My system is not decent

Chapter 1240 Emerging in an endless stream
During the Northern Song Dynasty, various forms of peony patterns appeared, such as folded branch peony, intertwined branch peony, and wrapped branch peony.

The continued use of these patterns has significantly increased the layers of patterns on the vessel.

There are many surviving porcelains from this period, such as Song Zhenzhu's peony waist round pillow, Song white glaze pearl's flower-painted and folded branch peony pattern pillow, etc. are more famous.

In addition, some bowls and dishes are also famous, such as the Song white glaze pearl ground peony pattern plate, the Song white glaze engraved peony pattern holding pot, the Song Ding kiln white glaze engraved peony pattern folding edge plate and so on.

The rarest one should be the plum vase with peony pattern on the white glaze of the Song Dynasty. As I said before, most of the porcelain produced by the Ding kiln in the Song Dynasty was small, and works such as large plum vases were relatively rare.

These are just the Ding porcelain peony patterns summarized by Chen Wenzhe. In fact, apart from the Song Dynasty, the peony patterns of the Liao Dynasty are also relatively famous.

The Tang, Song, Yuan, Ming and Qing dynasties should be the most familiar to us now.

In the Song Dynasty, it was quite special, because between the Song and Yuan Dynasties, there were the Liao Dynasty and the Jin Dynasty.

Especially in the middle and late stages of these two dynasties, they were all integrated into Chinese civilization.

In the porcelain decoration of this period, they were also deeply influenced by Song culture.

Among them, the peony pattern also occupies an important position. The peony pattern created by engraving, drawing, printing and painting shows different styles.

For example, in Liao three-color glazes (yellow, green, and tea powder glazes), peony patterns mostly appear in the form of embossing.

Or print a branch of peony on the bottom of the pure white vessel.

Or print a bunch of flowers on the outer wall of the vessel, which has a different artistic effect from the peony carved on the white ground.

For example, the Chifeng kiln of the Liao Dynasty, the white-glazed vase with a peony pattern filled with black and white glaze, and the peony-patterned plum vase of the Liaowa kiln kiln are all surviving masterpieces of this period.

After the Song and Liao Dynasties came the Jin Dynasty, and peony patterns were also commonly used in this period.

Porcelain in this period was also influenced by Song culture in decoration.

In the glaze decoration, the black glaze convex white pattern is a prominent manifestation of the Jin Dynasty's inheritance and development of the Song Dynasty's decorative techniques.

The pattern of flowers or flowers and birds at this time is an obvious feature of Jin Dynasty porcelain decoration.

Engraving, printing, ticking, and scratching continue to be used in decorative techniques, and many masterpieces handed down from generation to generation have emerged.

For example, bean-shaped pillows with green glaze and peony patterns, gold and white glaze brown color peony pattern boxes, flower pattern red and green color bowls, black color peony pattern plum vases on white ground, etc.

Every piece of porcelain handed down this time is very beautiful and has a history of thousands of years, which is not easy.

However, it was not a great dynasty after all, so in the Yuan Dynasty, porcelain with peony patterns was even more brilliant.

After the Song, Liao and Jin Dynasties came the Yuan Dynasty.

There must be a lot of peony patterns in the blue and white flowers of the Yuan Dynasty, and this is also the heyday of the use of peony patterns.

In the Yuan court at that time, in order to strengthen the management of pottery administration, the "Fuliang Porcelain Bureau" was first established in Jingzhen, so that the firing process of porcelain achieved rapid development.

In terms of pattern content, peony pattern is still a major decorative pattern.

And the performance is more complicated than that of Song, Liao and Jin Dynasties.

In addition to the single theme of peony, the combination of peony and other flowers is also a feature of flower decoration in the Yuan Dynasty.

Among them, the combination of peony, chrysanthemum, camellia and pomegranate is more common.

Porcelain produced in this period includes yuan blue and white pots with peony patterns wrapped around branches, yuan blue and white phoenix wearing peony pattern holding pots, yuan glaze red ground white flowers dark engraved jade pot spring vases and so on.

