After modern comparative studies with the Song Dynasty bronze cellar sites and artifacts unearthed in Qingbaijiang District, Sichuan City, many modern scholars believe that the site of the Suining Jinyu Village cellar is most likely the site of an ancient academy.
The shapes of offerings, ritual vessels and other objects unearthed from the two places are very similar.
During this process, a large number of combined utensils were discovered, which were sacrificial utensils for academies and other occasions.
The discovery of a large number of daily-use porcelain also reflects from the side the complete system of academies in the Song Dynasty that integrated lectures, sacrifices, and daily life.
Suining Song porcelain was probably buried between the third year of Duanping (1236) and the first year of Chunyou (1241) in the Southern Song Dynasty.
With these comparisons, some relevant clues can be found for the batch of cellars discovered by Chen Wenzhe.
The story begins on September 18, 1991, when the villagers of Jinyu Village in Suining were digging holes in their vegetable fields.
When digging 1 meter underground, the hoe hit a copper bar.
This is a copper bucket, and the gap dug by a hoe still remains on its long handle.
Continuing to dig along both ends of the copper bar, more copper and porcelain appeared.
The green and white glazed plum vase has a regular and dignified shape, a dark glaze color, turbid patterns, and a broken lid. It is rare in previous discoveries and domestic collections.
For example, one of the plum vases is not a first-class cultural relic. Its lid diameter is 4.3, and its lid height is 3 cm; its diameter is 3.8 cm, its belly diameter is 16.7 cm, its foot diameter is 9.4 cm, and its height is 32.2 cm; its total height is 33.3 cm.
The glaze color is also used to win, and the materials are carefully selected to achieve the level of "porcelain like jade", with elegant tones and unparalleled elegance.
Roughness is shown in the abnormality, and charm is hidden in the wonderfulness.
There are two shallow string patterns at both ends of the pattern.
In the early Southern Song Dynasty, Mongolian iron hooves broke into the Kingdom of Abundance.
That plum vase is composed of a bottle, a lid, and two parts.
When he saw the plum vase, Chen Wenzhe recognized it at a glance. It was a genuine Longquan kiln of the Southern Song Dynasty.
The widespread appearance of antique utensils is the product of the retro trend in the ideological circles of the Northern Song Dynasty.
In the end, after rescue and excavation by the cultural relics department, 985 pieces were unearthed.
Celadon and blue-white porcelain are the minor ones, and there are also a large number of white porcelain and white porcelain.
In addition, there are not many products from Beihe Ding Kiln, Xishan Yaozhou Kiln, Sichuan Cifeng Kiln and Guangyuan Kiln.
Those utensils combine the aesthetic tastes of the Song Dynasty scholar-officials and the civilian class.
The pursuit of natural beauty coincides with the Chinese philosophy of "although it is created by humans, it is created by nature."
They reproduce the "art of daily life" of the Song Dynasty people in the night after the Mongol and Yuan invasions.
Those concepts are not reflected in some top national treasures.
The shape is dignified, the glaze color is crystal clear, and the patterns are turbid. It is rare both among unearthed porcelain and among domestic products handed down from generation to generation.
Its caliber is 23.5, its abdominal diameter is 31.7, its foot diameter is 16.1, and its height is 31.5 cm.
The half-century-long Song-Mongol War ravaged that prosperous land and displaced its people.
The bottle has a large straight mouth, a flat lip, a short neck, a curved neck, flat shoulders, and no bulges on the inner wall.
Unfortunately, after the discovery of this batch of cultural relics, not all of them fell into the hands of the state. A large part, or even the vast majority, were hidden and sold.
That needs to be graded. If it is also a first-class cultural relic, it will even exceed the level of very few first-class cultural relics.
The can has a female mouth, a straight mouth, a pointed lip, and a beveled edge cut on the lip.
The decoration is painted in an incised manner, with the flowers, leaves and branches slightly raised.
The bottle body is slender, slightly larger in shape, with a hidden ring foot and a narrow foot ring.
This only confirms the authenticity and reliability of the record in the Guanjiao Note of "Gegu Yaolun" that "the counterfeiters are all those made by Longquan and have patterns", and it also provides you with precious physical information on Longquan's imitation of Guanjiao porcelain.
The batch that Chen Wenzhe saw were the vast majority that were hidden.
The peony is located in the lower abdomen, and the lotus is located in the upper abdomen.
As for such treasures, it was obvious that there was only one of them in the hoard discovered that time, and the only one that could be comparable to the Longquan kiln plum vase was a Southern Song Dynasty Longquan kiln celadon-glazed lotus leaf-shaped lid porcelain jar.
After coming for appraisal and classification, it was found that few of the porcelains in the cellar were top-grade treasures. According to your country's standards, 29 of them could reach the national first-class cultural relics, a few 200 were seventh-class cultural relics, and more than 500 were eighth-class cultural relics. Most of them were Rare in China.
For example, the characteristics of Longquan kiln imitating official kiln porcelain are very obvious.
In addition to gold and silverware, this batch of hidden treasures contains at least porcelain.
There are also 18 pieces of bronze wares and 2 stone carvings among them, which should be regarded as the smallest porcelain hoard ever discovered in our country.
Gold and silverware lost the strong exotic color of Tang Dynasty wares, and even less reflected the elegant and simple style;
It has a short straight neck, rounded shoulders, and a bulging abdomen. The shins are slightly adducted, and the feet are circled. The inner bottom of the circled feet is then made into a concave foot circle, and the inner wall is tapered.
They will also trigger a ray of nostalgia in you for the elegant traditions of Chinese culture.
Among them, there are more than 350 pieces of Longquan porcelain from Jiangsu and Zhejiang, and nearly 600 pieces of Jingzhen porcelain, which are small items.
The porcelain jar is composed of two parts, the lid mouth and the lotus leaf-shaped lid.
Those cultural relics in the cellar are cultural heritage engraved with "memory of the Song Dynasty", conveying the popular fashions, aesthetic tendencies and universal emotions of this era.
Song porcelain is famous for its single-color glaze, advocating simplicity and elegance, and pursuing the beauty of "natural artistic conception".
The unglazed parts of the feet and inner wall are pale orange in color, and there is no kiln residue adhesion on the inner bottom. A large number of white-brown burn spots can be seen, and there are no obvious traces of cutting and trimming.
It focuses on the extraordinary artistic achievements of Longquan celadon and JdZ celadon in the early Southern Song Dynasty.
The fetal bones are thick, and the body is covered with plum green glaze except for the lip and the inner ring of the feet. The glaze layer is thick, the color is bright and lustrous, and the glaze surface is smooth and smooth. The edge of the cover is undulating like a lotus leaf, with an arc top and no trace in the center. The pedicle is buttoned, and the inner mouth of the lid is rounded.
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The excavation of the Suining cellar has overturned the past conclusions and is the only one seen in the country.
The porcelain has simple images and elegant colors, and has no similar artistic taste to the ink and wash landscape paintings that were flourishing at that time;