Ancient poetry of "blue and white porcelain"

Two dragons are circling.

Alpine torch and dragon ball exercises

Starlight tempts me.

Step into the craftsman's heart

Carefully prepared soil

Shape eternal hope

Yuan Shijia's dining table

Green is the sky of Longxiang.

The smell of wine floating in the kitchen smoke wrapped around the dragon beard.

The sound of chopsticks is the joy of dragons.

I hold this solidified idea.

I am dizzy with history and life.

I also saw the soaring constant cobalt blue.

Answer 2: The blue-and-white porcelain embryo outlines the peony depicted by the blue-and-white pen, just like your initial makeup (metaphor). Ran Ran sandalwood is in my mind through the window. I write on rice paper, leaving half the glaze on. The charm of the picture is hidden (transformed), and your smile is like a bud (figuratively). A ray of your beauty (metamorphosis) has gone where I can't go (metamorphosis). The misty rain such as sky blue and I wait for your smoke to roll across the river (boast) at the bottom of the bottle. Han Li imitates the elegance (transformation) of the previous dynasty, just as I set up a stage for meeting you (transformation) when you (overlap) are salvaged, and the ending (transformation) is like blue-and-white porcelain handed down from generation to generation, with beautiful eyes and smiles (the upper and lower lines form flip-flops, metaphorically). I was thinking of you when I copied the Song Dynasty. The secret (exaggerated ornaments) that you have hidden in the kiln for thousands of years is extremely exquisite, just like an embroidery needle (metaphor) that fell to the ground. Outside the curtain, the plantain provoked the shower, and the knocker provoked the patina (transformation, imitation), while I passed by Jiangnan town to provoke you (two lines and three sentences used parallelism and analogy). In splash-ink landscape painting, you are hidden (transformed) in the depths of ink.

Answer 3

I. Overview

Blue-and-white porcelain, also known as white porcelain, is made of cobalt ore containing cobalt oxide, with decorative patterns painted on the porcelain body and covered with a layer of transparent glaze, which is once fired by high temperature reducing flame. Cobalt is blue after firing, which has the characteristics of strong coloring, bright hair color, high firing rate and stable color. At present, the earliest blue-and-white porcelain specimen found is from the Tang Dynasty. Mature blue and white porcelain appeared in the Yuan Dynasty; Blue and white became the mainstream of porcelain in Ming dynasty; It developed to Ding Feng in the Kangxi period of Qing Dynasty. During the Ming and Qing Dynasties, blue-and-white red glaze, peacock green glaze blue-and-white, bean green glaze blue-and-white, yellow glaze old glaze blue-and-white were also fired.

Second, green materials.

1) Suni Ma Qing

Namely, Su Niqing, Su Niqing, Ma Su Li Qing, etc. The source of its name is the transliteration of Persian "Suleiman". The origin of this cobalt material is Kwamsa village in Mount Posca. The villagers thought that a man named Suleiman discovered this cobalt material, so he named it. Another way of saying this is that Suni Ma Qing should be Li Qing, Ma Su, which is the transliteration of English smalt, which means a kind of blue glass. This kind of material belongs to cobalt material with low manganese and high iron, so the thick green belt of blue and white is rusty, commonly known as "tin light". Some blue and white flowers in the Yuan Dynasty and the green materials used in Yongle and Xuande kilns in the Ming Dynasty are all of this kind, and they are all produced in ancient Persia or present-day Syria.

(2) Ping Dengqing

Also known as Bitongqing, it is produced in Leping, Jiangxi. In the late "blank period" of Ming Dynasty, Chenghua, Hongzhi and Zhengde used it early. This material is elegant, bright and stable, which makes Chenghua blue-and-white porcelain famous for a while.

(3) Shi Ziqing

Also known as Shiqing, it is produced in Gao 'an, Yifeng and Shanggao areas in Jiangxi. When this material is used alone, the hair color of blue and white is gray or even black. This material was widely used in the second generation of Ming and Qing kilns, while the official kilns were used for blending and rejuvenation.

(4) Younger

There are many sayings that are produced in the western regions, Xinjiang, Yunnan and so on. The color of this material is dark purple, but if it is used alone, it will not be collected, so it is often mixed with Shi Ziqing. This material was often used from Jiajing to Wanli in Ming Dynasty. Among them, cyan: Shi Ziqing with 10% is added, which is used for mixing water (filling color), and the hair color is blue and bright; Zhongqing: 40% mixed with Shi Ziqing, used for coloring (sketching), with clear brushwork.

