The Song Dynasty ended the division of the Five Dynasties and Ten Kingdoms, and the early Song Dynasty reduced the taxes of a number of periods of divided regime, so that the people could rest, the national society was relatively stable, and it was conducive to the development of production and social progress. Coupled with the changes in the mode of land occupation and exploitation that have occurred since the five dynasties of the late Tang Dynasty, the exploitation relationship between landlords and peasants under the tenancy system has developed widely in the Song Dynasty. Changes in economic relations have promoted the development of social productive forces. On this basis, the commodity economy has also developed greatly. Many commercially prosperous, densely populated cities have emerged throughout the country.
The peak period of China's ceramic history was in the Song Dynasty, which inherited the fine tradition of porcelain making in previous dynasties, and the grand production of ceramics was unprecedented. Whether it is celadon porcelain, white porcelain, black porcelain or the production techniques of overglaze and underglaze color, there has been a great improvement. At the same time, there are also many innovations in the shape of utensils, ornaments, tire glaze and other aspects. In addition to the five famous kilns ding, ru, official, ge and jun in the Song Dynasty, Cizhou kiln, Yaozhou kiln, Longquan kiln, Jianyang kiln and Jingdezhen kiln, etc., not only have a wide range of categories and outstanding achievements, but also leave a glorious page in the history of Chinese and foreign cultures.
The Song Dynasty was quite developed in science and technology, such as the invention of gunpowder, compass, and movable printing. The ceramic industry, which is closely related to science and technology, will naturally have a new situation of vigorous development under such favorable conditions. According to the analysis of archaeological data for many years, the kiln farms that have sprung up in the north and south have sprung up like mushrooms. Among them, the more dense areas were mostly near the external ports in the capital and the coastal area at that time, that is, Henan, Zhejiang, Guangdong and Fujian. This historical situation also reflects the local geography, geology and transportation, trade, and even issues directly related to the economy and life at that time, providing a favorable reference for our work on the political and economic history of the Song Dynasty. Looking at the main achievements of the kilns in the Song Dynasty, most of them were based on the long-term influence of the Xing and Yue kilns in the past and combined with their own conditions to produce new results.
The Tang dynasty praised the Yue kiln celadon as "like ice like jade", which is only a rhetorical metaphor and ideal, but the Song people burned Longquan celadon and blue and white porcelain is a clever reality. These works of Song porcelain are masterpieces and treasures in China's ceramic history gallery. Their manners and demeanor are also a long-term example for the ceramic industry in later generations, and they still amaze and fall for thousands of years.
<h1 class="pgc-h-arrow-right" data-track="112" >, [Five Famous Kilns of the Song Dynasty].</h1>
The culture and art of the Song Dynasty was at an unprecedented level in ancient Chinese society. Porcelain is the main component of the Song Dynasty culture, is a splendid flower of the two Song Culture, so it is called "Song porcelain" by the world.
China's porcelain-making process developed to the Song Dynasty, reached the mature stage of pure fire, and entered the first peak of ceramic development in history. In the Song Dynasty, the styles between the northern and southern porcelain kilns were different and had their own characteristics, and the "five famous kilns" represented by the Ru kiln, the official kiln, the Ge kiln, the Jun kiln, and the Ding kiln appeared.
The names of several famous kilns in the Song Dynasty may have begun during the Xuande period of the Ming Dynasty, and the record of court utensils in the "Xuande Ding Yi Genealogy" that compiled a catalog of tibetan utensils for the court is so-called: "The memory is hidden: chai, ru, official, brother, jun, ding". Regardless of whether there is a wood kiln or not, it does not belong to the Song Dynasty, and the kilns of the Song Dynasty are headed by Ru.
The "fresh and elegant" glaze color of the five famous kiln porcelain and the "subtle and timeless" shape are the aesthetic taste reflection of the Song Dynasty literati and doctors and the manifestation of the literati temperament.
Ru kiln
Ru kiln is one of the five famous kilns of the Song Dynasty, with very few cultural relics passed down from generation to generation (according to statistics, less than 100 pieces in the world), and the kiln site has not been found for a long time. However, the literature on it has not been broken. As early as the Song Dynasty, Lu You's "Notes on the Old Scholar's Nunnery" once said: "Therefore, the capital is not forbidden to be fixed, but only the Ru instrument is used, and the fixed instrument has Mangye." Song Yezhi's "Tanzhai Pen Heng" also said: "In this dynasty, The Dingzhou magnetic device was unusable, so it ordered Ruzhou to make green kiln ware, so Hebei Tang, Deng, and Yaozhou all had them, and the Ru kiln was the crown." Minggu Yingtai's "Outline of the Museum" also describes the Ru kiln as saying: "Its color is white, and the juice is thick, like a pile of grease."
The shape of the Ru kiln heirlooms is not as rich as the fixed, hook and other kilns, and there are more utensils such as plates and saucers that have been seen, and there are fewer plates in the form of size and depth. Only two types of melons with ten petals of prism and apostrophe curled feet are seen; Washed in three forms: round, oval and three-legged; There are three-legged three-legged bottles with string patterns imitating Han Dynasty copper bottles, and the cup holder is rare. Only one has been passed down; The bottle has three shapes: jade pot spring, bile type and paper mallet shape; There is only one piece of imitation bronze ware; There is also an oval four-legged basin, which has not been seen in other famous kilns, and can be said to be a unique shape of the Ru kiln.
As far as the Palace Museum and museums around the country are concerned, the glaze color is different from other celadons of the same period, and it has its own special style, showing a faint azure color, some slightly darker, some slightly lighter, but not leaving the basic tone of light azure, the tone of this blue is more stable, less change; There are more glazed matte, and only a few are shiny. Although the Ru kiln is different from the official kiln dedicated to the use of porcelain for the imperial court, the porcelain burned by the official governor is allowed to be sold by the inferior party who is selected by the imperial court. Therefore, there is very little folk circulation, so it is "especially rare to be near". Whether the porcelain supplied by the Ru kiln is made of agate as the raw material for glaze. In fact, the main component of agate is silica, which is no different from the general glaze of quartz sand. Agate often contains iron and other color elements, and the use of agate as a glaze may have a certain effect on the special color of Ru porcelain. Regardless of the cost of the palace utensils, luxury is preferred. Ruzhou does produce agate stone.
