My system is not decent

Chapter 1339

Clark porcelain is very important to foreigners. After all, those who can use this kind of porcelain are generally either the royal family or the nobles, and the last one is the rich.

Therefore, each development period has representative works.

In the seventh period, that is, from 1625 to 1640, the diamond-shaped ornamentation of Karak porcelain was eliminated, and patterns similar to tulip ornamentation appeared.

This kind of tulip flower has never appeared in the previous periods.

Just like the pieces of broken porcelain salvaged this time, there are Jingzhen porcelain and Hu Jian's style porcelain.

For a long time, where this exported Clark porcelain was produced has been attracting attention, but it has never been discovered.

Until the 20s, a piece of news that made the domestic and foreign ceramic circles extremely happy spread like wildfire.

During the investigation and excavation of the ancient kiln sites of Hu Jianping, Nansheng, and Wuzhai in the Ming and Qing Dynasties, we found kiln sites for firing the so-called "Clark porcelain" and "Toushan wares" abroad, as well as objects sold to countries such as Neon. specimen.

Many eyes immediately turned to Pinghe, a mountainous county in southern Fujian that was usually unknown.

At that time, Chairman of the Society of Neon Oriental Ceramics, known as the "Father of Neon Ceramics", Shoichi Itazaki led an academic group to visit the site after hearing the news.

It was finally determined that in Neon, blue and white porcelain, plain three-color Xianghe, etc. have been called Toushan Ware, Wu Xushou, Wuxu Chihui, Jiaozhi Xianghe, etc. for more than 400 years.

However, the place of origin is still unknown. The discovery of the Pinghe kiln site proves that Zhangshi kiln ceramics were produced and exported to East Asian countries in the late Ming and early Qing dynasties.

Among this batch of broken porcelain pieces, the first box that Chen Wenzhe put together was Cochin Xianghe, which mainly exports neon lights.

You can tell by the name. In Neon at that time, this kind of box was called Jiaozhixianghe. The Neon people at that time thought it was imported from what is now South Vietnam.

Occasionally, there is inevitability, and the pursuit of eyes will inevitably fall on peace in the end.

In fact, there are many signs of where these works come from.

And the famous kiln mouth must not be hidden.

For example, the twenty-seventh volume of "Zhangzhou Fuzhi" published in the first year of Wanli in the Ming Dynasty: "Porcelain produced in the south is better than other cities. It is very skillful, but it is still playable."

The "Pinghe County Annals" rebuilt in the Qing Dynasty records: "Porcelain masters come from Nansheng Guanliao."

It is confirmed from the above two records that the Nansheng area was famous for its porcelain in the early and middle Ming Dynasty.

From November 1994 to June 11, the Hujian Provincial Museum and the Pinghe County Museum successively visited the Huazilou Kiln Site, Tiankeng Kiln Site, Dongkou Kiln Site and Pigou Kiln Site in Nansheng, Pinghe County, etc. to excavate.

The results are surprising. Blue and white porcelain is the main type of porcelain fired in Pinghe Kiln.

Its decorative theme, pattern and craftsmanship are exactly the same as "Clark Porcelain".

In addition, the firing kiln mouth and specimens of "Jiaozhi Xianghe" (that is, plain three-color) were also found in Neon, which is widely collected but its origin is unknown.

So far, the mystery of the origin of export porcelain that has long plagued the ceramic archaeological circles at home and abroad has finally been solved and the veil lifted.

Now, in the "Ancient Ceramics Exhibition Hall" of Pinghe County Museum, among the dazzling array of ancient ceramic specimens, blue and white porcelain and "Jiaozhi Xianghe" (plain tricolor Xianghe) are the most eye-catching.

The blue and white porcelain has different decorative patterns, the big one is like a washbasin, and the "Jiaozhi Xianghe" is small and exquisite, which can be enjoyed in the palm of your hand.

It is said that this object is closely related to the neon tea ceremony, and is generally used to hold seasonings.

Because of its exquisite production and various shapes, it is also used as a handicraft, and is eagerly collected by princes and nobles.

Therefore, this kind of fragrant combination is definitely a fine product among exported porcelain.

The word "Xianghe" comes from ancient books.

"Song History Li Zhi Fourteen" contains: "Prince Yuzhong, set up a silver lion incense."

Xiangheyi is a box for holding incense, which is a small container for preserving the essential oils and aromas of spices.

In Neon, it is still used as the word "Xianghe".

Whether it is in the neon incense ceremony or the tea ceremony, incense is an indispensable ritual gift.

Together with incense burners and vases, this kind of porcelain is used as furnishings in the tea room and placed under the hanging scroll in the alcove of the tea room.

Neon Xianghe originally originated from my country, but the kiln mouth where it came from has not been found before.

This can be very confusing, especially for some elegant people.

These people, especially the ancients, often burned incense to cheer their emotions and create an ethereal and mysterious atmosphere when reciting poems and painting, playing the piano and sipping tea.

However, their descendants now don't know where the things that their ancestors cultivated their sentiments came from?Can this work?
In fact, we all know that it came from Huaxia, but we really don't know where it is until the kilns of Hu Jian were not discovered.

However, this does not mean that Xianghe is rare in China.

In the Tang Dynasty of our country, there was Xianghe, but most of them were gold and silver wares.

Li He said in "Chun Huai Yin", "Tian He Bi Han Dragon Brain Jelly".

"Tianhe" is a box inlaid with gold, silver, jade and shellfish.

During the Song and Yuan Dynasties, incense synthesis became an important ritual vessel.

"Song Huiyao" records that Wuyue Qian Chu paid tribute, including "a golden incense lion, a red gum, a golden incense, and a total of five hundred taels of golden incense".

However, during the Song and Yuan Dynasties, with the prosperity of the porcelain industry, porcelain incense was still used in large quantities.

Yang Zhishui said in the article "Shuoxiang Box": "There are many types of porcelain composites in the Song Dynasty, and their uses are different. Powder composites, oil composites, flower composites, and medicinal composites are generally difficult to distinguish clearly unless they are identified in special books."

Generally speaking, the porcelain incense is slightly larger than the palm-sized powder and oil.

During the Ming and Qing Dynasties, Xianghe has become an important standard for literati's study desk.

There are also detailed records in "Chang Wu Zhi" written by Wen Zhenheng of the Ming Dynasty.

"Xianghe is based on Song Tihe, whose color is like coral. In ancient times, there was a saying that there was a sword ring, two flowers and plants, and three figures. There are also five-color lacquer bodies. The depth of the carving method can be revealed with makeup, such as red flowers and green leaves, yellow hearts and black stones. The second one is... there are Neifu filling lacquer, all of which can be used. Smaller ones include Ding kiln, Rao kiln cane section, and string bells, and the rest are not included."

Wen Zhenheng commented on the texture, color, ornamentation and shape of Xianghe. Xianghe has also changed from a practical utensil to a work of art that can be appreciated and evaluated by literati.

Different from China, the origin of Neon Xianghe is related to the spice trade of Neon.

Spices entered neon along with Buddhism. In the Nara period, although spices were used in Buddhist ceremonies, their scope was limited to palaces and temples.

Neon does not produce spices in China, so the spices imported through trade are luxury goods.

By the Heian period, spices were no longer limited to Buddhist ceremonies.

It has gradually become the object of the nobles' play, and there is a finely crafted incense.

The so-called Hexiang is a kind of refining incense. It is made by mashing agarwood, cloves, xunlu, white sandalwood, musk and other spices, mixing various spices and honey, kneading and mixing, and then fermenting. This refining method comes from the Tang Dynasty. generation.

(End of this chapter)