My system is not decent

At the end of the Yuan Dynasty, those strongmen who passed through Lujing Town needed military expenses, so they needed blue and white porcelain.

At the end of the Yuan Dynasty, the wars around Jingzhen were very hot, and the fires in Yaoli and Hutian were also very prosperous.

The combination of several actions has allowed the firing of blue and white porcelain to flourish, especially the pictures on the porcelain, which have been greatly improved.

Before Yuan blue and white, the painting and engraving of porcelain were all done by folk ceramic craftsmen.

Because of the war at the end of the Yuan Dynasty, a large number of folk artists and Han calligraphers and painters from the north gathered in JDZ, where the war was relatively calm.

The joining of professional painters has greatly improved the painting level of blue and white porcelain in the late Yuan Dynasty.

For example, in the blue and white moon shadow and plum decorations in the Yuan Dynasty, the shadows of calligraphy and painting by literati such as Wang Mian can be seen.

The painters of JDZ at the end of the Yuan Dynasty discovered that this kind of thing called Su Maliqing has a melancholy blue with purple in it, which is naturally suitable for writing their own emotions.

The scholars in the south of the Yangtze River are crowded in the narrow mountains and rivers. After a long time, they naturally accumulate more strength to break through.

Su Maliqing has achieved a breakthrough in blue hair color, from jet black near to distant blue.

The painters of Jingzhen walked out of yesterday's study, and the landscape in front of them suddenly became clear.

Blue pine smoke hair color, bright and strong, clear and transparent;
The condensed spots flicker by themselves, black and dense crystalline spots, sunken under the glaze, deep into the fetal bone, the skin is as uneven, and the shape is like ups and downs of emotions.

The worship of nature and the pursuit of the realm of life have continued the cultural context from the Song Dynasty to the Yuan Dynasty.

Blue and white painters found emotional resonance in the troubled times.

They hid in the courtyard in the south, painting the arrogant dragon, phoenix and unicorn, the bony moon shadow plum blossom, and the entangled summer lotus and autumn chrysanthemum.

Of course, he also painted "Eight Immortals", "Quanzhen Seven Sons" and stories of heroes.

Guiguzi went down the mountain to help Sun Bin, General Meng Tian, ​​Xiao Heyue went down to chase Han Xin, Zhou Yafu stationed the army in Xiliu Camp, Duke Yuchi rescued the King of Tang with a single whip, Liu Guanzhang and Zhang San visited the thatched cottage to invite Zhuge Liang, and the tiger-fighting hero Wu Song failed three bowls...

After actually making porcelain, Chen Wenzhe couldn't help but want to copy all of these.

Except for the three works for Wu Er, it is really good to collect the others.

Now that you have collected it, you have to do it all.

There are also many Yuan blue and white flowers in China. The most famous one is that on the afternoon of November 1980, 11, the splendid blue and white flowers were in full bloom at the infrastructure construction site of Xijiang Gaoan No. 29 Electric Machinery Factory.

The hoe of the migrant workers opened the door to a treasure house.

In the cellar with a diameter of 1.3 meters and a depth of 0.8 meters, there are actually 245 pieces of Yuan Dynasty cultural relics, 19 of which are blue and white porcelain.

This confirms the existence of Yuan blue and white from the perspective of archaeological discovery, and the handed down Yuan blue and white collections of Yiguo and Tuji clearly show that Yuan blue and white came from my country.

For a long period of time, cultural relics experts continued to maintain their enthusiasm for these cultural relics, and gradually magnified the charm of discovery.

This is a major discovery of blue and white porcelain in the Yuan Dynasty, the largest in the country and the third in the world.

The star of the pile of treasures - among the 19 blue and white pieces of Yuan Dynasty, one is a jar with a cloud and dragon pattern and an animal ear cover, two are jars with a cloud and dragon pattern and a lotus leaf cover, four are plum bottles with a cloud and dragon pattern, and two are peony shoulders There are plum vases with patterns and covers, one is a flower goblet with covers, and nine are various stem cups.

Jar with animal ear cover, animal ear nose ring, with cover, animal head.