Song Ru kiln azure glaze plate (Palace Museum)
Song Ru kiln azure glazed bowl (Palace Museum)
Song Ru kiln azure glaze string pattern three-legged bottle (Palace Museum)
Song Ru kiln azure glaze three-legged bottle bearing plate (Palace Museum)
Northern Song Dynasty Ruyao Celadon Cup (Great Vid Chinese Art Foundation, UK)
2. Official kiln
Guanyao is one of the five famous kilns of the Song Dynasty, known as the difference between "old officials" and "new officials", the former refers to the Northern Song Dynasty official kiln, and the latter guides the Song official kiln. Gu Wenxian of the Southern Song Dynasty mentioned in the "Miscellaneous Records of Negative Xuan" that "Xuanzhengjian (1111-1125) set up a kiln to be fired, known as the official kiln".
The earliest documentation is the Southern Song Dynasty Ye Liao's "Tanzhai Pen Balance", "Zhongxing crossed the river, there was Shao Chengzhang's mention of the Houyuan, the number Shao Bureau, the attack on the Forbidden City, the kiln in the Xiu Neisi, the name of the inner kiln; The clay is exemplary, extremely delicate, and the glaze is clear, which is cherished by the world. A new kiln was erected under the altar in the back suburbs. Bigger than the old kiln. Yu Ruwu Mud Kiln, Yu Hang Kiln, and Continuing Kiln are not official kilns, and if they are called old Yue kilns, they will not be seen again." It is clearly pointed out here that the Shuuchi kiln is also called "inner kiln". With the intention of the inner court and the ouchi. It is also pointed out that the Shu nei Siguan kiln is fired in imitation of the characteristics of the Fengjing guan kiln, made of clay, made extremely regular, and is cherished because of the crystal clear glaze color.
In the early Ming Dynasty, Cao Zhao's "Treatise on gegu essentials" said about the characteristics of the Xiu Nei Si kiln: "The official kiln vessel, the burner burned by the Song Xiu Nei Si, the soil veins are fine, the color is green and pink, the thickness is different, there are crab claw patterns, purple mouth iron feet, and the good color is similar to the Ru kiln." There are black clay people called black mud kilns. The hypocrites are all burned by the dragon spring, and there is no vein. ”
In the late Ming Dynasty, Gao Lian's "Zunsheng Eight Notes" once had the saying that "the Xiu NeiSi kiln was under the Phoenix Mountain", and Wang Shisheng's "GuangzhiXuan" said that "the official and brother kilns were burned under the Phoenix Mountain in the Song Dynasty", but the exact location has not yet been found, so some people doubt this statement.
Southern Song Dynasty Southern Song Dynasty Official Kiln Amphora (Shanghai Museum)
Song Guan kiln pink glazed bottle (Palace Museum)
Song Guan kiln blue glazed square flower pot (Palace Museum)
Song Guan kiln blue glazed cupto (Palace Museum)
Song Dynasty Official kiln powder green string pattern bottle (Palace Museum)
Song Guan kiln pink glaze sunflower washing (Palace Museum)
3. Go kiln
Brother and "brother" brother are listed as Song Mingrong, which was first seen in the Yide Nianshu in the early Ming Dynasty: "The inner library is hidden, chai, Ru, guan, brother, hook, ding".
There are many heirloom kiln porcelain. The works discussed here are limited to the Works of the Southern Song Dynasty, most of which are now in the Palace Museum, the Shanghai Museum and the Palace Museum of Taiwan Province, and many of them have been scattered abroad; They are shaped in a variety of bottles, stoves, washes, plates, plates and tanks.
On the tire has a thin and thick point, its tire quality and porcelain tire and sand tire two kinds, tire color has black gray, dark gray, light gray, earth yellow and other shades; The glaze color is also available in pink, moon white, putty, and green and yellow. In terms of time, there should be a difference between morning and evening here, and from the point of view of production, it is probably not from the production of a porcelain kiln, and the situation is more complicated. Huang Chuanshige kiln has early and late works, the old brother kiln and the new brother kiln record in the "Gegu Essentials" is worthy of attention, Cao Zhao explained to the new brother kiln that all the works that are in pairs belong to the new brother kiln, in other words, most of the old brother kiln is single, and the group is very small.
Song Ge Kiln Bowl (Palace Museum)
Song Ge Kiln Bafang Bowl (Palace Museum)
Song Ge kiln green glaze through the ear bottle (Palace Museum)
Song Ge kiln blue glazed chrysanthemum petal plate (Palace Museum)
Song Ge kiln gray blue glaze eight square ear pot (Palace Museum)
Song Ge Kiln Five Foot Wash (Shanghai Museum)
Song Song Dynasty Ge Kiln Kuikou Bowl (Shanghai Museum)
4. Jun kiln
The Jun kiln is regarded as one of the five famous kilns of the Song Dynasty in later generations. However, the name of the Jun kiln is not recorded in the Song Dynasty literature.
In the early 1960s, the Palace Museum twice sent people to yu county and Linru county kiln sites to investigate, and collected a large number of specimens. In the published report, it is believed that the Jun kiln was first burned in the Northern Song Dynasty. They believe that the specimens found at the kiln site have typical Song Dynasty characteristics. Another report also believes that most of the pots, zuns, and washers of the Jun kilns that have been handed down from generation to generation belong to the antique style, and have common characteristics with the Song Dynasty officials, Ru, and Ding kilns, and should be fired for the needs of the court.