(5) Zhejiang materials

Also known as Zheqing, it is produced in Shaoxing and Jinhua, Zhejiang. Among the domestic materials, Zhejiang is the best, and its hair color is green. From the mid-Wanli period of the Ming Dynasty to the Qing Dynasty, Jingdezhen official kiln blue and white wares all used this material.

(6) celebrity therapy

Produced in Xuanwei, Huize, Yiliang and other counties in Yunnan, among which Xuanwei is the best. This material has a bright and pure hair color. Kangxi blue and white used this material.

Most of the above domestic cobalt materials belong to high manganese.

(7) Chemical green materials

That is, a green material prepared from chemical cobalt oxide. The hair color is purple-blue, pure and rich, but it is frivolous and lacks adhesion, and the price is low. Blue and white porcelain made of this material lacks the aesthetic feeling of natural green materials.

Third, money knowledge.

China ancient blue-and-white porcelain is beautifully decorated in painting, with a variety of characters and patterns at the bottom, and the styles of each period have distinct characteristics of the times. According to the styles and types of blue and white porcelain, it can be divided into five categories: calendar style, auspicious style, hall style, ode style and decorative style.

(1) calendar year

On blue-and-white porcelain, writing, carving, printing and other methods are used to indicate the age of porcelain firing, which is called the age model. The description of ancient porcelain in China is mainly based on chronology, which can be divided into two types: the emperor's year number and the branch's year number. During the Yongle period of the Ming Dynasty, calendars began to appear on blue and white porcelain, and the font of seal script was elegant and smooth, with lotus petals on the side. Xuan Jing's style is dignified and powerful. Chenghua's iron scratches the silver hook, and the glaze color is turbid. Jiajing's strokes are heavy and his strength is deep. The predecessors summed up the chronology of the Ming Dynasty in five sentences: "Xuande is rich, Chenghua is rich, Hongzhi is beautiful and rich, Zheng Degong is rich, and Jiajing is miscellaneous." In Qing Dynasty, Kangxi style fonts were neat, and blue and white materials were bright and beautiful. Yongzheng regular script is vigorous and powerful, with exquisite format. The fonts of Qianlong, Jiaqing and Daoguang are mostly seal script, and the fonts are arranged closely, just like a seal. There are many styles of "Jiangxi Porcelain Company" in modern times, among which the English style "CHINA" is the symbol of modern porcelain export and the earliest English style used in blue and white. Blue-and-white porcelain in folk kilns has few dates, such as "made next year", and the font is scrawled. It's written casually.

(2) Good words

Words with auspicious meanings are common in folk blue and white porcelain. Most of the fonts are cursive, chic and elegant, in one go. Sentences such as "long life", "long life and wealth" and "happiness" express people's yearning for a happy life.

(3) Tang Mingkuan

There are elegant hall names and names written on porcelain as a sign of private collection. There are Bathing Ink Book House, If you are a treasure, and Baiyuzhai. Tang Ming porcelain is well-made and has high collection value.

(4) Praise money

It is entrusted with the love of ceramic art for porcelain, such as "treasures in jade", "treasures in ancient times" and "beautiful jade in the Yangtze River". The word "Kovadi" is fresh, elegant and interesting. "Tile" refers to pottery, which has a longer history than porcelain, and is for eldest brother, while porcelain is whiter and smoother than beautiful "jade", so "jade" can only be relegated to the category of "younger brother".

(5) Decorative patterns

Also known as "pattern pattern", it is a characteristic pattern of folk blue-and-white porcelain, with a simple decorative bottom, similar to the "Xiao-shaped seal" in seal cutting. Patterns include Bo Gu, the Eight Immortals of Darkness and Eight Auspiciouss. The "dried bean curd" in the pattern is a diamond-shaped frame structure, just like a high-rise building in modern architecture, and it is a symbol of folk workshops, also called "flower shelf".

Fourthly, the characteristics of blue and white porcelain in different periods.

