My system is not decent

After modern comparative studies with the bronze cellar site of the Song Dynasty in Qingbaijiang District, Sichuan City, many modern scholars believe that the cellar site of Jinyu Village in Suining is very likely to be the site of an ancient academy.

The shapes of sacrificial vessels and ritual vessels unearthed in the two places are very similar.

During this process, a large number of composite utensils were discovered, which belonged to sacrificial utensils in academies and other occasions.

The discovery of a large number of daily-use porcelain also reflects the complete system of Song Dynasty academies integrating lectures, sacrifices, and life.

Suining Song porcelain should be buried between the third year of Duanping (1236) and the first year of Chunyou (1241) in the Southern Song Dynasty.

With these comparisons, some relevant clues can be found in the batch of hoards discovered by Chen Wenzhe.

The story started on September 1991, 9, when villagers in Jinyu Village in Suining dug holes in their vegetable fields.

When digging to a depth of 1 meter underground, the hoe hit a copper bar.

This is a copper bucket, and there is still a gap dug by a hoe on its long handle.

Continuing to dig along the ends of the copper bar, more copper and porcelain appeared.

An important discovery in the archaeology of ancient ceramics in our country, thus kicking off the prelude.

It's a pity that after these cultural relics were discovered, not all of them fell into the hands of the state, and a large part, or even the vast majority, was hidden and sold.

Finally, 985 pieces were unearthed after being rescued and excavated by the cultural relics department.

And the group that Chen Wenzhe saw was the vast majority of them that were hidden.

In addition to gold and silver wares, most of these hidden treasures are porcelain wares.

Among them, there are 18 bronze wares and 2 stone carvings, which should be regarded as the largest porcelain hoard discovered in my country.

Among them, there are more than 350 pieces of Jiangsu and Zhejiang Longquan porcelains, and nearly 600 pieces of Jingzhen porcelains, which are the bulk.

In addition, there are a small number of products from Beihe Ding Kiln, Xishan Yaozhou Kiln, Chuanfu Cifeng Kiln, and Guangyuan Kiln.

After identification and classification, many of this batch of cellared porcelain are top-level treasures. According to Chinese standards, 29 of them can reach the national level of cultural relics, more than 200 pieces of second-level cultural relics, and more than 500 pieces of third-level cultural relics, many of which are rare at home and abroad. .

For example, the characteristics of Longquan kiln imitating official kiln porcelain are very obvious.

This not only confirms the authenticity and reliability of "Gegu Yaolun" recorded in the official cellar that "the counterfeit ones are all Longquan burners, without lines", but also provides us with precious physical materials of Longquan imitation official cellar porcelain.

The blue and white glazed plum vase has a regular and dignified shape, bright glaze color, clear decoration, and a complete cover, which is rare in previous discoveries and foreign collections.

Celadon-glazed lotus-leaf-covered jars were generally regarded as works of the Yuan Dynasty in the past.

The excavation of the Suining cellar has overturned the previous conclusions and is the only one seen in China at present.

This batch of cellared porcelain is rich in types, mainly including pots, gui, statues, bottles, pots, holding pots, water injection, water bowls, brush washers, powder combination, lamps, stoves, bowls, plates, dishes, washers, bowls, basins , cups, cups, lids and other dozens of varieties.

Celadon and blue and white porcelain are the main items, and there are also a small amount of white and black porcelain.

It concentratedly displays the extraordinary artistic achievements of Longquan celadon and JDZ celadon in the late Southern Song Dynasty.

In the late Southern Song Dynasty, the Mongolian Iron Hoof broke into the Land of Abundance.

The Song-Mongol War, which lasted half a century, ravaged this prosperous land and displaced the people.

Before fleeing, many wealthy families buried precious utensils in cellars and never returned.

In the 20th century, these hoards were discovered one after another, and a large number of exquisite porcelain, gold and silver wares, bronze wares and other cultural relics were presented to us.

These cultural relics in the cellar are cultural heritage engraved with "memory of the Song Dynasty", conveying the fashion, aesthetic tendency and general emotion of that era.

