Recent
The Hunan Provincial Museum has launched two original exhibitions
Return of the King - Ancient Chinese Bronze Parade
Pure to beautiful - exhibition of monochrome glazed porcelain from the Collection of Hunan Provincial Museum
Among them, the "Return of the King" exhibition is even more gathered
More than 10 cultural institutions
280 bronze heavyweights
Including the National Museum of China
Hunan Provincial Museum
Sichuan Guanghan Sanxingdui Museum, etc
A collection of bronze gems
From this, you can glimpse the solemn elegance of the Bronze Ware of the Shang Zhou Dynasty
As well as the inheritance and change of bronzes from the Han to the Ming and Qing dynasties
01
The Chinese Bronze Age was a glorious and unique era. In this era, bronze ware was widely used in all aspects of social life. The body of the instrument is solemn and elegant, the shape of the instrument is varied, and the ornamentation is strange and magnificent. What is particularly important is that the inscription of the bronze is majestic and the body is solemn, recording the sacrifice of the Son of Heaven, the granting of the land to the king, the exchange of princes, the expansion of the territory and other major national events, which are mutually corroborated with the literature and classics.
We can also see the direct application of bronze ceremonial vessels and weapons in the Shang and Zhou ritual systems and participation in national politics: the ancients used bronze to sacrifice ancestral gods, built a system of ritual music, distinguished between the inferior and the inferior, and used bronze weapons to maintain order. The bronze ware witnessed the great construction of order at the beginning of Chinese civilization and laid the foundation of the ceremonial system of China's imperial society for the next three thousand years.
After the end of the Bronze Age, bronzes and the patriarchal and ritual culture they represent still occupy an important position in Chinese society. The bronze casting process continues to move forward.
From the Han Dynasty to the Tang Dynasty, bronze ware extended the daily function, and at the same time widely used new technologies such as inlay technology and large and small welding, and developed new characteristics in line with the trend of the era of great national integration. The Song, Yuan, Ming, and Qing dynasties have reproduced the "three generations" of the ritual music system, and the imperial court has cast a large number of antique bronze ware to complete the sacrifice system. Combined with the "bladder copper method" copper smelting, enamel and other new processes to cast a light and beautiful new bronze, the plastic arts, practical life, time of the concept into the bronze boutique, to promote the development of bronze to a new height.
The exhibition is divided into four parts: "The Time of the King", "The Great Event of the Country", "Under the Temple" and "Classical Afterglow".
Part I
The Age of kings
The "Age of the King" shows that with the development of casting processes such as the Hefan Method, bronze ceremonial vessels have become increasingly standardized and large-scale, and by the time of the Shang Zhou Dynasty, they have become an establishment, which is not only the rise of the "Bronze Age", but also an important stage in the gradual formation of Chinese social rituals and rituals. In the early Western Zhou Dynasty, the patriarchal system, the feudal system (sub-feudal system), the ritual music system and the well field system were developed, and the King of Zhou was the co-lord of the world, and the five-level title of "Gonghou Bozi male" was formed in turn, and the stable structure of "home-country isomorphism" took shape.
Bronzes embody and document these systems in practical use. In the middle and late Western Zhou Dynasty and the Spring and Autumn Warring States period, the power of Zhou Tianzi gradually weakened, "there is no way under the world, and the Lile conquest comes from the princes." It is not uncommon for princes to use ceremonial utensils and utensils. The princely states developed bronzes with local artistic characteristics, and there was a resurgence of bronze smelting and casting.
Animal Face Pattern Single Pillar Jue - Drinking rituals In the early Shang Dynasty, it was 17.9 cm tall and 15.8 cm long
Fang Ding of the Human Face - a treasure combining royal power and theocracy In the late Shang Dynasty, it was 38.5 cm high, 29.3 cm long and 23.7 cm wide In 1959, it was excavated from the Yellow Zhaizi Mountain in Ningxiang County (now Ningxiang City) in Hunan Province
Sanxingdui Bronze Human Head - Enigmatic Man Late Shang Dynasty Height 41.5 cm, horizontal diameter 20 cm, longitudinal diameter 17.3 cm Sanxingdui site No. 2 sacrifice pit excavated Sichuan Guanghan Sanxingdui Museum collection
(lù) "Gui - A Record of the Rituals and Systems of the Zhou Dynasty In the middle of the Western Zhou Dynasty, it was 19.5 centimeters high, 22 centimeters in diameter, and 6.5 centimeters in height, and was excavated from Baoji City, Shaanxi Province
Animal pattern Ti Liang Jie - "King Of The Three Kings" Spring and Autumn Tong height 50 cm, caliber 24.4 cm, abdominal diameter 38 cm In 1988, the Red Stone of Hengyang City, Hunan Province was excavated from the Collection of Hengyang City Museum
Wrong gold and silver gilded cloud pattern Ding - years flow gold Warring States height 21 cm, caliber 16 cm Collection Of the National Museum of China
Part II
The great affairs of the country
Ritual (sacrifice) and war are major events in the politics of states, kingdoms, and even dynasties. The second part, "The Great Affair of the Nation", shows through a series of artifacts that reflect sacrifices and conquests that "ceremonies" and "soldiers" were the main functions of early bronzes.