(1) Tang Qinghua (6 18-907)

Blue-and-white porcelain in Tang Dynasty is in a period of abuse. There are more than 20 pieces of blue and white porcelain unearthed in Yangzhou in the 1970s and 1980s. Blue and white striped replica collected by Fengpingshan Museum; A flower bowl collected by Boston Museum, USA; A fish and algae tank collected by the Copenhagen Museum in Denmark; The stippling tattoo of Mei Duo collected by Nanjing Museum. By studying the embryo, glaze and color of porcelain unearthed in Yangzhou, and analyzing the material and technological conditions of Gongxian kiln in Tang Dynasty, it is preliminarily concluded that the origin of blue and white porcelain in Tang Dynasty is Gongxian kiln in Henan Province. In recent years, a small number of blue-and-white porcelain specimens were unearthed in Gongxian kiln site, which further confirmed that the blue-and-white porcelain of Tang Dynasty originated in Gongxian kiln, Henan province.

From the blue and white porcelain pieces unearthed in Yangzhou, it can be seen that the green material is rich in color, with crystal spots, low in manganese and iron, and contains copper and cobalt, so it should be imported from Central and Western Asia. The fetal quality is coarse and loose, grayish brown and the sintering degree is poor. The bottom glaze is white and yellow, and the enamel is thick. Apply makeup soil between fetal glazes. Equipment types are mainly small pieces, including

Complex, bowls, jars, lids, etc. The decorative patterns are all flowers and plants except the fish and algae tanks collected by Copenhagen Museum in Denmark. Among them, flower patterns are divided into two categories. One is typical traditional flowers in China, especially carnations, plum blossoms and other small flowers. The other is the typical Arabic pattern, with geometric figures such as diamond-shaped loose-leaf patterns. From this point of view, combined with the place where blue-and-white porcelain was unearthed in the Tang Dynasty (Yangzhou was an important port in the Tang Dynasty), it can be proved that blue-and-white porcelain in the Tang Dynasty was mainly exported.

(2) Song Qinghua (960- 1279)

After the initial stage, the blue and white flowers in the Tang Dynasty did not develop rapidly, but declined. So far, we can only see more than ten pieces of porcelain unearthed from two Taki sites. First, the foundation of Jinsha Tower in Longquan County, Zhejiang Province was excavated in 1957, and * * * blue and white bowls 13 pieces were unearthed. Tower brick has the absolute date of "the second year of Taiping rejuvenating the country" (977) in the Northern Song Dynasty; The other piece is 1970. A piece of blue and white bowl belly was unearthed at the tower foundation of Huancui Building in Shaoxing City, Zhejiang Province. The monument unearthed in Tataji proves that this tower was built in the first year of Xianchun in the Southern Song Dynasty (1265).

These more than ten pieces of blue and white porcelain of Song Dynasty are all fragments of bowls. The fetal quality is getting thicker and thinner. Decorated with chrysanthemum patterns, circle patterns, chord patterns, line stripes and so on. Blue and white hair color is thicker and darker in the previous place; The latter is lighter. If the hair color is dark, it should be because the transparent glaze of the cover is too thin. Zhejiang province itself is rich in cobalt clay minerals, and these blue and white porcelain should be made of local cobalt materials. They are not directly related to Tang Qinghua.

(3) Yuan Qinghua (1271-1368)

Mature blue and white porcelain appeared in Jingdezhen in the Yuan Dynasty.

Because the Yuan blue-and-white porcelain tire adopts the binary formula of "porcelain stone+kaolin", the Al2O3 content in the tire is increased, the firing temperature is increased, and the deformation rate in the firing process is reduced. Therefore, the carcasses of most utensils are thick and full. The fetal color is slightly grayish yellow and the fetal quality is loose. The bottom glaze is divided into two kinds: blue and white, which has a strong sense of opacity. The green materials used are domestic materials and imported materials: the domestic materials are green materials with high manganese and low iron, which are cyan and gray-black; The imported material is low manganese and high iron green material, which is green, rich in color and rusty. On some utensils, there are also cases where domestic materials and imported materials are used together. There are mainly household appliances, sacrificial utensils, tomb-tomb-tomb-tomb-tomb-spring-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb-tomb.