Jun kiln belongs to the northern celadon system, Jun kiln porcelain is unique in that it is a kind of emulsion glaze, the glaze also contains a small amount of copper, different from the Yaozhou kiln, but also different from the Ru kiln, the less glaze color blue with red, like the sunset in the blue sky. Cyan is also different from the general celadon porcelain, although the color shades are different, but more close to blue, is a blue milk glaze. It is a creation and breakthrough in the celadon process.
The basic glaze color of most of the products of jun kiln is a variety of blue milk glaze with different thicknesses, the lighter blue is called azure, the darker is called sky blue, and the lighter than azure is called moon white. These glazes have a fluorescence-like elegant blue luster, and the beauty of their hues is beyond words. This blue milk glaze is an important feature of the jun kiln, but the relationship between this peculiar milk phenomenon and the formation mechanism of the elegant blue, as well as the appearance of the glaze and the chemical composition of the glaze and its firing temperature, has always been little researched. In the early 1960s, the Shanghai Institute of Ceramics and the Zibo Ceramics Research Institute in Shandong in the mid-1970s both conducted systematic scientific research on the Jun kilns of the Song and Yuan dynasties.
The Song Dynasty Jun kiln created copper oxide as a colorant, and successfully fired copper red glaze under a reducing atmosphere, which opened up a new realm for China's ceramic technology and ceramic aesthetics. The Jun kilns of the Song Dynasty were the first to creatively fire a successful copper red glaze, which is a very remarkable achievement. This achievement had a profound impact on the later ceramic industry, and it made many magnificent flowers bloom in the hundred gardens decorated with ceramics.
Song Jun kiln moon white glaze bottle (Palace Museum) Song Jun kiln moon white glaze bottle (Palace Museum)
Song Jun kiln moon glaze out of the statue (Shanghai Museum)
Northern Song Dynasty Jun kiln sky blue glaze bowl (Palace Museum)
Northern Song Dynasty Jun kiln sky blue glaze cupto (Palace Museum)
Northern Song Dynasty Jun kiln gray purple glaze slag bucket pot (Palace Museum)
Northern Song Dynasty Jun kiln rose purple glaze sunflower pot (Palace Museum)
Song Jun kiln rose purple slag bucket pot (Palace Museum)
5. Fixing the kiln
As one of the five famous kilns of the Song Dynasty, dingyao has been mentioned in many documents and literati notes in ancient times. For example, in the "History of Wu Yue Bei" of the early Song Dynasty, there is a so-called "gold setter". Other books, such as the "Song Hui Zhi Manuscript" and the "Song Dynasty Tribute Record", all list the names of "gold and silver hammers" in the "tribute porcelain". The Song Dynasty Shao Bowen's "Record of Smelling and Seeing" also has a record of a story of "Dingzhou Red Porcelain".
Dingyao white porcelain not only has a lustrous enamel and a mild color like a ivory carving, but also has a dense composition and clear and strong lines. White porcelain generally does not apply white clay makeup, but its carcass natural color to show the artistic effect of light and light bumps. However, in the fragments from the kiln site, there are also a few printed or light-free white porcelain that still maintain the early practice of thin white clay makeup to make the glaze white or highlight the printed ornament.
In addition to being famous for its white porcelain, the kiln also burns black glaze, sauce glaze and green glaze ware. Ming Cao Zhao's Treatise on Gegu Essentials says, "... There are purple fixed color purple, there is black fixed color black as lacquer, earth white, its price is higher than white fixed", black fixed and purple fixed tire quality and white porcelain, the same are white tires, black fixed glaze color light can be recognized, there is indeed the texture of lacquer.
The fixed kiln over-firing process is one of the firing methods of Song Dynasty porcelain, which is to burn utensils such as plates and plates in reverse, so it is called over-firing. It was first created by the Quyang Ding kiln in Hebei Province. This firing method has a great influence on the blue and white porcelain kilns in the north and south of the jiangnan region. Before the use of the over-firing method, the kiln used a cassette bowl, that is, a cassette bowl was used to burn an artifact; After switching to the over-firing method, the ordinary cassette bowl with a gasket combination is replaced, and the height of each washer only accounts for five-fifths of the height of the ordinary cassette bowl, so the same kiln is used, the same fuel is consumed, and the output of the kiln is higher than that of the ordinary cassette, which is the main reason why the overcoating method is widely promoted.
Song Ding kiln white glazed baby pillow (Palace Museum)
Northern Song Dynasty Dingyao White Glazed Dragon Head Large Net Bottle (Dingzhou Museum)
Northern Song Dynasty Ding kiln white glaze printed cloud dragon pattern plate (Shanghai Museum)
Northern Song Dynasty Ding kiln carved flower sunflower bowl (Shanghai Museum)
Northern Song Dynasty Kiln White Porcelain Engraved Lotus Pattern Wash (Osaka Municipal Museum of Oriental Ceramics Sumitomo Group sent to Anzai Collection)
Song Ding kiln printed dragon pattern plate (National Palace Museum, Taipei)
Song Ding kiln white porcelain carved flower "longevity wine" text cup (Shanghai Museum)
Song White glazed floral pattern pillow (Palace Museum)
Song Ding kiln sauce glaze cover bowl (Palace Museum)
Song Ding kiln purple gold glazed sunflower petal mouth plate (Palace Museum)
Song Flower Short Belly Bottle (Osaka Municipal Museum of Oriental Ceramics)
Song Ziding Golden Flower Tea Cup (Tokyo National Museum, Japan)
<h1 class="pgc-h-arrow-right" data-track="112" >2, [Other kilns in the Song Dynasty].</h1>
Looking at the main achievements of the Song Dynasty kilns, most of them combined with their own conditions under the influence of the previous Xing and Yue kilns, such as: the painted black flowers and white porcelain of the Cizhou kiln, the carving, scratching, printing celadon of the Yaozhou kiln, the emerald green celadon of the Longquan kiln, the shadow celadon of the Jingdezhen kiln and the crystal glaze (so-called rabbit, oil droplet, and obsidian) black porcelain of the Jianyang kiln, etc., which have multiplied countless treasures of colorful and exquisite perfection, which have won people's general appreciation.