Porcelain is simple in image and elegant in color, and has a similar artistic interest to the prosperous ink landscape painting at that time;

Gold and silver wares lost the strong exotic color of Tang Dynasty utensils, and more reflected the elegant and simple style;

The widespread appearance of antique utensils is the product of the retro trend in the ideological circles of the Northern Song Dynasty.

These utensils have combined the aesthetic tastes of scholar-bureaucrats and literati in the Song Dynasty, which are different from those of the bourgeoisie.

Show delicacy in the ordinary, and hide charm in the ordinary.

They reproduce the "art of everyday life" of people in the Song Dynasty on the eve of the Mongolian Yuan invasion.

They will also trigger our nostalgia for the elegant traditions of Chinese culture.

Song porcelain is famous for its single-color glaze, advocating simplicity and elegance, and seeking the beauty of "natural artistic conception".

The glaze color wins, and the materials are carefully selected to achieve the level of "porcelain like jade". The elegance of the tone is unparalleled.

This pursuit of natural beauty coincides with the concept of "although it is made by man, it is created by nature" in Chinese gardens.

These concepts are reflected in some top national treasures.

For example, one of the plum vases is a first-class cultural relic. It has a cover diameter of 4.3 cm and a cover height of 3 cm;

This plum vase is composed of a bottle, a cap and two parts.

Cover the female mouth, flat top, straight wall, outside skimming mouth.

The flat top cover is slightly curved, the mouth is slightly slanted outward, the flat lip is narrow, the top of the cover is scratched with curly grass patterns, and the glaze surface is densely divided.

The bottle has a slit mouth, a small straight mouth, flat lips, a short neck, a curved neck, sloping shoulders, and a ring of protrusions on the outer wall.

The bottle body is slender, slightly smaller in shape, with hidden ring feet and wider foot rings.

From the shoulders to the feet of the shanks, it is fully decorated with engraved patterns, the ground pattern is a grate pattern, and the theme decoration is entwined peony and entwined lotus.

The tangled peony is located in the upper abdomen, and the tangled lotus is located in the lower abdomen.

The decoration is depicted in a ticking manner, and the flowers, leaves and branches are slightly raised.

At both ends of the ornamentation, there are two shallow string patterns.

The white tire is slightly yellowed, the outer wall is not glazed as much as the bottom, and the inner wall is not full of glaze below the mouth and neck.

The glaze color is bluish white, the place where the glaze accumulates is light green and warm, and the glaze layer is smooth and clean.

The unglazed part of the foot and the outer wall is light orange, and the inner bottom has kiln slag adhesion, and a small amount of dark brown burnt spots can be seen, and there are obvious traces of cutting and trimming.

The shape is dignified, the glaze color is crystal clear, and the decoration is clear, which is rare in both unearthed porcelain and handed down products at home and abroad.

When Chen Wenzhe saw this plum vase, he recognized it at a glance. It was an authentic Longquan Kiln in the Southern Song Dynasty.

As for such treasures, among the cellars discovered this time, it is obvious that there are not only one, but the one comparable to this Longquan kiln plum vase must be a Southern Song Longquan kiln celadon glazed porcelain jar with a lotus leaf shape.

If this is to be taken out for rating, it must be a first-class cultural relic, even surpassing the level of many first-class cultural relics.

It has a caliber of 23.5, an abdominal diameter of 31.7, a foot diameter of 16.1, and a height of 31.5 cm.

The porcelain pot is made of two parts, the lid mouth and the lotus leaf-shaped lid.

The edge of the cover undulates in the shape of a lotus leaf, with an arc top, a pedicle button in the center, and the inner mouth of the cover as a round lip.

The female mouth of the tank is straight, with a sharp lip, and the bottom of the lip is cut into a beveled edge.

Short straight neck, rounded shoulders, bulging belly, shins slightly inward, circle the foot, and make a concave foot circle on the inner bottom of the circle foot, and the outer wall is beveled.

The fetal bone is thick, and the plum green glaze is applied on the inside and outside except the lip and the outer ring of the ring foot. The glaze layer is thick, the color is bright and lustrous, and the glaze surface is smooth and smooth.