This paper discusses the design principles of Taoism and naturalness of porcelain in Song Dynasty with examples.

Elegant and natural glaze color beauty

Tea cups in Song Dynasty were black, blue, blue-white, white and so on. Their colors are subtle and bright, and the decorative effect is mainly reflected in the rich and delicate change effect of the transparent glaze layer itself and the texture color change brought by kiln change. The meaning of "respecting jade"

Zong Baihua said: "China has always regarded jade as the ideal of beauty. The beauty of jade is the beauty of' gorgeous and extremely plain'. It can be said that all the beauty of art, even the beauty of personality, tends to the beauty of jade: there is brilliance inside, implicit brilliance outside, extremely gorgeous and extremely dull. " People associate jade with human virtues, and jade is regarded as a symbol of the ideal beauty of purity, purity and kindness. Song porcelain teacups are dominated by the aesthetic view of jade and pursue the color texture of jade. Jingdezhen celadon is jade in color and has the reputation of "Rao Yu". Song people realized the ideal pursuit of advocating "jade virtue" in the change of enamel color.

Celadon has a long history. Cyan is the color of plants, and also symbolizes the sky, spring, water and so on. Usually people feel simple, clear, pure, elegant and mysterious, and traditional culture gives cyan a unique meaning. This "youth worship" mentality is closely related to "jade worship". In the view of scholars in Song Dynasty, celadon, celadon and white porcelain are the most suitable tea sets for tea tasting. Shi Huihong said in a poem: "Look at the floating breasts when you buckle deeply, and you will be forgiven when you order tea." "Rao" refers to the celadon of Jingdezhen kiln in the Song Dynasty, and "Ru" refers to the celadon of Ruyao in the Song Dynasty. Mei's poem "Shirley Ice Ou Works as a Exquisite Ware" (Mei's poem "Yan Zhitai Zhu Yi has five teas, four tea sets, and nearly 60 poems, thank you") praised the tea set and a white porcelain. These historical data prove that light-colored teacups such as blue and white are widely used by scholars.

"The color is expensive, blue and black." The black glazed lamp represented by Jianzhan prevailed in Song Dynasty. "Black porcelain has been found in more than one third of the Song Dynasty porcelain kiln sites, which are produced in both the north and the south" (History of Chinese Ceramics edited by China Silicate Association). The rise of black glazed teacups was directly related to the tea fighting fashion in the upper class at that time. Cai Xiang said in "Tea Story" that "the brown color is white, and it should be black", which means that the glaze color is bright and black as paint, so that it is convenient to check the brown color and water marks when fighting tea.

In addition, China advocated black in ancient times. From the Neolithic black pottery, to Taoism advocating black color, and then to ink instead of five colors, advocating ink and wash, this is enough to illustrate this point.

The beauty of natural texture.

The natural beauty of glaze color is one of the style characteristics of Song porcelain teacups, which is the result of advocating elegance and the integration of heaven and man.

"Chen Shiji" contains: "Porcelain is the same in quality, so it is heterogeneous; The same color becomes different colors. This is called kiln change. Among dozens of kilns, thousands of products meet once. " It can be seen that the appearance of kiln change is accidental, and its natural and unpredictable effect is incomparable to the artificial decoration that is deliberately pursued. What it shows is the ultimate charm of implicit elegance conveyed by an artistic conception. For example, Song Jun Kiln's Moon White Glaze Purple-spotted Lotus Bowl has ten petals, and the moon white glaze is dotted with irregular purple spots, which is like floating clouds in the air, looming, giving people infinite reverie.

In the Song Dynasty, the beauty of opening the film was also beautiful, which was naturally presented through glaze technology, which was in line with the pursuit of natural beauty and true beauty in China traditional culture. Cracking is a natural and interesting decoration, which is caused by the different shrinkage rates of tires and glazes during cooling.

Kiln change and film opening are natural and ever-changing. These glazed decorations deepen the aesthetic taste of harmony between nature and man and nature, and fully show the charm of limited scenery and infinite meaning.

Beautiful and straight shape

The shape of Song porcelain teacups is beautiful and generous, which embodies the artistic concept of advocating nature and elegance and the aesthetic implication of advocating charm in Song Dynasty, and embodies infinite charm in limited shape.

The vivid beauty of nature.

Song porcelain teacups select the most vivid and beautiful parts from the natural animal and plant forms, and blend with the inherent abstract geometric forms. It is not a simple imitation of natural form, but has a deeper meaning. The Chinese nation is good at pictographic thinking, and advocates that the metaphysical "Tao" can be embodied by simulation, analogy and symbol of natural things. However, the influence of the idea of harmony between man and nature is far-reaching. Zhang Zai put forward "the unity of man and nature, honesty-oriented" (Zhang Zai's "Zhengmeng Ganzhi"), and advocated using people's hearts to feel natural things and achieve the unity of things and me.

The image of flowers is very common in Song porcelain teacups. Song people used arcs to divide round or oval cups into several equal parts, including four, five, six or even more than ten. The arc extending from the petal mouth to the bottom of the bowl makes the belly of the cup zigzag, shaped like a flower, very round and full of rhythm. Jingdezhen kiln blue-and-white glaze holder has a six-petal lotus mouth. Six vertical lines of melon ridges are carved from the mouth to the bottom, which are convex and concave, full and round, and full of rhythm. White glaze, clean and soft, moist as jade. The saucer is shaped like a small dish, with a six-petal lotus shape along the mouth. The saucer is similar in shape to the saucer, but different in size. The repetition and change of shape make the saucer novel, concise and complete. Overlooking the stacked lamps and lamp holders, they are like two blooming flowers, deep and natural, light and smart, which makes people feel integrated with nature in tea tasting.

Beauty of elegance and simplicity.

Song porcelain is famous for its simplicity, Taoist aesthetic style and elegant charm. Song porcelain teacups are characterized by big mouths, deep bellies and small feet. They are different from other vessels in their simple shapes. Curves and straight lines are combined into beautiful shapes, showing a simple and natural charm. In the Song Dynasty, Taoism took quietness as its branch, and Song Taizong said, "The quietness leads to governance, and the meaning of Huang Lao is also profound. If you do everything yourself, you will do nothing and you will do it. " (Li Dao's "A Long Series of Continuing Capital Management as a Mirror" (Volume 34) The Taoist thought of leisure and inaction became the ideal realm pursued by the upper class in the Song Dynasty. Taoism advocates the view of "returning to nature" and conforms to nature, forming an indifferent and simple creative view in this period. The outer wall of the hat lamp is curled like a hat, which reminds people of people busy farming in the fields in the misty rain in the south of the Yangtze River.

The prevalence of Neo-Confucianism is also one of the reasons why people pursue simple modeling. The concept of Tao and utensil and the thought of "knowing things by observing things" in Song Neo-Confucianism hold that people should not pursue the cleverness and beauty of things' modeling excessively, but should pursue their inner meaning and rhyme and see the essence in plain. Song porcelain teacups are simple and practical, with smooth lines and a rare simplicity. For example, the blue and white glaze support of Jingdezhen kiln in Jiangxi Provincial Museum is novel in design, simple and elegant, and reflects the rational spirit of elegance and simplicity in simplicity. The modeling of Song porcelain teacups embodies the spiritual charm of Song people advocating simplicity, naturalness and clarity, and achieves an elegant and implicit aesthetic artistic conception.