My system is not decent

Chapter 1933 Southern Song Classics
Gao Lian is particularly insightful in the selection of porcelain basins.

Ruoding five-color scratched flowers, white fixed embroidery, scratched flowers, square and round pots with cloud plate feet are the most beautiful, and there are octagonal round pots, hexagonal ring pots, the most fixed samples, but no long pots.

Most of the official kilns are round, and there are also rings, but square is rare.

For example, Qingdong Ci and Junzhou kiln, most of them are round, and there are few long pots.

Square pots of water chestnut sunflowers are good, but they can be planted with cattail.

The style of porcelain used for furnishing is often obviously different due to the identity of the owner.

For example, literati pursue elegance and refinement, while religious places pursue solemnity and appropriateness.

The palace furnishings emphasize dignity and magnificence, so court porcelain is often made of positive colors, bright and bright, and the craftsmanship is particularly exquisite. The surface is often painted with patterns such as dragons and phoenixes to show its grade.

Among the stationery utensils that mainly satisfy practical functions, many literati also prefer porcelain utensils: pen holder, pen stand, inkstone, printing box, water bowl, washing, ink bed, inkstone drop, pen lick, painting cylinder.
In Gao Lian's case display, the brush grid and brush wash are porcelain.

"One long table in the studio, one ancient inkstone, one old bronze water injection, one old kiln brush frame, one mottled bamboo brush holder, one old kiln brush wash, one paste bucket, one water container, and one copper stone paperweight."

There are especially many porcelain works in brush washers. Both Gao Lian and Wen Zhenheng have listed the fine works of brush washers in Guan Kiln, Ge Kiln, Ding Kiln, Longquan Kiln, and Xuan Kiln. Bowl bowl washers and Pankou washers are especially popular.

Porcelain inkstones were especially popular before the Song Dynasty, because porcelain inkstones can withstand high temperatures, and most of them came in the form of warm inkstones, that is, inkstones with heating equipment added.

Even in the cold winter, this design can keep the ink from stagnating.

These stationery utensils often have fresh and elegant glaze colors, or depict some classic legends and figures, to show the literati's aesthetic taste and self-cultivation.

And some of the most novel and unique technologies are often applied to the production of stationery utensils.

For example, during the Qianlong period, like raw porcelain, which flourished, left excellent works such as stone-like glaze and wood-grain glaze.

Furthermore, although the furniture in the Ming and Qing Dynasties was mainly made of wood, in the field of poufs, porcelain did not fall behind.

With its unique texture and charm, porcelain pier has become a treasured object of literati, ladies and even ordinary people.

Among them, the classic Dahai City Museum also has one, which is the blue and white pine, bamboo and plum pattern embroidered pier.

Although the earliest known porcelain piers are unearthed from Sui tombs in Anyang, Henan.

However, it has been mentioned in "Yinliuzhai Talking about Porcelain" that porcelain has flowers, and it has gradually become popular in Song Dynasty.

Su Dongpo's poem "Dingzhou flower porcelain carved red jade", Renzong summoned the bachelor Wang Gui, and set up a purple flower seat.

The craftsmanship of porcelain piers in the Ming and Qing dynasties gradually matured, and a small number of enamel works emerged in the Ming Dynasty.

This is a kind of hard pottery produced in the middle and late Yuan Dynasty, which evolved from colored glaze, but with richer colors.

Looking at the life aesthetics described by the ancients, it is always inseparable from the participation of porcelain.

It can be elegant and beautiful, but also magnificent, it can be bright and compelling in the conspicuous place, and it can be fragrant in the corner.
Since we want to imitate, we must start from the earliest imitation. Of course, the earliest was discovered in the Sui Dynasty, but the craftsmanship of that period was very poor.

The production of porcelain piers that can be known now belongs to the most classic of the Southern Song Dynasty.

Among the celadon specimens of the Southern Song Dynasty, there is the official kiln porcelain "dun"!
"The Achievements Exhibition held by the Southern Song Dynasty Official Kiln Museum in Hangzhou" shows five ceramic artifacts unearthed in 1985 from the Southern Song Dynasty official kiln in Hangzhou.

After careful inspection, the fetal glaze is quite different from the general understanding of the Southern Song Dynasty official kiln porcelain.