Cizhou kiln
Cizhou kiln, Song Dynasty literature is not recorded. Literature only began to mention it in the early Ming Dynasty, but it was simple.
The reason why Cizhou kiln can become a model of folk kilns in the north at that time is mainly due to the strong atmosphere of folk life, and its products are mostly bowls, plates, pots, pots, pots, bowls, bottles, lamps, pillows and other daily necessities. The surface is often decorated with poetry and paintings that people like to see, the tone is concise, vivid and lively, and it is accustomed to drawing, scratching, culling, engraving, printing and other different techniques, the lines are smooth and unrestrained, fully expressing the simple style common to folk art. Cizhou kiln utensils are most representative of the production of pillows, and the paintings on the pillows seen include flowers, herons, cranes, dragons, tigers, bear plays, circuses, as well as double baby bows, willow bank fish watching, river fishing, lotus pond ducks and so on.
Although cizhou kiln is not as valued as the five famous kilns, because of its unique, simple and heroic artistic style and a large number of practical and beautiful daily utensils, it has been well-known and far-reaching since the Song Dynasty. In the history of the development of ceramics in the world, Cizhou kiln has also made outstanding contributions.
Song Cizhou kiln tiger pattern porcelain pillow (Gansu Provincial Museum)
Song Cizhou kiln white ground black flower circus picture pillow (Palace Museum)
Song Cizhou kiln white ground black flower plum vase (Palace Museum)
Song Cizhou kiln white ground black flower bamboo pattern pillow (Palace Museum)
Song Cizhou kiln white ground black flower fish pattern pillow (Guangdong Provincial Museum)
Song Cizhou kiln white glaze black color child bow ball pattern pillow (Hebei Museum)
2. Yaozhou kiln
Yaozhou kiln was created and fired in the Tang Dynasty, firing black glaze, blue glaze, white glaze porcelain, after the Song Dynasty celadon has been greatly developed. From the end of the five dynasties to the beginning of the Song Dynasty, under the influence of the Yuyao Yue kiln, the celadon of the Yaozhou kiln was called "Yue kiln", and the carved flowers were famous for their sharpness and freedom, in addition to the engraved flowers, they also fired printed celadon porcelain. The Yaozhou kiln is represented by the town of Huangbao in present-day Tongchuan City, Shaanxi Province, including the kilns of ChenLu Town, Lidipo, Shangdian and YuhuaGong. Tongchuan was formerly known as Tongguan ,And during the Song Dynasty , it belonged to Yaozhou , hence the name Yaozhou Kiln. Huangbao Town is located in a narrow basin on the west bank of Qishui, fifteen kilometers northeast of Tongchuan City and thirteen kilometers south of Yao County. Lacquer water passes through the town and flows through Yao County to meet the Depression River; there are avenues in the east and west of the town, water and land transportation is convenient, coal and crucible soil are produced nearby, and there are good conditions for burning porcelain.
The ornamentation is the most skilled in carving patterns, and the knife technique is sharp and vivid. As for the layers of the print, the uniformity of the composition is gorgeous, and it can be outstanding and cannot be reached by imitations. For example, the common Song Yaozhou kiln green glaze carved phoenix pattern dragon head beam pot, green glaze carved flower pattern pillow, green glaze carved flower pattern pillow, green glaze carved reverse flow pot blue glaze carved pattern chrysanthemum petal bowl and Song Yaozhou kiln green glaze carved peony pattern box, regardless of the shape, ornamentation and even glaze color, have reached a very perfect mature stage.
After the middle of the Northern Song Dynasty, it was the heyday, which was mainly decorated with carved prints, especially the sharp blades and smooth lines of the carved flowers as the crown of similar decorations in the Song Dynasty. Yaozhou kiln carved flowers were created in the early Song Dynasty, and it can be seen from the excavated specimens that it was inspired by the carved flower decoration of the Yue kiln in Yuyao, Zhejiang.
There are two kinds of carved flower decoration in the early Song Yao kiln bowl specimens: one is to use relief carving techniques on the outside of the bowl to engrave two layers of lotus petal patterns, this kind of carved flower decoration is placed in the five generations of Yue kiln bowls, and the carved flower decoration of the Yao kiln carved lotus petal bowl is first taken from the Yue kiln bowl pattern, which has the Yue kiln style. Therefore, the Southern Song Dynasty Luyou has "Yaozhou out of the celadon is called yue ware, with its kind of Yuyao County secret color also" said. Another decoration of the early carved flowers of Yao porcelain is the sloppy and specious floral ornamentation carved on the outside of the bowl, which should be the original appearance of the initial period of Yaozhou kiln carved flower decoration. However, by the middle of the Northern Song Dynasty, the development of Yao porcelain carvings was mature, and the carved flowers had unique styles such as lively and smooth lines, sharp blades, and rich and varied ornamental themes.
Yao porcelain in the middle of the Northern Song Dynasty began to appear in the printing decoration, to the late Northern Song Dynasty, the layout is strict, symmetrical, the printing decoration that appears everywhere is all in place, and it is not excessive to say that the Yao porcelain printing decoration is the most outstanding in the Song Dynasty printed porcelain.
Song Qing glaze lift beam inverted porcelain pot (Shaanxi History Museum)
Northern Song Dynasty Yaozhou kiln tangled peony pattern vase (Osaka City Museum of Oriental Ceramics)
Song Yaozhou kiln celadon carved flower bowl (Shaanxi History Museum)
Northern Song Dynasty Blue glaze carved flower phoenix peony pattern octagonal pillow (Shaanxi Fufeng County Museum)
Southern Song Dynasty Yaozhou kiln dark engraving box (Great David China Art Foundation, UK)
Song Yaozhou kiln blue glaze carved seawater duck pattern (Palace Museum)
Song Yaozhou kiln printed chrysanthemum petal pattern bowl (Palace Museum)
3. Longquan kiln
Longquan kiln in the territory of present-day Longquan County, Zhejiang Province, Longquan County not only has rich raw materials for porcelain making, but also the mountains and hills are rich in pine wood that can be used as fuel for porcelain firing. The kiln site furnace has many streams and hillside buildings, and the processing of porcelain raw materials relies on the use of water pillars. The finished product output is also convenient for water transport.