The most striking feature of Yuan blue-and-white ornamentation is that the composition is full and there are many layers without disorder. The brushwork is good at one stroke, smooth and powerful; The contour rendering is heavy and steady. The theme of theme decoration is people, animals, plants, poems and so on. The figures are Gao Shitu (Four love figure) and historical figures. Animals include dragons and phoenixes, unicorns, mandarin ducks and swimming fish. Common plants are peony, lotus, orchid, pine, bamboo plum, ganoderma lucidum, flowers and leaves, melons and fruits, etc. Poetry is rare. The petals of painted peony mostly have white edges; The dragon pattern has a small head, a thin neck, a long body, three claws or four claws, a ridge on the back, and a grid-like scale, which is vigorous and fierce. Auxiliary decorations are mostly rolled grass, lotus petals, ancient coins, seawater, palindromes, clouds, banana leaves and so on. Lotus petals are shaped like "braces", and Taoist treasures are mostly painted on lotus petals; In ruyi cloud pattern, eight monsters in the sea, lotus flowers with broken branches and flowers with tangled branches are often painted, and third-order clouds are often painted; The stalk in the middle of banana leaves is solid (filled with green matter); Seawater line is a combination of thick line and thin line.

Related links: Yuan blue and white porcelain

(D) Blue and white in Ming and Qing Dynasties

The Ming and Qing dynasties were the period when blue and white porcelain reached its peak and then declined. Yongle and Xuande periods in Ming Dynasty were a peak of the development of blue and white porcelain, which was famous for its exquisite production. During the Kangxi period of Qing Dynasty, blue and white porcelain reached its peak with "colorful blue and white". After the Qianlong period of the Qing Dynasty, pastel porcelain gradually declined due to its development. Although it was revived in the late Qing Dynasty (Guangxu), it could not continue the prosperity of the Kangxi Dynasty. Generally speaking, the official kiln porcelain in this period was made rigorously and beautifully; Folk kilns are free and easy, and the pictures are freehand. From the late Ming Dynasty, blue and white gradually absorbed some elements of Chinese painting techniques.

1 and early Ming dynasty (Hongwuchao 1368- 1402) blue and white wares include large and small plates, bowls, plum bottles, jade pot spring bottles and so on. The green materials used are mainly domestic materials, but a small amount of imported materials are not excluded. Blue and white hair colors are some light blue and some gray. The former has some halo phenomenon. The pattern layout still has the legacy of multi-layer decoration in Yuan Dynasty, and the theme has not changed much, but many details have changed: for example, the middle stalk of banana leaves is left blank; Compared with the Yuan Dynasty, the petal edge is more obvious and clear. The "missing" part of peony leaves is deep and not as fat as in Yuan Dynasty. Chrysanthemum is painted as a "flat chrysanthemum", and the flower core is represented by a checkered pattern; Dragon pattern is still a slender body, but in addition to three or four claws, there have been five claws, shaped like a wind wheel, and the momentum is not as fierce and vigorous as Long Yuan. Ruyi cloud with auxiliary decoration changed from the third-order cloud in Yuan Dynasty to the second-order cloud; Lotus petals are painted with eight treasures of Buddhism (Taoist miscellaneous treasures were painted in Yuan Dynasty). Bowls and small plates are painted with moire, only in the upper part of the outer wall of the vessel. The bottom of the vessel is cut flat, and the bottom of the sand is unglazed to see the kiln red. There is no model year, and there are few rich people.

Related links: Ming Hongwu blue and white porcelain

2. Yongle and Xuande (1403— 1435) have a high level of blue and white porcelain. The green material used in this period is mainly Suniboqing, and "rust spots" are common. There are also some domestic green materials. But even if it is made in China, the hair color is quite good. There are plates, bowls, pots, cans, cups and so on. In particular, some non-China cultural utensils, such as Buddhist monk's hat pot, ribbon flat pot and flower watering device, reflect the cultural exchange and integration with outlands and foreigners in this period. Ornaments are common in all kinds of flowers and fruits, dragons and phoenixes, seawater, sea monsters, swimming fish and so on. Fetal mass is finer and denser than before. The enamel is rich and moist, and orange peel lines are common. Compared with the artifacts of the two dynasties, Yongle's artifacts are lighter and more beautiful, with rich blue and white fur, heavy rust spots, sparse patterns, more delicate descriptions, white bottom glaze and many artifacts. I saw the four-character seal script of "Yongle Year System". Xuande's wares are thick, with dense patterns, slightly blue bottom glaze and many money carriers. It is said that Xuande's style is perfect. Generally speaking, there are many blue and white flowers in Xuande, with many varieties and wide influence, so there is a saying that "blue and white flowers are the first to promote Xuande".