Since the Beginning of the Shang and Zhou Dynasties, the "Column Ding System" and the "Music Hanging System" with Ding and Zhong as the core ceremonial instruments have been gradually established, which has influenced China's imperial political system for more than 2,000 years. Even if the function of bronze ware in later generations continues to expand, bronze ware still has institutional and cultural significance beyond the artifacts.
"Division
Hollow human face pattern - ancient majestic meme Late Shang Dynasty Length 31.8 cm, width 35.7 cm Excavated in 1965 in Subu Tun, Yidu County (now Qingzhou City), Shandong Province, the Collection of the National Museum of China
Elephant pattern animal face pattern large - "King of Cymbal" Late Shang Dynasty Height 103.5 cm, Yong length 36.3 cm, milling width 69.4 cm, weight 221.5 kg In 1983, Ningxiang County (now Ningxiang City) Huangcai Town, Hunan Province, Yueshan Township Zhuan Erlun excavated Changsha Museum Collection
"Heavenly Death" Gui - Remembering the heavy weapon of the Wu King's cutting of the Early Western Zhou Dynasty Height 24.2 cm, caliber 21 cm Excavated in Mei County, Shaanxi Province during the Light Years of the Qing Dynasty The Collection of the National Museum of China
"Lái" bell - a musical instrument that promotes the virtues of Tianzi In the late Western Zhou Dynasty, it was excavated in Yangjia Village, Mei County, Shaanxi Province, in 1987
"Xu Gong" 簠 (fǔ) - the dowry of Princess Xu Guo in the middle of the Spring and Autumn Period Height 18.4 cm, length 34 cm, width 21 cm Collection Collection of the National Museum of China
"Yue Wang Zhou Sentence" Sword - The Sword of the King Warring States Length 56 cm, width 4.5 cm Tomb No. 52 of Heshan Temple in Yiyang City, Hunan Province, excavated from the Collection of Hunan Provincial Museum
Part III
Under the temple
"Under the Temple" mainly exhibits bronze ceremonial vessels from the Spring and Autumn Period and the Warring States Period, as well as bronze ornaments such as swords, bronze mirrors, copper seals, and bronze carriage and horse ornaments that embody the daily life of the nobility. During the Spring and Autumn Period and the Warring States Period, with the continuous growth of princes, scholars, courtiers and new military aristocratic forces, the use system of bronze ware also developed forward, and the original sacredness and exclusivity of ceremonial utensils were broken, and bronzes were not only used in temples and state affairs, but also more widely appeared in the family sacrifices, feasts, archery, hunting and many other occasions of the aristocratic class. At the same time, daily necessities such as bronze small pieces were also popular, further extending the secular use of bronze.