In terms of vessel shape, decoration and glaze color, it has similar characteristics with Yue kiln, Wenzhou kiln and Wu kiln. Longquan kiln gradually formed its own style in the middle of the Southern Song Dynasty, with simple shapes, thick bottoms, and wide and short circles. Has a sense of stability. Early utensils still continue to produce, and there are furnaces, bottles, pots, slag buckets, statues and other utensils, there are many utensils, each utensil has a variety of styles, the furnace has a Ding-type furnace, onion tube foot furnace, Bagua furnace, four-legged furnace, 奁 type furnace, etc., bottles have bile bottles, gooseneck bottles, dragon pattern bottles, tiger pattern bottles, cap bottles and five-tube bottles and so on; Glaze crystal bright and transparent as a mirror, decoration to carved flowers, grate pattern gradually reduced, bowl mouth more flower mouth five out, flower mouth under the bowl wall more convex five straight lines, bowl engraved more clouds, some bowls are divided into five equal lines, the inner stroke "S" shape ornament, scratching concise and fast; The heart of the bowl is printed with the inscription "Riverside Relic" or "Golden Jade Mantang", and there are more four characters.
The prosperity of Longquan kiln may have begun in the middle of the Southern Song Dynasty, and the successful firing of pink blue glaze and plum blue glaze ware, which is usually the representative work of Longquan celadon and the peak of the beauty of celadon glaze color, may have begun in the late Southern Song Dynasty. A large number of porcelain pieces left at the kiln site can be divided into two categories according to the common tire color, white tires and black tires, while white tires are the mainstay, accounting for more than nine-tenths of the total. Black-tired celadon may be a product imitating the Southern Song Dynasty official kiln, and white-terred celadon is Longquan celadon that represents the characteristics of the Longquan kiln system. During this period, the shape of utensils was more diverse, including various kinds of pots, plates, plates, bowls, cups, pots, slag buckets and other daily necessities, as well as stationery for the study room, such as water meng, water injection, pen holder, pen holder, chess pieces, as well as various incense burners and statues of the eight immortals in front of the bird cup and the buddha.= It is worth noting that at this time, there were many artifacts imitating the shape of ancient bronze and jade, and the imitation bronzes were bristles, gourds, charms, pots, etc., and imitation jade had qun. It shows that the achievements of Longquan celadon craftsmanship have been loved by all levels of society.
Longquan celadon is the historical peak of the celadon craft. The history of firing celadon in China is very long, the historical relics of firing celadon in Zhejiang can be traced back to the Warring States, Spring and Autumn, from the original celadon to Longquan celadon has experienced nearly two thousand years of years, the tradition is rare, the craftsmen of the successive generations of firing celadon also attach great importance to the beauty of the celadon glaze color and texture, the Jin people describe the Ou kiln celadon as "Miao porcelain", the Tang people call the Yue kiln glaze "like jade like ice", the glaze color is "Qianfeng Cui", "Secret Color". But what became the pinnacle of the beauty of celadon glaze color and texture was the Longquan Celadon created by the kiln workers of the Song Dynasty, which is the artificially manufactured blue jade of the ingenious craftsmanship, and every fragment of the Longquan Celadon of the Song Dynasty still makes us fall for its beauty.
Song Longquan Kiln "Horse Locust Trip" Blue Glazed Flower Mouth Porcelain Bowl (Tokyo National Museum, Japan)
Song Longquan kiln blue glazed bottle Palace Museum
Song Longquan kiln blue glaze ear string pattern bottle (Palace Museum)
Southern Song Dynasty Longquan Kiln Plastic Dragon Lotus Petal Pattern Lid Jar (Shanghai Museum)
Southern Song Dynasty Longquan kiln celadon phoenix ear bottle (Osaka Municipal Museum of Oriental Ceramics Sumitomo Group sent to Anzai)
Song Longquan kiln blue glaze string pattern three-legged furnace (Palace Museum)
4. Jianyang kiln
Jianyang Kiln is located in The area of Pondun and Luhuaping in Shuiji Town, Jianyang County, Fujian Province. Because of the high iron content of its products and the black tire, it is commonly known as "iron tire" or "black construction", alias "black mud kiln", "black mud kiln" referred to as "building kiln", mainly known for rabbits, dripping beads (an oil droplet), obsidian glaze. Jianyang Dian was also once burned for the imperial court because it was suitable for the popular tea fighting (also known as point tea) customs at that time.
Is it a synonym for yao and a kiln character, is it another name for something that "kiln changes and obscures"? It will be investigated in the future. However, these two ancient Chinese documents are often ignored, and the discussion based on foreign documents is unknown, which is inevitable that there are many regrets about forgetting the ancestors. This refers to the phenomenon of kiln change that occurs when generally firing porcelain, and the Japanese use it as one of the most valuable varieties of kilns.
The most common in the so-called "Tianmu tea bowl" are oil drop glaze and rabbit glaze. Oil drop glaze is called drop beads in ancient China, and now it is also known as raindrop glaze. The Ming Dynasty Cao Zhao's "Treatise on gegu essentials", Gu Yingtai's "Outline of Natural Objects", and the Qingren Lanpu's "Jingdezhen Pottery Record" all mention that "building a kiln ... Bowls and cups are mostly skimmed, the body is slightly thinner, the color is light and black and moist, there are yellow rabbit spots, and the beads are big." However, the word oil drop is found in ancient Japanese literature, such as matsudaira's main horse "Zhujia Tea Ware Examination" that is, there is a record of the so-called "one oil drop", which has become a special name and anti-customer for a long time, and the circulation is very wide. The formation of this glaze tone is the trace left by the bubble from the glaze. If the fragmentation of the oil droplet glaze is placed under the microscope, it can be seen that there are still insoluble quartz grains, bubbles and pure red mirror iron ore in the glaze, that is, iron trioxide scattered, and there are a lot of mirror iron ore concentrated in the bubbles. If there are no oil droplets and only bubbles, there are also oil droplets when the bubbles are broken.