3. During the period of orthodoxy, Jingtai and Tianshun (1436-1464), the economy declined due to political turmoil, natural disasters and man-made disasters. Moreover, since the orthodoxy, it has been repeatedly ordered to "prohibit the production of official porcelain", so the number of porcelain in this period is very small, which is called the "blank period" in the history of ceramics. Generally speaking, the types of this period are mainly bottles, cans, bowls, cups and plates. Some green materials used are still "Su Qing". Some blue and white flowers are rich in hair color, similar to Xuande wares, while others are elegant and close to Chenghua wares. The glaze is covered with dust. The body is heavy. The feet are not finely trimmed and feel oppressive; Common shallow and wide flat sand bottom, some sticky sand, some flint red. In orthodoxy, the mouth of the bottle and jar is straight neck, which is consistent with Xuande. Tianshun is like a trapezoid with a narrow top and a wide bottom, which is similar to Chenghua. Bottles and jars are full of shoulders, round belly, folded down and slightly left foot; The body of plum bottle is longer than Xuande's. The decorative patterns are mainly strokes, including figures, flowers, dragons and phoenixes, peacocks and so on. The background of the characters is painted with large clouds. Bottles and jars are decorated with sea water patterns or banana leaf patterns, with white stems and wide leaves, like small trees. The orthodox is the blessing; Jingtai began to move from the heart to the bottom of the equipment. In addition to the word "fu", there are "Taiping made", "Taiping made" and "made next year". Tianshun has a chronological model and a Sanskrit model.

4. Chenghua (1465- 1487), Hongzhi (1488- 1505), Zheng De (1506-152/kloc). Ping Dengqing was used before the middle period of Chenghua and Hongzhi, and its hair color was elegant. In the late Hongzhi and Zhengde periods, the coat color was gray blue. But during this period, there were also some objects with rich hair color and iron rust spots.

Chenghua downplayed blue and white. The pattern layout is sparse in the early stage and dense in the later stage, with more paintings of three fruits, three friends, nine autumn, high fitness, baby play, dragon wearing flowers and so on. Flowers and leaves are palm-shaped; Leaves are multi-toothed, flowers and leaves have no yin and yang; The aquatic plants of fish algae float like kelp; Rock is like a key without concave and convex feeling; The edge decoration is simple, and the mouth edge and circle foot of bowls, plates and cups are only decorated with strings; Dragons are mostly real dragons, with noses as long as elephant trunks; Decorative patterns with Islamic contents such as cross pestle and Arabic are common. The fetal quality is delicate and white, and the glaze is extremely fine and moist with jade texture, but slightly blue. There are pots, plum bottles, washing, lamp holders, plates, cups, bowls and so on. The furnace is a three-row tube or drum furnace. In addition to the "Tian" jar, there are also six-character single and double-line models of "Daming Chenghua Year System"; There are mainly Fang Sheng and silver ingots.

Hongzhi utensils are roughly the same as Chenghua's junior high school, even more delicate and soft than Chenghua. In the later stage, it is close to the Zhengde device. Mosaic lines are thin and dense, Sanskrit lines increase, dragon lines are slender and soft, and characters are free and easy. There are six characters and four characters in regular script.

Zheng De still uses domestic materials. In the early stage, he used Ping Dengqing, and his hair color was gray-blue. Only for later use. A little dizzy. Its shape, fetal quality and enamel are close to Hongzhi's, with dense bubbles. Deep belly bowls and seating are very popular. See you later. Common decorative patterns include phoenix flowers, fish algae, lion hydrangea, garden baby play, tree stone railing, lotus-holding babao and so on. And the painting is thicker than Hongzhi's. The bottom of the bowl and the bottom of the bowl kick down, and the bowl appears at the bottom of the chicken's heart. There are many phenomena at the bottom of the equipment, such as kiln red, sand sticking, knife jumping marks and so on. There are four or six characters in regular script in the year, and the word "made" is used in some cases.

5. In the late Ming Dynasty, Jiajing (1522- 1566), Qin Long (1567- 1572) and Wanli (1573- 1620). However, the uniqueness of this problem is the use of recycled materials. In addition to traditional decorative patterns, Taoist decorative patterns have also increased greatly, such as Taoist clouds, eight immortals, eight diagrams and eight treasures. Flower foot is a unique decorative pattern. In addition, there are baby play, high fitness, fish and algae map, etc. The doll head and forehead in the baby play picture are obviously prominent. The tire and glaze are small and thin, and the big one is thick. There are many magnifying glasses. Octagonal, square, hexagonal, round gourd and other special-shaped devices are more common. The bead box is a unique device in this direction. Both "system" and "creation" are used, and the word "system" is mostly used. The book "Lu Jinda Qin Yiyong" is a sacrificial vessel. There are also the names of Dongshutang and Dongluoting.