The solid and round shape gives people a sense of security - like Maitreya Bodhisattva, with a big belly, you can put all the things you don't need into it without overturning.

Peony patterns and cloud dragons are depicted on the most open abdomen.

The large group of peonies is opened with the most folk attitude, openly and without reservation.

The wandering dragon leaves a large area of ​​flying white above and below the dragon pattern, giving people the imagination of the sky and white clouds.

The dragon is the inspiration product of the ancient Chinese. It represents a kind of sacred and inviolable power and status. It is regarded by the emperors themselves and sought after by the common people.

The dragon depicted in the blue-and-white jar is slender and curvy, with its head upwards, its horns leaning back, its eyes facing straight, its neck narrow, its belly curved, its tail densely covered with scales, and its three claws are especially powerful.

The strength of these three claws is different from the painting methods of all dynasties after Yuan Dynasty.

Cultural relic experts use this as a mark to distinguish the dragon patterns of the Yuan, Ming and Qing dynasties.

There are two lotus-leaf-covered pots, the main bodies of which are three-clawed dragons and twining peonies.

The chasing dragon reveals some kind of mysterious power.

The peony makes this mysterious and unpredictable, with the sense of wealth and magnificence that the folks like to see.

And the realistic lotus leaf cover, combined with mandarin fish, herring, catfish, and crab, endows the aristocratic aesthetics of power and wealth with natural interest, as well as folk liveliness and vitality.

The dynamic dragon, and those little fresh things, set off the static peony and lotus leaves, and the aesthetic pursuit of opposites and unity is clearly a blue and white, pleasing midsummer color ink painting.

In June, the pond in the south in the afternoon is surprisingly quiet.

There is a wind blowing in the distance, and the sound of the wind is extremely thin and fast, engulfing the raindrops farther away.

The corners of the lotus leaf suddenly lifted, as if about to fly.

Then, the protagonist, the three-clawed dragon, is about to appear on the stage-it is it that stirs up the ups and downs of the afternoon.

Plum bottle with lid.Or peonies and dragon patterns.

However, four claws appeared in the dragon pattern.

The official kiln system in the Yuan Dynasty has not yet been clearly established, but the dragon's symbol of imperial power has long been deeply rooted in the hearts of the people.

With five claws, the power in the hands of the emperor has reached the extreme.

Four claws, three claws, the status class moves down.

The number of claws provides the identity information of the owner of the blue and white porcelain from one aspect.

The six plum vases embody the highest level of desk display aesthetics since the Song Dynasty.

The plum vase was originally used to put plums in, and the porcelain vases with plums in it, the blue and white flowers are also lively with the faint fragrance of plums.

The six plum vases were written in ink by the owner on the bottom of the vessel respectively with the words "Li, Yue, Shu, Shu, Shu, and Yu".

Since the Zhou Dynasty, etiquette has gradually become our daily aesthetic routine.

The "Six Arts" is written on the bottom of the plum vase by the master, and the motto is devoutly enshrined and obeyed.

The rules, correct the daily attitude of each day.

These are like six attitudes to life, not just craftsmanship.

Judging from the rank of the unearthed blue and white vessels, the researchers believe that this batch of blue and white vessels should not be owned by ordinary people.

They found information about a family in the Gao'an county annals—Wu Xingfu, Wu Liangchen and his son in Wujia Village, Shangquan, Gao'an in the middle and late Yuan Dynasty.

It is believed that the owner of Gao'an's cellar is the Wu family.

It is said that Gao An still has descendants of the Wu family.

"Gao'an County Chronicles Bingfang Zhi" records that in the 11th and 12th years of Zhengzheng, the war in Gao'an was particularly chaotic.

It is speculated in the industry that this batch of blue and white flowers was probably once owned by the captain's family and hid to avoid the war.

Today, it can be seen again, and it has become a cultural relic linking the memory gap of ceramics.

The hero-worship complex of the painters appeals to the blue and white brushwork, making the most unique character story theme of the Yuan blue and white painting.

The blue and white flowers in the cellars of the Yuan Dynasty in Gao’an, Xijiang are all themes of flowers and birds, but the most unique and interesting art of the blue and white flowers of the Yuan Dynasty is the theme of character stories.