Chapter 1,662: Uniquely blessed, three times brilliant
The Longquan kiln porcelain of the Yuan Dynasty was mainly carved, with rough patterns and unrestrained lines.
The most common patterns are cloud dragons, flying phoenixes, Pisces, Eight Immortals, Bagua, peonies, lotus leaves, etc.
In addition, there are also a large number of inscriptions in Chinese and Pasiba characters.
During the Ming Dynasty, Longquan celadon declined, and the objects were thick and crudely made.
The body color is grayish yellow, the glaze layer is thick, the transparency is high, and the glaze surface has strong gloss.
The glaze colors include blue-gray, tea powder, gray-yellow, etc. The decoration is mainly based on underglaze carvings, and there are also decorative methods of imprinting characters and stories.
Longquan celadon of the Song Dynasty was the historical peak of celadon craftsmanship.
The glaze color and texture of its celadon are as beautiful as the exquisite artificial jade, and the whole world is fascinated by it.
So, in the long history, what kind of development trajectory has Longquan kiln experienced?
In his book "Longquan Kiln Celadon", Mr. Zhu Boqian summarized the development of Longquan kiln into four stages: creation, development, peak and decline.
The Wei, Jin and Five Dynasties and Ten Kingdoms were the pioneering periods, with few porcelain kilns, production was intermittent, and local sales were intermittent.
The period from the Northern Song Dynasty to the early Southern Song Dynasty was a period of development. Porcelain kilns developed rapidly and gradually formed a larger porcelain kiln system;
The period from the late Southern Song Dynasty to the Yuan Dynasty was its peak period. Porcelain kilns developed rapidly, the quality of celadon was greatly improved, and the products sold well in domestic and foreign markets;
The Ming and Qing Dynasties were a period of decline, especially after the mid-Ming Dynasty, the Longquan kiln was in a difficult situation. The porcelain kilns continued to close down and decreased, and it ended in the late Qing Dynasty.
If we talk about these four stages, they outline the entire development history of Longquan kiln.
Then, the three glorious periods in the development history of Longquan kiln are the key points and key points of a coherent development context.
Longquan has rolling hills, dense forests, and extremely rich mineral resources such as china clay.
It also lives in Buyou, Oujiang River. It not only has sufficient raw materials, fuel and water resources, but also has convenient water transportation and unique natural conditions.
As early as the Three Kingdoms and Jin Dynasties, local people began to make porcelain by taking advantage of the local superior natural and geographical conditions.
They absorbed the porcelain-making technology and experience of Ou Kiln, Wuzhou Kiln and other surrounding kilns, and began to fire celadon.
However, the celadon fired at that time was very rough and the scale of the kiln industry was not large.
This situation suddenly changed during the Five Dynasties and the early Northern Song Dynasty.
This period is also known as the "confusion period" of Longquan kiln celadon.
The representative artifact of this period is Dan celadon porcelain.
This kind of blue-glazed porcelain has a regular shape, a uniform and smooth glaze, and a dull blue color.
Some are also carved and modified, and compared with the rough early Longquan celadon, there seems to be a lack of transition.
Compared with the later famous plum green and pink green porcelain, there seems to be no inheritance relationship between this batch of porcelain.
This seems a bit abrupt in the entire development history of Longquan celadon, and therefore it has become a "confusion".
The classic work of this period is Longquan kiln celadon plastic with double fish pattern, 6cm high, 23.5cm in diameter and 13cm in foot diameter.
This wash has an open mouth, folds the edges, and circles the feet.
Two swimming fish are stenciled on the inside of the washing heart, and the outer wall is engraved with a convex chrysanthemum pattern.
There are two perforations on both sides of the lip, corresponding to each other, which can be used to decorate metal lifting rings for easy carrying.
This vessel has a green glaze and clear fish patterns on the plastic. It is a typical work of Longquan kiln in the Southern Song Dynasty.
Similar artifacts were also found in the underwater shipwreck of Xin'an, Nanbang.
During the Northern Song Dynasty, Longquan kiln was applied with lime glaze, so the glaze layer was thin and transparent with strong luster.
The early products were thin and white, with a bluish green glaze. The utensils were mainly plates, bowls, and pots, but jars and basins were rare.
After the middle period, the fetus will be gray or light gray, and the glaze will be bluish-yellow;
Decoration generally uses carved patterns, supplemented by grate dots or grate scratches. In addition, there are also patterns such as group flowers, waves, and banana leaf patterns.
The insides of plates and bowls are often engraved with floral patterns and wavy patterns, the interior is filled with grate patterns, and the outer walls are often carved with grate patterns and straight stripes.