Southern Song Dynasty Kiln Oil Drop Tenmu Tea Bowl (Osaka Municipal Museum of Oriental Ceramics Sumitomo Group sent to Anzai)
Southern Song Dynasty Jianyao Rabbit (Great David Chinese Art Foundation, UK)
Southern Song Dynasty Jian kiln oil drop cup (Great Weide Chinese Art Foundation, UK)
Song Jianyang kiln black glaze sauce spot bowl (Fujian Museum)
Song Jianyang kiln black glazed rabbit (Palace Museum)
5. Jingdezhen kiln
Qingbai porcelain is a kind of porcelain with a unique style that was fired in the Song Dynasty represented by the Jingdezhen kiln. Because its glaze color is between the two colors of blue and white, there is white in the blue and white in the blue, so it is called blue and white porcelain, and it is generally used to call it "shadow blue". The early firing history of blue and white porcelain is unclear. Jiangxi Jingdezhen kiln is one of the important porcelain kilns of the Song Dynasty, it has high-quality porcelain raw materials, there are easy to burn porcelain songchai, there is a more convenient waterway transportation in the middle, especially craftsmen from all over the world, bringing good experience in porcelain making from all over the world. In the selection of raw materials, porcelain making technology and decorative patterns and other aspects have reached a considerable height, it can be said that it is more concentrated to represent the level of porcelain burning in the Song Dynasty. take
The Tang Dynasty Lu Yu once commented on the Yue kiln celadon in the book "Tea Classic" that "like jade is like ice". Lu Yu commented on the degree of warmth of the blue glaze like jade like ice. Song Dynasty blue and white porcelain not only far exceeded the Yue kiln, so that the texture of the glaze reached the requirements of jade, but also almost had the same texture as jade.
The excavated blue and white porcelain often has obvious imitation metal features in the shape, such as the melon-edged pot body, the slender and curved pot stream, the inner part of the thin placenta dish with several straight lines, the folding edge of the plate, and the mouth of the pan and other utensils are mostly decorated with five or six flower mouths. The pattern is decorated with engraved flowers and two kinds of prints (plate 2: 3). The engraved flowers are supplemented by grate dot patterns to make the engraved pattern ornament prominent; The print decoration is all masculine, and most of them are printed on the inside of the plate or on the lid.
Bright as a mirror, as thin as paper, as loud as a chime", if you use this to describe the shadow celadon is very appropriate. To achieve such a standard, in addition to finely refining porcelain raw materials and controlling the firing atmosphere, we must also properly consider the mutual restrictions and internal links between gloss, whiteness and transparency. The Qingbai porcelain represented by Yingqing in the Song Dynasty occupies a very important position in the history of Chinese ceramics.
Song Jingdezhen kiln green and white glaze carved flower baby play pattern bowl (Palace Museum)
Song Jingdezhen kiln green and white glaze carved flower injection pot, warm bowl (Palace Museum)
Song Jingdezhen kiln green and white glaze reverse flow pot (Palace Museum)
Northern Song Dynasty Blue and White Glazed Terracotta Warriors (Jiangxi Provincial Museum)
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White porcelain appeared since the late Northern Dynasty, and matured from the Sui to the Tang. Xingyao white porcelain has become a famous porcelain that is popular for a while, "no noble and lowly in the world". At present,present-day Xingcheng kiln and Quyang kiln in Hebei Province, Gongxian kiln, Hebi kiln, Mixian kiln, Dengfeng kiln, Wuxian kiln, Xingyang kiln, Anyang kiln in Shanxi Province, Hunyuan kiln and Pingding kiln in Shanxi Province, Yaozhou kiln in Shaanxi, Xiao kiln in Anhui Province, etc. have all burned white porcelain, forming a situation of "southern Qingbei white" of Tang kilns.
The Liao Dynasty was a local government established in the north by the Khitan people in China at the beginning of the tenth century. The Khitan are descendants of the Xianbei people, an ancient northern ethnic group, and were called Khitan at the end of the Jin Dynasty. Since the Southern and Northern Dynasties, the Khitan has been nomadic in the upper reaches of the Liao River in the Area of the Xilamulun River, and its relationship with the Central Plains has gradually become closer. The Tang Dynasty placed the Governor of Songmo on its land and appointed the Khitan chieftain as the Governor. In the late Tang Dynasty, the Khitan had become the most powerful force among all the ethnic groups in northern China. At the end of the Tang Dynasty, the khitan chief Yelü Abaoji unified the Khitan and neighboring departments, and established the Liao Dynasty in 916 (the second year of Liang Zhenming after the fifth dynasty), which was established side by side with the fifth dynasty and the Northern Song Dynasty.
The porcelain industry of the Liao Dynasty is an important part of the handicraft industry of the Liao Dynasty. Although the source of the craftsmen of the Porcelain Industry in the Liao Dynasty is not clearly recorded in the literature, it can be imagined from the sources of craftsmen in other departments of the Liao Dynasty handicraft industry.
The shape of Liao porcelain Liao Dynasty ceramics is diverse, which can be divided into two categories: the Central Plains form and the Khitan form. Most of the ceramic vessels in the form of the Central Plains are fired in the style inherent in the Central Plains. In the Khitan form, most of them are fired according to the leather, wooden and other containers used by the Khitan tradition. The two types of modeling and their development and changes are closely related to the political, economic and cultural development of the Liao Dynasty, and are the reflection of the development and changes of animal husbandry and agricultural economy and their lives in the Liao Dynasty. Ceramics belonging to the Central Plains form include cups, bowls, plates, saucers, cups, boxes, pots, pots, bottles, urns, cylinders, chess pieces, incense burners, pottery, bricks, etc. Some are eating utensils, wine vessels and tea sets, while others are storage vessels, daily utensils and building materials. Learning belongs to the Khitan form of ceramics, including long-necked bottles, wind head bottles, style bottles, belt pots, injection pots, chicken crown pots, chicken leg bottles, begonia fancy long plates, warm plates, triangular plates, square plates, etc. Some are food containers, some are receptacles and receptacles.