Due to the short period in Qin Long, there are fewer artifacts, and there are even fewer big pieces and annual models. The green material is used to turn green, the color is stable and pure, and the blue is purple (not as purple as Jiajing). The pattern is similar to that of Jiajing Dynasty. Because the parts are small, the glaze is more delicate. More hexagonal, octagonal and other shapes. There are two styles of official kiln wares: "Made in Daming Qin Long" and "Made in Qin Long", but there is no "made" style. There are four types of folk kiln porcelain: "Made in Qin Long" or "Made". In Kyrgyzstan, there are Wanfu Youtong and Fushou Kangning. In Fu, there are rich and exquisite vessels.

In the early years of Wanli, materials from Shi Ziqing and Zhejiang were used. That's an understatement. In addition to traditional decoration, it is also popular to decorate with brocade; The layout of decorative patterns is dense and the theme is unclear; In addition, the word decorative Fu Lushou is also very common. Bottles are commonly hollowed out and circled. In addition to the traditional model, a new wall bottle appeared. The fetal quality is rough and the glaze color is white and blue. The brushwork is mostly "Ming Zao", and there are also "Ming Zao" and "Wanli Zao"; There are many fake trusts, including Xuande, Chenghua and Jiajing. Generally speaking, the technical level is backward.

6. During the apocalypse (1620- 1672) and Chongzhen (1628- 1644) in the late Ming Dynasty, all walks of life were depressed and the ceramic industry was deserted. Nineteen years after the Apocalypse, the imperial court did not order the construction of official kiln wares, so there were few models of the Apocalypse Year System, mainly the Daming Apocalypse Year System and some models of the Apocalypse Year System. There are many pictures, hall names, auspicious words and eulogies in folk kilns, such as Yutang Qijia and Wanfuyou. There are many false commissions, such as Yongle, Xuande, Chenghua, Tianshun, Zhengde and Jiajing. Among them, only the apocalypse is a fake of Tianshun. The decorative patterns are still dominated by traditional decorative patterns, but the decorative patterns of Taoist content are less than those of Wanli, and the painting meaning is rough. During this period, the decorative patterns were bright and bright, and the atmosphere of life was strong. Heavy carcass, loose tire quality, irregular shape, sand sticking at the bottom of the device, bottom collapse and knife jumping marks have become the characteristics of the times.

Chongzhen has no official funds. There are not many kinds of utensils, especially bowl stoves, except bowls, cups, bottles and flower beds. Green materials include Shi Ziqing and Zhejiang. Thick hair color is dizzy, while thin hair color is stable. In addition to traditional themes, decorative patterns are particularly common in Gao Shi Tu. The baby's play map shows that the child's head and feet are small and uncoordinated. Landscape figures (high-altitude pictures) are characterized by mid-autumn grass, bracketed clouds and small sun. The fetal quality is rough. Glazes include white glaze, blue glaze and gray glaze.

7. The reign of Shunzhi (1644— 16 1) in the early Qing Dynasty was not long, but it was a crucial period to link the past with the future, which laid a solid foundation for the peak of Kangxi's later period. Shunzhi blue and white ware has the following characteristics: there are few kinds of utensils, mainly stoves, bottles, plates, bowls, cans and so on. Generally speaking, the carcass is rough, and the carcass of large utensils such as stoves, large plates and flasks is heavier, while the carcass of small utensils such as small plates and bowls is lighter and thinner. But there are also some objects with delicate and dense fetal quality, and glutinous rice can be seen. The bottom glaze is mostly white and shiny blue, some are slightly grayish white, and the glaze layer is thin. Blue and white materials should be used together with Zhejiang materials and Shi Ziqing materials to produce some green and some blue coat colors. Among them, the blue-and-white color of the furnace is mostly green, and the color of other utensils is mostly gray-blue. Ornaments are common in flowers and birds, landscapes, caves, autumn grass, boats on the river, monsters, Swiss beasts, plantains, clouds and so on. In the market, I like to draw a blue and white coil around my mouth, and then draw the main decoration in the circle; On the small dish, one side of the dish is painted with a plane tree leaf, and the other side has similar poems such as "A plane tree leaf falls, and the world is autumn". Bottles, flasks, cans and other large vessels also like to use blue and white lines for decorative separation. The painting method combines sketch, flat painting, rendering and line drawing. The style of painting is casual, although it is more neat than that in the late Ming Dynasty, but there is still no rigorous and meticulous style of Kangxi. The picture layout is full, especially for large plates, cans, bottles, bottles and other utensils. Changes in painting methods and colors began to appear, but they were not yet mature. Bottles, bottles, etc. There is a flat sand bottom. Glaze shrinkage is common at the bottom of plates, bowls and cans, and sand sticking at the bottom is common. There are many knife marks on the bottom of the bowl. There are many folk kilns, few official kilns, and few objects with year and model.