These porcelains are no longer treasures, but each one is a national treasure.

This is also impossible, because seriously, the rule of the Yuan Dynasty did not last long in the country, and there were long-term wars between the founding period and the demise period.

Even if it is stable for decades, there will be nine disasters in ten years in China.

Therefore, although Yuan blue and white porcelain was invented in the Yuan Dynasty, it was the Ming Dynasty that really carried forward the blue and white porcelain.

The peony pattern in the Ming Dynasty was further widely used, such as the decorative theme on porcelain, which was more abundant than that in the Yuan Dynasty.

It can be said that plants, animals, scenery and characters are all available.

During the reign of Yongle and Xuande, flowers had an absolute advantage in porcelain decoration.

Most flowers appear in combination. In addition to the combination of peony with chrysanthemum and tea pomegranate, the more common combination is the combination of chrysanthemum, tea and lotus, which shows that flowers are invincible in all seasons.

The peony patterns in Jingzhen official kilns are mostly neat, delicate, clear and beautiful.

The peony patterns in folk kilns are more concise and free and unrestrained.

Among them, there are many surviving masterpieces, such as the Ming Hongwu underglaze red-wrapped peony-patterned ewer, the Ming Hongwu blue-and-white stone peony-patterned water chestnut dish, the Mingshun blue-and-white peony-patterned dish, and so on.

After that, it was the three dynasties of the Qing Dynasty, known as the prosperous age.

Entering the Qing Dynasty, the development of ceramics entered its heyday.

During this period, the porcelain produced in Jingzhen during the Kangxi, Yongzheng and Qianlong dynasties is the most representative.

Its glaze pattern can be described as magnificent and exquisite.

As one of the main flowers in porcelain paintings of the Qing Dynasty, peonies have been painted in different ways throughout the dynasties.

Among them, the double peonies of the Kangxi Dynasty are the most distinctive.

The double peony is the upper part of the flower. The two protruding horns resemble the horns on the head of animals, hence the name.

Secondly, there are tangled peony, broken branch peony and so on.

Whether it is blue and white flowers and colored flowers in glaze color, or in shape, whether it is round ware or cut ware, they all appear in large numbers.

On Kangxi's enamel objects, most of them are painted with budding peonies, which are full of vitality.

Yongzheng peonies are painted in multiple styles on one vessel, with clusters of flowers and luxuriant branches and leaves.

On enamelware, pheasant peonies are often seen, and there are combined patterns of peony, phoenix, and peony lion.

The peony pattern in the Qianlong period was very common, commonly seen in pastel and enamel blue and white.

Even Ji blue traced gold, monochrome glaze and so on.

On famille rose ware, peonies are seldom used as decorations alone, and they are often combined with chrysanthemums, peach blossoms, lotus flowers, plum blossoms, etc. to form seasonal flowers.

In addition, there are bats, ganoderma lucidum, rocks, flying butterflies, praying mantises, etc., which together form a lively picture.

The peonies in this period mostly adopt the realistic method, and the general pictures are sparse and full of vitality.

Peonies have always represented wealth, or simply prosperity!
Therefore, there are many official-made porcelains with peony patterns.

Since it is an official kiln made by the government, it is very precious.

Precious things are naturally protected and collected.

Therefore, there are many handed down porcelains from the Qing Dynasty, such as the Kangxi blue ground enamel bowl with entwined peony pattern, the Kangxi red ground consecrated enamel color peony pattern cup, the Yongzheng pastel pheasant peony pattern dish, and the Qianlong wood pattern glaze pastel peony pattern book. Ink bed, Jiaqing famille rose dragon and phoenix wearing peony pattern amphora, Daoguang blue and white phoenix wearing peony pattern jar, etc.

It can be said that there are all kinds of peony pattern porcelain in the Qing Dynasty.

During this period, peony varieties emerged in an endless stream and were ever-changing.

As a decorative pattern, it can adapt to the needs of various crafts and deeply affects people's spiritual life and aesthetic consciousness.

(End of this chapter)