The decorative patterns used in Liao Dynasty ceramics are mainly peonies and wild peonies on the carved and moulded utensils. Peonies were planted in the courtyards of people in the northeast and Hebei at that time, and white peony medicine was abundant in the mountains of the northeast, which was the most popular pattern decoration in the Liao Dynasty. In particular, peonies, in various murals, ornaments, and stone carvings at that time, used this theme a lot, and ceramic utensils were more common. Round bottles, cans, mostly use tangled branches peony or wild peony, begonia fancy long plate and chicken crown pot, then use a plant peony, carved flower plate, bowl, pot, with two or three plants of peony, printing plate, dish, in the three-layer pattern belt, often peony-based. Lotus flowers and chrysanthemums, although also more popular, are not as common as peonies. Curly grass is also more common on Liao porcelain, mostly used for chicken crown pots or as the edge of utensils. In addition, there are water waves, drifting clouds, butterflies, cranes, grapes, grass flowers, round money patterns, etc., generally as auxiliary patterns, but also occasionally as the main decoration.
Liaobai glazed carved flower cockscomb pot (Palace Museum)
Liaohuang glazed phoenix head bottle (Palace Museum)
Liao Yellow Glazed Beam Pot (Palace Museum)
Liao Sancai printed begonia plate (Palace Museum)
Liao Sancai carved rabbit pattern small disc (Palace Museum)
Liao Chifeng kiln white glaze carved flower filling peony pattern jar (Palace Museum)
Liao green glaze carved flower single-handle pot (Palace Museum)
The Jin Dynasty was a local government established by the Jurchens in China in the early twelfth century in the northeast and north China. Jin Dynasty ceramics are an indispensable part of the history of ceramics in China. For a long time, because there are few physical records of Jin Dynasty ceramics in historical documents and there are not many physical materials, no one has done systematic research on Jin Dynasty ceramics in the past.
The excavated and handed down Jin Dynasty porcelain is mostly bowls, plates, pots, bottles, and pots in the porcelain used for daily life, followed by cups, washes, stoves, cup holders, porcelain pillows and toys. Jin Dynasty porcelain, most of the daily utensils inherit the Song style, the more popular are the following: the genus of bottles, including a variety of glazed double, three, four series of bottles; The genus of ear jars, including black and white glaze double cans, black glaze double cans, white glaze black flower double cans, etc.; The genus of tall body vessels include peacock green long-necked bottles, black glazed brown spot bottles, chicken leg bottles, etc. In addition, there are some rare but very special vessel shapes and utensils such as the white glazed black flower gourd-shaped bottle mentioned above, the porcelain thunder excavated from the Daguan Electric Kiln, and the black-glazed peach-shaped pot excavated from the Jiangguantun Kiln, which are rare in the ceramics of the past.
The pattern decoration of Jin Dynasty porcelain, the general trend is to be more and more simplified, the theme is a variety of folded branches, tangled flowers and grass patterns as the mainstream, followed by water waves, fish and ducks, characters, baby play lotus, rhinoceros looking at the moon and so on. In terms of decorative techniques, there are engraving, scratching, printing, de-flowering, pen painting, plastic paste, coloring and hanging glaze. Among them, the carved flowers and scratched flowers are highlighted by the fixed kiln. For example, a white glazed porcelain jar with a lid unearthed from the Ding kiln has a slightly retracted mouth edge, a slight drum under the abdomen, a serrated pattern carved under the mouth edge, and a dense straight convex and concave pattern carved on the abdomen. This artistic effect with bas-relief after treatment by engraving techniques is only seen in Jin Dynasty porcelain. The sunflower petal carved pattern plate excavated from the golden tomb in Tongxian County, Beijing, the plate is sunflower open, and the heart of the plate is engraved with lotus pattern. The shape, engraving and glaze color are integrated, giving people a feeling of exquisite craftsmanship and rich decoration.
The shape and decoration of Jin Dynasty porcelain is basically developed from the Song Dynasty, and the promotion of Yaozhou kiln printing decoration technology and the mass production of white and black flower ware in Cizhou kiln works show that Jin Dynasty ceramic craftsmen have also made positive contributions to the development of ceramic art in China.
Jin Yaozhou kiln celadon engraving flower three-legged furnace (Shaanxi History Museum)
Jin Yaozhou kiln Wu Niu breathing moon pattern bowl (Palace Museum)
Kanekishu kiln green glazed black flower peony pattern bottle (Osaka Municipal Museum of Oriental Ceramics Sumitomo Group sent to Anzai collection)
Jin Jun kiln sky blue glaze bowl (Palace Museum)
Gold Black Glazed Flower Jar (Palace Museum))
Jin Cizhou kiln white ground black flower poetry Ruyi head pillow (Palace Museum)
Jin Yaozhou kiln money pattern small pot (Palace Museum)
The history and characteristics of the Western Xia ceramic process are rarely recorded in the literature, and have never been paid enough attention to, and are mostly confused with Song and Yuan ceramics.
Taking the Ningxia Lingwu Kiln as an example, the kiln site is in the desert area, with a length of about 800 meters from north to south and a width of 400 meters from east to west. In the Western Xia strata of the Yuan Dynasty, the remains of kilns and workshops and a large number of remnants and kiln tools were excavated. The shape of the utensils is stable, the carcass is thick, mainly living utensils, such as plates, bowls, cups, bowls, pots, pots, pots, boxes, cylinders, lamps, and even study rooms, recreational supplies and religious supplies, building materials, such as pottery, stone drops, chess pieces, pottery bells, spinning wheels, porcelain pestles, Buddha flowers, Falun, dripping water, tiles, etc.
