My system is not decent

During the change of dynasty from the Southern Song Dynasty to the Yuan Dynasty, story books, Yuan opera libretto and New Year pictures (prints) widely entered the market and folk, which directly gave birth to the prosperity of Yuan Zaju.

A group of playwrights such as Guan Hanqing, Wang Shifu, Bai Pu, and Ma Zhiyuan created miscellaneous dramas based on folk historical themes, and brought to the stage the stories of heroes from the Han, Tang, Song, and Yuan Dynasties of the Eastern Zhou Dynasty, which were deeply sought after by ordinary people.

At this time, the blue and white creation of Jingzhen happened to give the character stories a better carrier for daily use.

Previously, Cizhou Kiln also had a small number of pots, bottles and pillows with the theme of character stories, which laid the groundwork for Jingzhen Kiln to burn Yuan blue and white character story works.

In fact, the craftsmen of Cizhou kiln came to Jingzhen to escape the war, and they also brought this idea to the kiln.

Therefore, the flourishing of zaju in the late Yuan Dynasty and the frequent wars in the late Yuan and early Ming Dynasty objectively aroused the hero worship complex of JDZ painters, and resorted to Qinghua's works.

After repeated comparisons and experiments, the craftsmen found that the ellipsoidal can body is more suitable for expressing complex characters and stories because the circumferential surface is flatter and wider than other porcelains.

The hero's heroic mood is very consistent with the strong and vigorous blue and white pot in temperament.

The famous "Yuan blue and white eight big pots" (big blue and white character story pots), all of which are rare and unique.

Except for the Incense Jar of The Romance of the West Chamber in a private collection in Asia, and the Jar of Jinxiangting in the collection of Wang Dingqian of Baodao, the other six pieces are all based on folk hero stories.

Let's take a look at the large pot of "Guiguzi Down the Mountain" collected by the British collector Eskenazi.

At Christie's auction in London on July 2005, 7, it was sold for 12 million pounds.

It was equivalent to about 2.3 million yuan, setting the highest auction record for Chinese art in the world at that time.

The story painted on this pot is a section of "Sun Pang Fighting Wisdom", but the main body of the performance is Sun Pang's master Guiguzi.

Sergeants lead the way with spears, tigers and leopards pull carts, and young generals hold horses and flags, and write the word "Ghost Valley".

The protagonist, Guigu, sits in the middle of the car, there is no shouting, no blood, no strategy, not even an opponent.

In order to render the tranquility, the painter meticulously depicts the pine, bamboo and grass beside the road with a fine brush, and those grasses are blooming.

Guigu was meditating, the general followed, the soldiers remained silent, and the tiger and leopard bowed their heads.

The pine is silent, the bamboo is silent, and the flowers and plants are silent.

If it is said that the silence is so exaggerated, it must indicate that there is a loud word somewhere, and that is the word "Ghost Valley" on the military flag.

Admirals plan, subdue others without fighting—the highest state of so-called wisdom and justice.

The Yuan blue and white Sangu thatched pot is in the collection of the Pegasus Foundation.

The big jar of "Three Visits to the Thatched Cottage" collected by the Pegasus Foundation depicts a well-known Chinese folk story - "Three Visits to the Thatched Cottage".

At the end of the Han Dynasty, Liu Bei visited Zhuge Liang three times to help him out of the mountains.

In the painting, Zhuge Liang wears a soft scarf on his head and a long gown, sitting cross-legged under a pine tree. The book boy stands aside with books in his hands, and a boy with buns in the front left is leaning over to report.

On the other side of the picture, there is a weeping willow with luxuriant branches.

Under the tree, Liu Bei wore a cross-footed headband and a long robe, and bowed to pay respects.

Guan Yu and Zhang Fei are whispering together, the painting vividly reflects Zhuge Liang's elegance, Liu Bei's thirst for talent, and the anxious and irritable expressions of Guan and Zhang, showing the superb painting skills of the Yuan Dynasty.

Among the heroic stories in the late Yuan and early Ming Dynasties, "Three Visits to the Thatched Cottage" is the most deeply rooted in the hearts of the people.