Bird-shaped lid pot - "Shang Li" for the use of the mid-Spring and Autumn period height 34 cm collection
Collection of the National Museum of China
Beast head copper 匜 (yí), cockroach pattern copper plate - the embodiment of the ritual of Wo Yu in the middle of the Spring and Autumn Period Za length 22.6 cm, height 11 cm; disc caliber 37 cm, through height 13.6 cm In 1986, Yueyang City, Hunan Province, Fengzui Shaped Mountain Tomb No. 1 excavated Yueyang City Museum Collection
"Prince Chen" Trick - Chu Prince's Instrument Late Spring and Autumn Height 22 cm, length 30 cm, width 13-15.5 cm Collection of the National Museum of China
Silkworm Mulberry Zun - A Record of the Pastoral Life of the Ancient Yue People Spring and Autumn Tong height 21 cm, caliber 15.5 cm, weight 2.75 kg In 1963, it was excavated from the banks of the Xiang River in Xialiu City (now Xialiu Town) in Hengdong County, Hunan Province
Bronze Jian of The Crab Pattern - Linjian Photograph Spring and Autumn Height 14.3 cm, width 38.3 cm In 1965, the tomb of No. 27 Niuzhishan in Xiangxiang County (now Xiangxiang City) in Hunan Province was excavated
Collection of Hunan Provincial Museum
Pinnate grained eight-leaf four-mountain mirror - with copper as a mirror, it can be dressed in the Warring States
Diameter 4.4 cm, side thickness 0.4 cm Collection of Hunan Provincial Museum
"Yanke" copper quantity - Chu state standard measuring instrument Warring States Tong height 13 cm, caliber 15 cm In 1984, Changsha City, Hunan Province, collected by the Hunan Provincial Museum
Part IV
Classical afterglow
"Classical Afterglow" focuses on the continued development of bronze manufacturing technology from the Han to the Tang Dynasty, and bronze has also been closely following the current trend of thought, integrating new features, such as the Boshan furnace that embodies the immortal thought of the Han Dynasty, the bronze ware that reflects the integration of nationalities and the exchange of east and west, the exotic style, and the bronze statue.
In the Song Dynasty, with the rise of the cultural retro movement with the purpose of "reproducing three generations", the establishment of antique bronze ware as a shrine sacrifice vessel, and the peak of copper ware manufacturing appeared again. After the inheritance and development of the Yuan, Ming and Qing Dynasties, new bronze products such as Xuande furnaces have been created, and copper daily utensils and Small Pieces of Qing Play have also become more popular. "Ji Jin" shines through the classical era, adding a brilliant stroke to Chinese culture.
Painted goose fish (gāng) lamp - an environmental protection lamp from 2000 years ago In the Western Han Dynasty
Height 52.5 cm, length 33 cm Collection of the National Museum of China
Hu people lead horses bronze figurines - witness to the integration of the Eastern Han Dynasty Hu people figurines are 43.7 cm high and weigh 6 kg The figurines are 51.5 cm high, 45 cm long and weigh 12.15 kg Excavated from Daoziping, Hengnan County, Hunan Province
Brick seat dance figure bronze figurine - soul dancer with its own light Southern Dynasty Tong height 27.5 cm In 1983, it was excavated from the Collection of Hunan Provincial Museum in 1983
"Huang Zhongqing" Bell - Royal Chimes Northern Song Dynasty Residual height 25.0 cm, dance xiu 16.5 cm, dance guang 14.5 cm Collection Hunan Provincial Museum collection
Gilded bronze Buddha statue - The Seal of Fearlessness Liao 37 cm High Collection Hunan Provincial Museum Collection
Tao Shu (shù) Family Ancestral Ceremonial Vessel - The Embodiment of the Ritual of the Huxiang Ancestral Hall The sixth year of qing Daoguang (1826) collected the collection of the Hunan Provincial Museum
Wat: Height 26 cm, caliber 15.8 cm
Sir: Height 22 cm, flow length 15.5 cm
Beans: Height 28.2 cm, caliber 10.9 cm, foot diameter 16 cm
Chinium: Height 17.9 cm, caliber 15.2 cm
Gui: Height 15.9 cm, caliber 21.7× 16.1 cm
The flow of the four seasons, such as the face of the person with a square face;
The merits of the ancestors are engraved on bronze, and the rain and wind have not been annihilated.
Ding, Gui, Zun, Zhen, Jiao, Jue... The years of mountains and rivers, the respect for the ancestors and the distinguished guests, and the order of the heavens and the earth;
Go, spear, sword, sword... The generals set up a battle, saluted first and then soldiered. The cold light of the battlefield, the sound of golden drums shaking the earth, the west wind hunting, the flag fluttering, and finally the one who has the way wins.
Drums, drums, bells, chimes... The sound of Chinese music, the long song of eternity, still echoes in the ears today.
It was the two-thousand-year-long Bronze Age of China, the great construction of the ceremonial system at the beginning of Chinese civilization.
They are bronze and they are kings.
It seems to have returned, but it has not been far away...