8. Kangxi (1662 ——1722) has a long age span, rich types of utensils and superb craftsmanship. Zhejiang and pearl materials are used in this issue. The hair color of blue and white is dark in the early stage and green and bright after the middle stage. Early paintings were mainly single-line flat painting, with rough momentum; After the middle period, the combination of sketch, rendering and painting is the essence of painting, and the blue-and-white color scale (the so-called "blue-and-white multicolor") is highly respected. There are various decorative themes, such as landscape figures, dragons and phoenixes, flowers and birds, fish and insects, animals, poems, Bo Gu, etc. Among them, the most distinctive ones are Bing Mei, Geng Zhi, Sword Horse Man and Double Peony. The blank edge of the pattern is more obvious than other patterns. The fetus is dense and white, showing a glutinous rice cake shape. The glaze is hard, closely combined with the fetus, with orange peel or brown eyes, white in the early stage and bright white after the middle stage. In addition to daily utensils, there are a large number of decorative porcelain, such as pot lids, phoenix tails, flower beds, elephant leg bottles, pen holders and so on. The foot of utensils also has strong characteristics of the times: the tool has two layers; The pen holder is rich in jade; In the early stage of the circle foot, it is mostly a pointed "crucian carp back" bottom inclined on both sides, and it is basically a round "loach back" bottom after the middle stage; Large-scale markets have many double circles, which appeared in Shunzhi period in the late Ming Dynasty and became popular in the middle of Kangxi. There are all kinds of money. In the early days, it was mostly used for dry money, and regular script was used for annual money. After the middle period, all kinds of hall names, pictures and flowers became popular and became popular in Yongzheng. Imitation and false entrustment are also common, especially imitation Jiajing.

9. During Yongzheng (1723- 1735) and Qianlong (1736- 1795) periods, blue and white wares were mostly copied from Su Ma of Yongle and Xuande in Ming Dynasty, but there was no imported material, and the nib was rusty. Followed by imitation of low-key blue and white. In addition to the differences in tires, glazes and green materials, the model of Ming-like objects is also an important difference: the tire interface of Ming-like objects is connected from top to bottom, and Qing-like objects are connected from front to back.

During the Yongzheng period, the craft was fine, the tire repair was exquisite, and the folk kiln was rough and had tire marks. During the Qianlong period, especially in the later period, the process began to decline. In addition to inheriting the varieties of the previous dynasty, there are also innovative varieties of blue and white exquisite porcelain. The content of decorative patterns is also more diverse than Yongzheng, but generally speaking, auspicious patterns are the main ones.

In addition to the year, there are miscellaneous treasures, four flowers, animal shapes and so on. These are more common in Yongzheng, and the model of the hall name is less than that of Kangxi. During the reign of Yongzheng, there were many names, seal scripts and four flowers in the Tang Dynasty.

After 10 and Jiaqing (1796— 1820), blue and white porcelain gradually declined. In the early years of Jiaqing, the utensils were basically the same as those of Qianlong, but the craft was rough, the shape of the utensils was heavy and clumsy, and the glaze was thin and gray. Daoguang (182 1- 1850), Xianfeng (1851-1), Tongzhi (/kloc-0)

1 1, Guangxu (1875- 1908) blue-and-white porcelain was once in its heyday, and Kangxi's imitation level was high, but the carcass was light, the white glaze was thin and astringent, and the tire repair was not fine enough. Other artifacts are similar to Tongzhi in glaze color and shape. Blue and white feeders are common. In addition to the year number, there are "Changchun Palace system", "Kunning Palace system" and "Palace of Gathered Elegance system". False trust funds are more common in Kangxi Year System and Ruoshen Treasure.

In 12 and Xuan Tong (1909—1911), chemical green materials began to appear.