The vase and ampulla are often engraved with peony patterns.
Patterns are generally symmetrical.
After the Southern Song Dynasty, lime alkali glaze was applied, which made the glaze thick, soft and elegant.
In the Southern Song Dynasty, the fetus was white in color, dark in color and greyish in color.
In addition to continuing to produce the original utensils of the Northern Song Dynasty, Bagua furnaces, tripod-type furnaces, Lian-type furnaces, basins, statues, slag hoppers, bile-type bottles, five-tube bottles, dragon and tiger pattern bottles, etc. appeared.
The belly of the five-tube bottle is in the shape of a multi-section gourd. There are three to seven vertical tubes on the upper part of the bottle, with five tubes being more common.
The bottoms of bowls and plates are thicker, the dug feet are generally shallow, the ring feet are wide and short, and the outer soles are exposed.
The decoration is mainly composed of carved flowers, with five lines protruding from the flower mouth, and five straight lines protruding from the bowl wall below the flower mouth.
There are many bowls with moiré patterns carved inside, and there are also bowls with "S"-shaped patterns carved inside.
It is also more common to see the four characters "Gold and Jade Mantang" or "Riverside Yifan" printed in Yin on the center of the bowl.
In the late Northern Song Dynasty, the relief lotus petal pattern became popular and was often used on the outer walls of plates and bowls.
By the late Southern Song Dynasty, the lotus petal patterns had become short and wide, close to each other, and the vein line in the petals was protruding.
The Southern Song Dynasty can be divided into white body thick glaze celadon and black body thick glaze celadon.
White-bodied celadon has a delicate and dense texture, a white glaze with a bluish tint, and a rich and soft glaze layer.
Pink green and plum green glazes are the best.
The exposed areas on the soles of the feet are purple, commonly known as cinnabar soles.
The shapes of utensils include bowls, plates, dishes, basins, incense burners, etc.
There are also many antique utensils, such as ke, goblet, cong and other utensils.
The decorations are mainly lotus petals and string patterns. In the late Southern Song Dynasty, double fish, dragon patterns and appliqué peony patterns appeared.
The black-bodied celadon body has thin glaze and thick body color, and is commonly known as iron bone.
The glaze is green in color and has many stripes. The rim of some objects reveals the fetal color, which is purple-brown, and the bottom of the ring foot is iron-black, commonly known as purple mouth and iron foot.
The main shapes of the vessels are bottles, stoves, statues, washers, pen holders, and lamps. The decorations are rare and have many similarities with the porcelain from the official kiln in the suburbs of the Southern Song Dynasty.
In the Yuan Dynasty, the shape was tall and the carcass was thick.
The color of the body is basically the same as that of the Southern Song Dynasty, and the glaze color is green with yellow in it.
Antique utensils are rare, and newly created utensils include goblets, rhombus-mouth plates, ear-ringed bottles, phoenix tail statues, lotus leaf lid jars, etc.
The goblet cup has a short foot, the top and bottom are basically the same size, decorated with Yuanzhu sections, and the inside of the foot is hollow and deep.
Decoration adopts various methods such as scratching, engraving, printing, pasting, engraving, and stacking, etc., mainly scratching, with rough patterns, unrestrained lines, and brown stippling.
The utensils are generally decorated with patterns, and the most common themes are clouds, dragons, flying phoenixes, Pisces, Eight Immortals, Bagua, plum blossoms, chrysanthemums, and the title of Marquis immediately.
In addition, a large number of inscriptions in Chinese and Pasiba are also published.
The lotus petal pattern on the outer wall of the plate and bowl is long and narrow, the arrangement is sparse, and there is generally no protruding vein line in the middle of the petal, which is different from the Southern Song Dynasty.
The bottoms of plates and bowls are generally dug deeper, sometimes deeper than the outer wall. A ring of glaze is scraped off the middle of the outer bottom, revealing a reddish surface with glaze in the center.
By the late Yuan Dynasty, some soles had no glaze at all and had a cuboid-like bulge in the center.
The Ming Dynasty was basically the same as the Yuan Dynasty, but tended to be rough.
The body is thicker, the glaze color is blue-grey, the glaze is thin and transparent, and the luster is strong. The bottoms of plates and bowls are generally not glazed, and there is also a circle of glaze scraped off the middle of the base of the Yuan Dynasty.
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The most common utensils are goblets, bowls with chrysanthemum petals, jade pots, spring vases, pots, and jars with lids.
The foot of the goblet is higher, decorated with bamboo sections, with one or more sections, and the hollowed foot is rough and shallow.