The exterior of these porcelains is thickly glazed, which is bluish-yellow with slits, and the body is mainly reddish-brown.

Part of the tire combined with the glaze is black and gray, which is a typical thick tire and thick glaze.

Combined with the traces of flowing glaze traces, the vertical relationship between the up and down of the convex arc-shaped vertical components during firing can be judged.

The middle glaze flows and accumulates to form three thick raised string patterns.

There is no decorative pattern on the back, because the utensils were severely broken and damaged, and it was impossible to identify what type of utensil components it was.

From the point of view of shape, size and dimension, it is obviously different from the existing hollowed-out wares such as long-necked vases and bottle-shaped furnaces known from Southern Song Dynasty official kilns.

There are no scholars in the past, and there have been systematic studies on this.

However, judging from their characteristics, they are very likely to come from the same type of utensils.

After reviewing a large number of archaeological, document and image materials, it is speculated that these five Southern Song official kiln porcelain components may be parts of "piers" made of composite materials such as rattan, bamboo and wood.

The three strings highlighted after glazing are the imitation of the key reinforcement nodes of the pier, which may play the role of imitation, beautification or reinforcement.

The so-called pier is a kind of seat that has become popular with the development of high sitting living style.

Later, it gradually became a type of classical furniture in my country. Tracing back to the origin of pier, Jin Guopu annotated "Erya" Volume 7 "Shiqiu" and said: "Today, those who pile up the ground in the east of the Yangtze River are dun."

Dun is the vulgar character of Dun, so the original meaning of Dun is a mound of soil.

The "dun"-shaped seat before the Song Dynasty, in the mural "Acrobatics Picture" of the Liaoyang Han Tomb, depicts an acrobat performing on a round pier with a thin waist.

This kind of utensil is considered to be one of the relatively early images of pier-shaped seats discovered so far.

In fact, utensils of this shape appeared as early as the Warring States Period.

It was not originally used as a seat, but as a cage for fishing and rabbits.

That is to say in "Zhuangzi·Waiwu": "The trapper is in the fish, and he forgets the trap when he gets the fish; the hoof is in the rabbit, and he forgets the hooves when he gets the rabbit; the speaker is so concerned, he forgets the words when he is proud."

Because there is not much difference between the two, they are collectively called "Qianti", also known as "Qiantai".

In Tang Dynasty Li Yanshou's "Southern History" Volume 80 "Hou Jing" records: "Go up the hoof and say: 'I speak for the public', order Jing to leave the table and make him sing scriptures."

Yao Silian's "Liang Shu" Volume 56 "Hou Jing Zhuan" records: "There is always a bed and hooves on the bed, and you sit with your boots hanging down."

Later, this type of utensil was used for smoking cages for drying clothes and quilts on charcoal basins.

With the popularization of tall seats and the change of people's living customs, the living style in ancient my country has gradually changed from sitting on the ground to sitting on the feet, and most of the furniture has also transitioned from low to high.

Coupled with the spread of Buddhist culture to the east, a kind of round pier was also popular in the Wei, Jin and Tang Dynasties. This kind of sitting utensil, which resembles a drum with two ends and a thin waist in the middle, is mostly made of bamboo and rattan.

From the perspective of shape, most of the early piers were in the shape of a thin waist and a drum, and they were still slender in the late Northern Wei Dynasty, which should have something to do with the aesthetics and admiration at that time.

Some of these round piers not only retain the shape of smoked cages, but also have patterns symbolizing bamboo and rattan weaving on the surface of the utensils.

For example, the Buddhist grotto statues of the Northern Wei Dynasty in Yungang, Longmen, and Tianlong Mountain in Datong, the stone line carving portraits unearthed from the Northern Qi stone chamber tomb in Yidu, Qilu, and the Bodhisattva sitting on a rattan pier in the Northern Zhou Dynasty.

In the Sui and Tang Dynasties, there have been many changes, but influenced by the Buddhist lotus platform, the waist-drum style of the pier continued to be used.

For example, the coffin wall reliefs unearthed from the tomb of Yu Hong in the Sui Dynasty in Wangguo Village, Xishan, and the three-colored dressing women sitting figurines unearthed from the Tang tomb in Wangjiafen, Chang'an, and similar piers in the murals of the Tang Dynasty in the Mogao Grottoes in Dunhuang.

(End of this chapter)