In the autumn of the second year of Daguan, the river broke the old embankment, and it was popular in the city. The temple exists, the tower and the Luohan Pavilion. The water is now flowing eastward, and the place where the silt recedes is two feet high. ”
This is a passage recorded on the stele of the Great Compassion Hall of Sanming Temple in Julu County, which was built in the Northern Song Dynasty, revealing the mystery of the disappearance of Julu for us.
When the Yellow River burst its banks, it caused a massive flood that flooded the entire town in an instant, and people immersed in their daily lives had no time to take refuge, and they were all buried under more than six meters of sediment.
Time flies like a white horse, and soon people established a new Julu City, the direction has been shifted, and it has been used to this day, which is the current location of Julu County.
History is always strikingly similar, the reappearance of Julu in Song City, is also because of a natural disaster, in 1918, Julu County encountered a rare drought, the local people dug wells to save themselves to find water sources, and accidentally dug out the Song Dynasty city that has disappeared for more than 800 yearsJulu Ancient City
With the discovery of the ruins of the ancient city, a considerable number of exquisite artifacts have also appeared in people's sight.
Around 1920, the research team of the Tianjin Museum carried out a professional survey on the spot, and obtained a large amount of physical evidence found by local residents over the years, and the archaeological results of the Tianjin Museum were published in the "Julu Song Ware Series" co-authored by Zhang Houhuang and Li Shenqi.
In 1921, the Beijing National Museum of History also launched a new round of investigation in the local area, and the results of the work were published in the "Excavation Chronicle of the Ancient City of Julu in the Song Dynasty", and the full text was published in the "National History Museum Series" in 1926.
In the future, foreign experts and scholars continued to come to investigate and study, and for a time a small city that was forgotten by people turned into the focus of world attention.
In Julu, Songcheng, a number of exquisite plain white glazed artifacts were excavated, which attracted the attention of scholars. These objects are glazed with white glaze throughout, and there is no superfluous color modification on the body except for line changes and carving techniques.
Due to the perennial burial under the sediment, most of the artifacts show fine ice cracks on the surface, and the opening lines are faintly red.
What kind of background does this kind of white-glazed ware in Julu City have?Everything starts with a great kiln - Cizhou kiln.
The earliest account of the Cizhou kiln can be found in the "Gegu Yao" written by Cao Zhao in the Hongwu period of the Ming Dynasty, and the "Gegu Yao" included in the "Siku Quanshu" of the Qing Dynasty is a three-volume version, and the "Ancient Magnet" article of the "Ancient Kiln Treatise" under the volume contains:
Ancient magnets, out of Cizhou, Zhangde Prefecture, Henan, the good ones are similar to the Dingxiang, but there are no tear stains, there are also scratches, embroidery, the price of the vegetarian is lower than that of the Ding, and the new ones are insufficient. ”
There are various decorative techniques in Cizhou kiln, but most of the ornamental designs are based on a special material - makeup clay.
Cosmetic clay is a kind of mud made of natural clay, which is thinly applied to the surface of the body, which can cover up the color, defects and impurities of the original embryo body, play a role in beautifying the embryo body, and also make the utensils look more "high-end".
The makeup soil has a delicate texture, uniform color, strong coverage, high refractory and rich expressiveness, which is an ideal concealer material for potters.
The utensils unearthed by Julu are the white porcelain of the makeup soil in the Cizhou kiln, and there is a blue-gray embryo body hidden under the white makeup soil, and the surface of this kind of light element is like snow falling one after another, showing a holy, flawless texture, therefore, this kind of utensils is also called "white no land".
In the eyes of Japanese and Western scholars, Julu white porcelain has been equated with white makeup clay, transparent glaze and plain plain and unveiled Cizhou kiln wares.
In 1925, Robert Hobson, an Englishman, was the first to point out that the porcelain unearthed in the ancient city of Julu was the "magnetic ware" recorded in ancient Chinese documents, and then put forward the concept of "tz u chou type wares".
Calling such white artifacts "Julu" works shows their representativeness and importance.
The style of Song porcelain is very different, each kiln mouth relies on geographical advantages, forming a unique decorative style, the beauty of Cizhou kiln is simple and simple, and the naïve nature stands out in many kilns in the Song Dynasty.
Cizhou kiln also captured the hearts of many Japanese collectors, before 1920, for the "Song porcelain" Japanese collectors did not have a concept, after the excavation of the Julu site, began to pay attention to this kind of artifacts, such a "fate" also from a historical exhibition.
In 1920, Mr. Hirota Bugusai, the founder of the Japanese Huzhongju, cooperated with the Tao Talk Society to hold a 45-day exhibition of Song porcelain, presenting a never-before-seen style of Chinese ceramics.
The exhibition was an unprecedented success, and the concept of "Song porcelain" officially entered the list of Japanese collectors.
It is worth noting that among the 59 exhibits, 47 are from the Cizhou kiln, and since then, Japanese collectors who advocate the culture of the Song Dynasty have all flocked to the Cizhou kiln.
In the Linyu Shanren Collection, Cizhou kiln artifacts occupy a very high proportion, and the enthusiasm of Japanese collectors can be seen.
Round belly, short circle foot, short neck skimming, abdomen carved double-layer lotus pattern, shoulder carved lotus pattern, white makeup soil applied throughout the body, cover transparent glaze, pure white clean, color like the first snow, sweet and lovely, lotus petal pattern looming, holy dust, beautiful, is the superior work of Cizhou kiln makeup soil fine white porcelain.
Zun, wine vessels, "The Book of Rites, Ming Tang Position" recorded: "Tai, there is the respect of the Yu family;."Mountain, the honor of the Xia Hou clan also;, Yin Zhizun also;Sacrifice elephant, Zhou Zun also. ”
Julu Song ware series "mentioned that Julu unearthed Zun, there are three shapes, two are not tied (as shown in the figure), this piece of Cizhou kiln white glaze, the size of the shape is more consistent with it, for the same type of utensils.
The abdomen and shoulders are decorated with lotus petal patterns, the lotus petals are narrower, and the lotus petals are wider.
The tomb of Xiao Guifei of the Liao Dynasty in Duolun County, Inner Mongolia and the artifacts unearthed in the Tadi Palace of Qiyin Temple in Xinzhuang in Xianghe County can be used as references, which are typical decorative styles of the Northern Song Dynasty and have a good grade.
Buddhism regards the lotus flower as a holy flower, and the lotus is a metaphor for the Buddha, symbolizing that the Buddha is born in the troubles of life and death, and is not disturbed by the troubles of life and death, and the "lotus" has also become a sacred flower of Buddhism.
White, symbolizing the starting point.
Everything is conceived from the void, and it is often said in Buddhism that everything is empty, the beginning is blank, and the end is also blank. The ancients also gave a lot of meaning to the color white, symbolizing justice, purity, dignity, integrity, and an otherworldly state of life.
As an important kiln in the north, the decorative style of Cizhou kilns influenced Shandong, Henan, Shanxi, Shaanxi and even more west, distributed in an arc-shaped strip about a few hundred miles long in northern China. Good at ingenuity, diverse ornamentation, as an important representative of folk aesthetics kiln, its status is undoubtedly extremely important.
The beauty of the Cizhou kiln is close to human affection and makes people feel more intimate, the warm tones of the Cizhou kiln, the practical and harmonious shape, and the strong contrast between white and black, all of which seem to be pouring out something to the world. ”
Aesthetics are a cycle, but classics never go out of style.
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