Exhibition information
Exhibition dates: December 30, 2021 - May 18, 2022
Exhibition Address: Hunan Provincial Museum (First Floor Special Exhibition Hall 1)
Full-price ticket: 50 yuan / person
Organizers:
National Museum of China, Hunan Provincial Museum
Co-organizers:
Sichuan Guanghan Sanxingdui Museum, Hunan Provincial Institute of Cultural Relics and Archaeology, Changsha Museum, Hengyang Museum, Yueyang Museum, Xiangtan Museum, Zhuzhou Museum, Ningxiang Tanheli Ruins Management Office, Shuangfeng County Cultural Relics Bureau
02
From ancient times to the present, monochrome glazed porcelain has always been an important category of Chinese porcelain, representing the most traditional aesthetic concept in China. Pure and elegant monochrome glazed porcelain, favored by ancient Chinese royal nobles and literati doctors. The exhibition selects more than 200 pieces of monochrome glazed porcelain, which is divided into nine parts: celadon porcelain, white porcelain, blue and white porcelain, black porcelain, brown porcelain, green porcelain, red porcelain, yellow porcelain and blue porcelain, telling the development process of porcelain glaze decoration for the audience and showing the Chinese color in porcelain glaze color.
Rain over azure Verdant peak spring water - celadon porcelain
Blue glazed porcelain is a high-temperature monochrome glazed porcelain with iron oxide as the main coloring agent. Generally speaking, the content of iron oxide in the glaze is 1%-3%. As early as the Xia and Shang dynasties, primitive celadon had appeared in China. After a long period of exploration, in the Eastern Han Dynasty, the middle and lower reaches of the Yangtze River created mature celadons, represented by Zhejiang Yue kiln, Hunan Yuezhou kiln, Jiangxi Hongzhou kiln and so on. During the Three Kingdoms and Two Jin Dynasties, southern celadon dominated the country, and its firing technology was introduced to the north in the late Southern Dynasty. During the Sui and Tang dynasties, southern celadon continued to develop, and the Yue kiln burned secret color porcelain in the late Tang Dynasty, representing the peak of Tang Dynasty celadon and having a profound impact on future generations. During the Song, Yuan, and Ming dynasties, the north and south of celadon went hand in hand, reflecting each other, with Shaanxi Yaozhou kiln and Henan Ru kiln in the north, and Zhejiang Longquan kiln, Southern Song Dynasty official kiln, Hunan Hengzhou kiln and so on in the south. In the Qing Dynasty, Jingdezhen celadon flourished, imitating the famous kiln celadon of previous generations, and integrating the previous generations.
Eastern Han Yuezhou kiln celadon four-series jar
Southern Dynasty Yuezhou kiln green glaze carved lotus petal pattern dish
Silver-like snow Pure Plain - white porcelain
White glazed porcelain is created on the basis of improved celadon firing technology, and there are fewer impurities in the tire glaze than celadon porcelain. In general, the content of iron oxide in white porcelain glaze is less than 1%. At present, the earliest white glazed porcelain was found in the Hunan region of the Eastern Han Dynasty, a small amount of firing in the late Northern Dynasty in the northern region, mature white porcelain appeared in the Sui Dynasty, and xing kiln, Ding kiln and Gongyi kiln are typical representatives of white porcelain firing. During the Song, Yuan, Ming and Qing dynasties, the white porcelain firing technology was further spread, and the Jingdezhen kiln and Dehua kiln in the southern region became famous kilns for firing white porcelain. The creation, development and maturity of white glazed porcelain is an important technological revolution of ancient Chinese porcelain, which has laid a material foundation for the diversified development of color glazed porcelain, and has also had an important impact on the production and development of the porcelain industry worldwide.
Eastern Han white glazed beans
Southern Song Dynasty Ding kiln white glazed three-legged furnace
The beauty of Rao Jade is like white and blue - blue and white porcelain
Blue and white glazed porcelain is a color glaze porcelain with a glaze color between green and white, also known as shadow celadon porcelain, created and fired in five generations, which is the result of imitation burning of northern white porcelain in the southern region. Jingdezhen kiln products are the most prestigious, which is characterized by light and thin carcass, delicate tire quality, glaze white and green, warm as jade, known as "Rao Jade". Blue and white porcelain belongs to the typical alkali calcium glaze or calcium glaze, and the glaze layer has high transparency and strong glass texture after firing. From the fifth generation to the Song Dynasty, the kilns producing qingbai porcelain in the southern region included Jiangxi Jingdezhen kiln, Baishe kiln, Jizhou kiln, Qilizhen kiln, Anhui Fanchang kiln, Hunan Liling kiln, Yiyang Yangwuling kiln, Fujian Dehua kiln, Nan'an kiln, etc., forming a large-scale production system of blue and white porcelain. During the Yuan, Ming, and Qing dynasties, blue and white porcelain continued to be produced, and the product technology and quality were further improved and improved.
