty had sunk into the ground, no official kiln ruins in the Northern Song Dynasty have been excavated so far.
Therefore, there is a lack of archaeological excavation data and sufficient documentary support for the Guanyao ruins of the Northern Song Dynasty.
To this day, there are still different opinions as to where the official kiln ruins of the Northern Song Dynasty are located.
There are generally three theories. One is that the official kiln of the Northern Song Dynasty was Ru kiln;
The second theory denies the existence of official kilns in the Northern Song Dynasty;
The third theory is that the official kiln of the Northern Song Dynasty is the Bianjing official kiln, which existed successively with the Xiuneisi official kiln of the Southern Song Dynasty.
There are more people supporting the third statement.
There are very few handed down products from the official kilns of the Northern Song Dynasty, and their shape, quality and craftsmanship are similar to those of the Ru kilns.
The utensils are mostly antique, mainly including bowls, bottles, washbasins, etc.
The carcass is thick, the fetal bones are dark gray, purple or black, and the glaze colors include blanched green, pink green, moon white, etc.
They have a common characteristic, that is, the glaze is moist and elegant, and they are especially famous for the large cracks on the glaze, which is different from the porcelains of the Southern Song Dynasty Guan kiln, Ru kiln and Longquan kiln.
There are nail burn marks on the bottom, and it has the characteristics of "purple mouth and iron feet".
During the Southern Song Dynasty, the "Xiuneisi Kiln" and the "Jiaotanxia Kiln" were successively established.
The official kiln wares of the Southern Song Dynasty have black, dark gray, light gray, beige, etc., with different thicknesses and fine texture.
The glaze surface is opalescent and has many flakes. The glaze colors include pink blue, blanched green, gray green, moon white, beige, etc.
Because the glaze in the mouth of the vessel is thin, it slightly reveals purple;
When using scraped glaze pads for firing, the feet are exposed and appear hematite in color, hence the name "Purple Mouth Iron Feet".
In addition to bowls, plates, dishes, washbasins and other daily utensils, there are also display porcelain and sacrificial ritual vessels such as statues, tripods, furnaces and gobs imitating the bronzes of the Shang and Zhou dynasties.
To this day, there are still historical relics left at the foothills of Fenghuang Mountain in Hangzhou: the Tiger Cave kiln site of the Southern Song Dynasty official kiln, the kiln site under the altar of the Southern Song Dynasty official kiln suburb, etc., and they are all national-level cultural relics protection units.
In the Ming Dynasty, the form of "government-run and private firing" was adopted, and official factories began to be established to burn tribute porcelain.
For example, if an Imperial Ware Factory is set up in Jingzhen, it is also called Jingzhen Royal Kiln Factory.
Special factory officials were dispatched, with funds coming from the local area, and the staff were staffed. More than fifty kilns were set up, specializing in firing imperial vessels, that is, tribute vessels.
After the development of porcelain firing during the Song Dynasty and the Song Dynasty, it reached its peak both in terms of firing technology and types of utensils.
There are different representative varieties in each period, such as Yongle sweet white, Yongxuan blue and white, Chenghua doucai, Jiawan colorful and other outstanding porcelains.
During the reign of Emperor Yongle, Jingzhen porcelain production flourished. This period was an important stage for my country's porcelain firing to connect the past and the next, and for internal and external exchanges.
During the Yongle period, it was inherited from the Song and Yuan dynasties, followed by the Kangxi and Qian dynasties, and extensive exchanges and learning with foreign countries.
The skilled craftsmen at this time not only inherited the exquisite craftsmanship of their predecessors and imitated typical utensils of the Yuan Dynasty, but also boldly made innovations and improvements.
Therefore, it was fired into Yongle sweet white, blue and white, underglaze red and other new porcelains with the characteristics of the times.
Especially the multi-color low-temperature overglaze colored porcelain breaks the tradition of monotonous colors for porcelain in the past, making it more pleasing to the eye.
This laid the foundation for the subsequent firing of Chenghua Doucai, Jiawan Wucai and even Kangxi, Yongzong and Qianlong pastel porcelain.
During Zheng He's overseas voyages and foreign envoys' visits, Yongle porcelain was able to communicate with other parts of the world.
Mainly porcelain for export and special porcelain given to vassal countries.
During this period, pigments and techniques were imported from foreign countries, such as Sumali Qing used in Yongle blue and white.
Among the Yongle porcelain, a group of Yinsi porcelain with strong regional colors also appeared, which is not only an inheritance from the previous dynasty, but also a proof of learning from foreign countries in the new era.
The Qing Dynasty was the culminating period in the history of my country's porcelain making, and its level of porcelain making reached an unprecedented peak.
Influenced by the strict hierarchical feudal governance system and the historical tradition of porcelain making, the inscriptions of official kiln porcelain and private kiln porcelain in the Qing Dynasty also had certain conventions in inscriptions.
At the same time, he also created new inscription techniques such as gold color, ink color, and enamel color.
Moreover, there are more various kinds of hall names, monograms, and auspicious words.