The glaze layer of the utensils is thick and the pattern is concise. The white glaze is mostly tooth yellow, some are scratched patterns, finely made, and some are glazed with coarse rates, still revealing traces of makeup soil and spinning marks. Black, brown glaze or for the light element without grain you, or for the open light to remove the pattern, the glaze color is bright, the production is gorgeous. Some of them have rough lines, vivid and lively, and are full of strong folk life interest.
Western Xia white glazed high-foot bowl (excavated from the Site of Ningxia Lingwu Kiln)
Xixia Black Glaze Carved Peony Flower Vase (Ningxia Museum) Xixia Black Glazed Peony Flower Vase (Ningxia Museum)
Western Xia black glaze carved flower four series flat pot
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The greatest contribution of the porcelain making process of the Song Dynasty in the history of China's ceramics is to open up a new realm for ceramic aesthetics.
The shape of Song Dynasty ceramics also has many new developments compared with the past. Common utensils such as plates, dishes, pots, pots, bottles, lamps, pillows, bowls, cylinders, pots, turns, boxes, stoves, washes, smokes, cups, spit cups, porcelain sculptures, children's toys and the like, many have innovative styles. For example, the bowl has a skimming, straight mouth, lip mouth, sunflower petal mouth, flower mouth; The pot has a circle, gourd type, melon ridge, ear sorghum, grip short flow, long flow, animal-shaped flow; Bottles include straight mouth, handicap, wash mouth, flower mouth, multi-tube, straight neck, binaural, ear piercing, melon ridge, gall, gourd, plum bottle, olive type, dragon type, Qun type (imitation jade), jade pot spring, net bottle, gooseneck bottle, etc.; Washed with three feet, five feet, recumbent feet, single handle, folding edge, drum nails, sunflower style, peach style, etc., most of the shape of the end of the show, simple and generous, both practical and very beautiful, for the future generation of ceramics modeling provides a very useful style. Not only are there many imitations of the Yuan, Ming and Qing dynasties, but some are still worthy of our reference today.
Begonia red and rose purple of jun porcelain, brilliant as sunset, changing like the kiln color change glaze of the clouds and flowing water; The texture of the juice of the Ru kiln is as moist as a pile of fat; The color quality of Jingdezhen blue and white porcelain is like jade; Longquan celadon emerald green crystal plum green is the ultimate beauty of celadon glaze color. There is also a kiln full of broken lines, that intentional production of defective beauty, flawed beauty; Black porcelain seemed to be powerless except black, but the Song people burned out oil droplets, rabbits, partridge spots, tortoiseshell crystal glazes and emulsions. The white glaze black flower ware of the Cizhou kiln is another realm. The underglaze black flower ware inherits the tradition of the Tang Dynasty Changsha kiln blue glaze underglaze color, and directly provides an example for the emergence of white porcelain underglaze blue and white ware in the Yuan Dynasty. The pattern of the fixed porcelain is neat and rigorously printed, and the sharp and elegant engraving of the yao porcelain are all new manners and styles that are unknown to the Tang and five generations of Tang and five generations who only know the white porcelain of xing kiln and the yue kiln "qianfeng green color", "secret color" and "like ice jade".
The aesthetic style of Song porcelain is close to Shen Jing Yasu, and although the jun porcelain is as splendid as the sunset, it does not lose the warmth and magnificence of Tang Sancai. The new aesthetic realm created by Song porcelain lies mainly in the fact that Song porcelain not only attaches importance to the beauty of glaze color, but also pursues the beauty of glaze texture.
Jun porcelain, ge porcelain, longquan, black porcelain oil droplets, rabbit milli, tortoiseshell, etc. are not ordinary floating shallow, unobstructed transparent glass glaze, but can show the texture of the beauty of the emulsion glaze and crystal glaze. Ru porcelain of the Northern Song Dynasty and the official kilns of the Southern Song Dynasty, Longquan kiln celadon are glass glazes, but their glaze formulas are no longer a thin lime glaze but a viscous lime alkali glaze, so ru porcelain "glaze juice is as thick as a pile of grease", the official kiln and Longquan celadon have been glazed many times, using the refractive light scattering caused by tiny bubbles in the glaze, forming a dignified and deep texture, making people feel that there is an inexhaustible connotation.
Song porcelain patterns not only crown ancient and modern with their variety and high techniques, but also some famous kiln porcelain is simple and grainless, mainly using modeling and glaze color as an artistic means of beautification. Some are not suitable for engraving patterns due to the rich enamel, and use the techniques of skeletonization, relief, and stacking (such as milk nails, laying heads, lotus petals, sculptures, etc.); Some use the flake pattern of the tire glaze (such as the so-called pear peel, crab claw, roe, willow leaf, ice crack, earthworm walking mud, gold wire wire, etc.) to add special interest; Some use the change of glaze tone to reflect each other, or form a drooping state such as the so-called "thick as a pile of grease, hanging like wax tears" and unique. These colorful craftsmanship techniques from the hands of working people make the ceramics of the Song Dynasty as beautiful as a hundred flowers.
In short, the porcelain of the Song Dynasty is mostly fascinating and unique with its simple and beautiful shape, with brilliant and colorful glaze colors or thousands of crystals and flakes, and it is still praised in the world and breathtaking; It can be said that the form, color texture and even light are properly harmonized, reaching the peak of science and technology and arts and crafts performance.
【Reference】
Tian Zibing, A History of Chinese Arts and Crafts: Color Plates, Shanghai Oriental Publishing Center, 2012
Edited by Chinese Ceramics Society, History of Chinese Ceramics, Cultural Relics Publishing House, 2013
Ye Zhemin, History of Chinese Ceramics, Life, Reading, and Xinzhi Triptych Bookstore, 2011
Image Source:
Palace Museum, National Museum of China, Hebei Museum, Henan Museum,
Jiangxi Provincial Museum, Yaozhou Kiln Museum, Tokyo National Museum,
The Museum of Oriental Art, Osaka, Japan, and more.
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