Yuanhutian kiln green white glazed shepherd boy riding ox water injection
Qing Guangxu Jingdezhen kiln green white glaze lid jar
Dai resembles the firmament Xuanying Zenghua - black porcelain
Black glazed porcelain is a monochrome glazed porcelain rich in iron oxide and a small amount of oxidants such as manganese and chromium as color elements. Generally speaking, the content of iron oxide in the glaze is as high as more than 8%. Black glazed porcelain was first created and fired in Deqing and Shangyu areas of Zhejiang, and the Deqing kiln in the Eastern Jin Dynasty was already able to produce chicken head pots and pan-mouth four-series pots with black colors. By the fifth generation of the Sui and Tang dynasties, Changsha kiln, Shouzhou kiln, Qiong kiln, etc. were all fired with black glaze products. The black glazed porcelain of the Song and Yuan dynasties, represented by the jianyao kiln and the Jizhou kiln in the southern region, flourished because of the "tea color white, suitable black cup" tea fighting style, the product quality is superior, the glaze color is black and polished, and the north is the most outstanding black glazed porcelain in the dingyao kiln, and there are imitation firings in Shaanxi, Henan and other places. Black glazed porcelain is an important part of ancient Chinese ceramics and is still highly respected today.
Tang Changsha kiln black glazed melon ridge holding pot
Brown noble chun thick humble hidden its brilliance - brown porcelain
Brown glazed porcelain is a kind of high-temperature monochrome glazed porcelain with iron as the main coloring agent, between celadon and black porcelain. Generally speaking, the content of iron oxide in the glaze is 3%-6%. Brown glazed porcelain and mature celadon appeared at the same time, created and fired in the Eastern Han Dynasty, such as Hunan Xiangyin kiln, Zhejiang Deqing kiln, etc. have brown glaze products, and the quality is high, the technology is mature. In each subsequent historical period, there were brown glaze products throughout the country, and the brown glaze showed different color scales due to the different raw materials for glazing. In the Tang Dynasty Changsha kiln, a double glaze process used to superimpose brown glaze and blue glaze appeared, making the brown glaze brighter. The brown glaze products of the Song Dynasty Ding kiln, commonly known as "Zi Ding", have a thin glaze layer, a condensed glaze color, and exquisite skills. The famous purple gold glazed porcelain of the Qing Dynasty, with the imperial porcelain of the court as the upper product, is well-made, and the glaze color is deep and quiet, representing another peak in the development of brown glaze porcelain.
Tang Changsha kiln brown glazed gourd-shaped holding pot
Yuan Lu Yu Qi Interesting seconds - green porcelain
Green glazed porcelain is a kind of monochrome glazed porcelain with copper as the main coloring agent, which is generally fired in an oxidizing atmosphere. As early as the Han Dynasty, low-temperature lead-green glazed pottery appeared, mostly as burial utensils, and on this basis, high-temperature green glaze porcelain was gradually developed. At present, the earliest products are The Tang Dynasty Changsha kiln and Qiong kiln green glazed porcelain, which are lustrous in color and have a strong sense of emulsion, and are mostly used for daily use. The green glaze products of the Song Dynasty Ding kiln, commonly known as "Green Ding", are extremely precious. In the middle of the Ming Dynasty, the green glaze of melon skin appeared, such as the green of watermelon peel, the color was pure, uniform and tender. The green glazed porcelain of the Qing Dynasty was further developed and innovated, and many new varieties appeared, such as Lang kiln green, turquoise green, okra green, etc., which were the masters of the previous generation.
Qingyongzheng green glaze dark eight treasure pattern plate
After the rain, Ji Xia refined the red jade - red porcelain
Red glaze porcelain is divided into high-temperature red glaze porcelain with copper oxide as the colorant and low-temperature red glaze porcelain with iron as the colorant, and high-temperature red glaze porcelain is generally fired in a reducing atmosphere. At present, the earliest high-temperature red glaze porcelain found is from the Changsha kiln of the Tang Dynasty, and the Qiong kiln is also fired, and the Yongfu kiln of Guangxi in the Song Dynasty inherits the high-temperature copper red glaze process. The Jin Dynasty Henan Jun kiln burned out the kiln to become jun red, and the glaze color was red and shiny purple. In the early Ming Dynasty, Jingdezhen created a ruby red glaze, which was brightly colored and extremely precious. After the middle of the Ming Dynasty, the firing process of high-temperature red glaze porcelain gradually declined, and by the time of Jiajing, the court had to order the replacement of low-temperature alum red glaze. By the Qing Dynasty, the red glaze varieties were more abundant and the skills were more exquisite, such as Lang kiln red, cowpea red, Ji red, coral red, carmine, etc., which were not surprising in the opening of a generation.