Moving this story to the blue and white pot conveys simple values, loyalty, righteousness, and wisdom.

Not all heroes are tragic and beautiful, but also feminine.

The large pot of "Zhaojun's Outing of the Fortress" in the Neon Idemitsu Art Museum allows people to see the other side of the hero.

The lid of this jar is in the shape of a lotus leaf, with veins and buttons.

The mouth of the tank is decorated with waves of sea water, the shoulders are surrounded by lotus patterns, and the shins are deformed lotus petals.

The story tells the story of the heroine, Wang Zhaojun going out of the fortress.

This jar highlights the beauty of melancholy to the extreme.

The protagonist and two maids wear beautiful clothes in a high bun.

There are also two groups of six men, one of whom is holding a "haidongqing" (a northern bird), and some researchers say that man is the husband of Zhaojun and his relatives.

The rocks are rugged and the texture is very strong.

Songzhu is especially well painted, and it seems to have come from the hands of first-class literati, calligraphers and painters in the late Yuan Dynasty.

The climax of the picture is the pipa in Zhaojun's hand - it freezes at the core of the picture.

As the most important prop in the plot, it seems to be expressing the emotions of the protagonist Wang Zhaojun: "Once you go, you will never return, and you will be poor in the palace clothes of the Han Dynasty" "The pipa has been used as a nonsense for thousands of years".

Su Maliqing, who is famous for her quietness, portrays the inner emotions of the characters like porcelain.

Through the quiet Dongfanglan, we seem to hear a woman, resolutely, facing her homeland, "Slave to go..."

In addition, the large pot of "Hundred Flower Pavilion" in the Neon Wanye Art Museum, the large pot of "Yuchi Gong Riding the Savior Alone" in the Boston Museum of Ugly Country, and the "Zhou Yafu Xiliu" in the Neon Anzai Art Museum are now in the collection. The large pots of “Camp Map” are all about heroes.

In addition to the eight pots, there are also many famous Yuan blue and white vessels for painting stories of heroes.

A "Xiao Heyue Chasing Han Xin Picture" plum vase is a rare treasure among the blue and white porcelain in the late Yuan and early Ming Dynasties, and the treasure of Jinling Museum.

The protagonists of the story, Xiao He and Han Xin, the right-hand men of the great ancestor Liu Bang, have a pen and a weapon.

Xiao He, the writer, visited all the elites in the world for his master, and used them for him.

Han Xin appeared at this time, he went to Xiang Liang first, and then attached Xiang Yu.

Han Xin is a military genius who likes to come up with ideas.

Ideas are not implemented, even the best ideas are not tested.

So he switched to Liu Bang, but he still sat on the bench.

No one used his idea, and he couldn't lead soldiers, so he abandoned Liu and left.

A generation of military strategists is about to be buried.

After a comprehensive investigation, Xiao He decided to bring Han Xin back and formally recommend him to Liu Bang.

Later, this story was put on the stage of Zaju in the late Yuan Dynasty, and it was also painted on the blue and white plum vase.

This vase was unearthed in 1950 in the tomb of Zhaojing Wang Muying, the founding hero of Qianning, Jiangning County, Jiangning County, in the early Ming Dynasty.

Mu Ying was the founding official of Zhu Yuanzhang, so there must be a deep meaning in the painting of the story of Xiao He and Han Xin as a funeral.

Another example is the "General Mengtian" jade pot spring vase, which was unearthed in Changde, Nanhu Lake in 1956 and is now stored in the Nanhu Provincial Museum.

Meng Tian led an army of 30 to attack the Xiongnu in the north, moved the people to the border, built the Great Wall, opened straight roads, and maintained the safety of the vast northern border for the Qin Dynasty.

Later, Qin Shihuang died of illness on the way to Kuaiji, and the palace coup d'etat.

Meng Tian, ​​who followed his son Fusu, was bestowed to death.

Meng Tian's death made people aggrieved.

This vase depicts a general inspecting a Xiongnu spies, an ordinary battlefield detail.

In the picture, the only dramatic thing is the four-letter name flag: "General Meng Tian".