Ming Xuande ruby red glaze plate
Huang Chengtiande The most mellow beauty - yellow porcelain
Yellow glaze porcelain is divided into high-temperature yellow glaze porcelain with iron oxide as the coloring agent and low-temperature yellow glaze porcelain with antimony oxide as the coloring agent. At present, the earliest high-temperature yellow glaze porcelain found is from the Tang Dynasty Shouzhou kiln, the development of the Song and Yuan Dynasties is sluggish, the Ming Dynasty yellow glaze porcelain rises again, Xuande yellow glaze hair color is calm, often used as the bottom glaze of blue and white, the Hongzhi period appeared "jiaohuang" glaze porcelain, glaze color delicate, for a generation of famous products. Low-temperature yellow glazed porcelain such as "Jiaohuang" is fired twice, that is, it is fired into white porcelain at high temperature, and then applied yellow glaze, which is roasted at low temperature in the kiln. Due to the use of glaze pouring technique, it is also called "pouring yellow". By the Qing Dynasty, yellow glaze porcelain was further developed, and yellow glazes of different thicknesses appeared, such as eel yellow, goose yellow, lemon yellow and so on. Yellow glaze is a glaze color dedicated to the Ming and Qing dynasties, and different varieties of yellow glaze porcelain are used inside the court due to different identities, and the grade is strict.
Qing Kangxi yellow glaze jar
Wash the lead Hua Blue rhyme incense - blue porcelain
Blue glaze porcelain is divided into high temperature blue glaze porcelain with cobalt oxide as the coloring agent and low temperature blue glaze porcelain with copper oxide as the coloring agent, as early as the Tang Dynasty, there was a low temperature blue glaze pottery with cobalt oxide as the coloring agent, there was also a low temperature blue color in the Tang Sancai, and the high temperature blue glaze porcelain appeared in the Yuan Dynasty, and the cobalt material was imported from West Asia. This high-temperature blue-glazed porcelain is rare in number, and some are decorated with gold depictions, which is extremely precious. During the JinYuan period, low-temperature blue glaze porcelain appeared, such as peacock blue glaze, enamel glaze and other varieties, commonly found in northern kilns. The blue glazed porcelain of the Ming and Qing dynasties innovated and developed on the basis of inheritance, and new varieties such as sprinkled blue, sapphire blue, and sky blue appeared, some of which used Western pigments, with novel craftsmanship, exquisite production, and high quality.
Ming Jiajing blue glazed dark dragon pattern bowl
Qingqianlong Ji blue glazed cup
After more than a thousand years of development, monochrome glazed porcelain has formed today's colorful situation. During the Eastern Han Dynasty, southern China created mature celadon porcelain, brown porcelain and early white porcelain. Subsequently, the white porcelain technique was broken, black porcelain was created and fired on the basis of brown porcelain, and celadon flourished and was introduced to the north in the late Southern Dynasty. The north improved the celadon technology to create mature white porcelain, and gradually formed the porcelain-making pattern of southern Qingbei white in the Sui and Tang dynasties. In the Tang Dynasty, green glaze, yellow glaze, and red glaze porcelain also appeared, after which the green glaze continued to develop, and the yellow glaze technology was broken, until the Ming Dynasty developed a new yellow glaze process. The red glaze was fired by chance, and the firing technology was mastered in the Yuan Dynasty. During the Ming and Qing dynasties, monochrome glazed porcelain ushered in the peak period of development, and glaze varieties emerged in an endless stream, achieving extraordinary achievements.
Throughout the development history of monochrome glazed porcelain, the firing technique has inherited innovation, there are retrogressive fractures, and the process is complex and tortuous, reflecting the wisdom and hardship of Chinese porcelain craftsmen to promote the evolution of glaze color. In the purest and most beautiful glaze, the brilliance and splendor of Chinese civilization are shimmering.
Exhibition time: From December 30, 2021
Exhibition Venue: Hunan Provincial Museum (Special Exhibition Hall of Ceramics on the Third Floor)
Please make an appointment in advance to register and take personal protection before visiting
Source: Hunan Provincial Museum (Wu Xiaoyan, Guo Sanjuan)
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Contribution: [email protected]