During the Song and Jin dynasties, the decorative art of red and green colored porcelain has been officially valued and gradually became a part of tribute porcelain.
At the turn of the Yuan and Ming dynasties, the situation in the north became more and more turbulent, causing the potters to go south and gradually bring the production process of overglaze colored porcelain to the Jingdezhen area.
Due to the Mongolian nation's admiration of white, under the background of historical factors, Jingdezhen glaze porcelain has not been on the stage of ceramic art for a long time, and the lack of historical documents and hand-me-down objects has made the study of glaze porcelain in the Yuan Dynasty a blank spot that has been plaguing ceramic scholars.
Written at the end of the Yuan Dynasty, it is recorded in the "Jing Zhai to Zhengzhi Ji" that "red and green ancient colors have existed since ancient times, and since the gold has been the top thing, many fixed burning, limited burning are used for the top, and it is not possible to get it from the market." ”
Red and green color is a variety of glaze colored porcelain, it is the use of red and green color materials in the white glaze porcelain that has been fired on the painting pattern, and after entering the kiln again with a low temperature of about 800 baking, it is a typical secondary firing product.
Different from the glaze five-color porcelain produced in the north during the Jin and Yuan dynasties, yellow color was not used in the painting, so the red and green color was slightly different from the traditional five-color, and it belonged to a derivative variety of "five-color".
The glaze colored porcelain fired in Jingdezhen kiln can be traced back to the late Yuan Dynasty according to the physical data, and the red and green color is a new variety of creation and firing at that time, so it is not an exaggeration to call it "Jingdezhen early five colors".
Due to the use of red color in a large area of ornamentation, Japanese scholars also vividly call it "ancient red painting".
In the eighties of the last century, Mr. Geng Baochang, a master of ceramic industry identification, had a beginning of the origin of Jingdezhen's early five-color porcelain in the book "Ming and Qing Dynasty Porcelain Identification", analyzed several pieces of five-color porcelain in the late Yuan Dynasty and early Ming Dynasty collected in Japan, and cited two precious red and green colored porcelain specimens found in Beijing and Hangzhou, which made the early five-color porcelain in Jingdezhen in the late Yuan and early Ming Dynasty first emerged. In the following ten years, domestic scholars have successively carried out research on the subject of glaze multicolored porcelain in the Yuan Dynasty and early Ming Dynasty.
Ms. Ye Peilan of the Forbidden City also made a more detailed description of the red and green color varieties of Jingdezhen kiln in the Yuan Dynasty in "Yuan Dynasty Porcelain", and compared the two red and green color specimens of the Yuan Dynasty ash pit soil in Luomaqiao, Jingdezhen in 1981 with the two pieces of data unearthed in Beijing and Hangzhou. On this basis, the fragments of Guangxi's private saffron and green color figure goblets and two pieces of red and green color artifacts of the same period in the official collections of Japan and the United States are explained one by one.
Although it is only 7 pages long, including the plates, the 9 pieces of red, green and color materials involved and cited in the article are still relatively comprehensive to this day. The bold and eye-catching colors of the red and green colored porcelain in the illustrations, and the concise and rough composition fill the reader's senses, which is a visual feast for the glaze colored porcelain on the Yuan and Ming dynasties in Jingdezhen.
At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, Jingdezhen kiln red and green color goblet
The author has long been concerned about the progress of Jingdezhen red and green color porcelain research, after more than 10 years of painstaking collation, collection, collection to more than 10 cities across the country found nearly 300 pieces (pieces) of Jingdezhen red and green color specimens, fragments and complete vessels in the late Yuan and early Ming Dynasty. In addition, he compared and observed nearly 100 specimens with other Tibetan friends and collection institutions, and had a little experience in the study of early colored porcelain in Jingdezhen.
Most of the red and green color varieties disclosed in the article at the end of the Yuan Dynasty and the beginning of the Ming Dynasty were announced for the first time, although they were particularly rare. Some of the materials are collected by Nanjing University of the Arts and porcelain friends, and we are very grateful for their generosity. If we can bring new information and new understanding to the lovers of research and collection of colored porcelain in the early Ming Dynasty and cultural researchers, we should be the original intention of our generation, so as to throw bricks and lead jade, and a hundred schools of thought contend.
First, the shape of rich red and green porcelain
The red and green colored porcelain fired in the kiln of Jingdezhen in the late Yuan and early Ming dynasties is in the collections of the Oriental Ceramics Society of the Hong Kong Museum of Art, the Chinese University of Hong Kong and the Boston Museum in the United States. Although there are sporadic collections of individuals in China, the overall number of surviving is still only a handful. According to the statistics of the hand-me-down objects and unearthed specimens, the largest number of surviving is the red and green color goblet, compared with the bowl, cup, crumb, tray, jar and other vessel types, the plate in the daily utensils is less seen. In addition, the jade pot spring vase is also handed down and unearthed to prove that during this period, the jade pot spring vase was also the main product of red and green colored porcelain for circulation. As a special drinking utensil in the Yuan Dynasty, the pot gradually evolved from a flat bottle shape of the national imitation leather bag to a thick thing suitable for the Central Plains furnishings and tables. The appearance of the remnants of red and green colored phoenix neck pots provides a valuable reference for us to study the age of the widespread use of red and green colored porcelain.
Hong Kong Chinese University saffron green color goblet
(1) Goblet
The shape of the red and green color goblet is mostly skimming, deep arc abdomen, high foot, foot slight skimming, exposed tire, and no glaze on the inner wall of the foot, with obvious traces of rotation and a small amount of glaze. Since the red and green color is a secondary firing utensil, so according to the use of painting porcelain fetus, the red and green color goblet can be divided into two categories: ordinary plain tire and "pivotal" type with molded flower technology. This difference in the classification of the carcass is also seen in the shape of the red and green color bowls, pier cups and plates. The theme decoration inside and outside the red and green color goblet can be roughly divided into flower patterns, scenery patterns, character patterns, animal patterns, miscellaneous treasure patterns and program patterns. For the red and green color high-legged artifacts, in view of the large number of surviving materials, the author will make a detailed description of the opening classification, so I will not discuss too much here.
It is worth noting that in the early years, there were records with yellow color in the research reports on red and green color, and the author thought that it should be a discoloration attachment after the erosion and pulverization of green color soil, rather than a real yellow color material. This so-called "yellow color" phenomenon after soil erosion exists a lot, and some of them can clearly see the traces of green color gradation. Compared with the northern five-color porcelain of the Song and Jin dynasties, the Jingdezhen colored porcelain at this stage is rarely decorated with yellow color.
The process of oxidation of green color into "yellow color" is clearly visible
(2) Bowls
The bowl is in the shape of a pier, with no glaze in the skimming mouth, arc belly, circle foot, and foot, and there are "umbilicus" shaped rotary cutting marks. The motifs of the red and green bowls are mostly similar to the motifs in the goblet, especially the floral ornaments, some of which seem to have been created by one person. In addition to the commonly used swirling peach-shaped flowers, chrysanthemums, and lotus flowers, there are also fruit patterns of pomegranate flowers and broken branches, and there are peach fruits, begonias, etc. The painting method of chrysanthemum ornamentation is basically the same, only the heart of the flower is different, divided into grid and swirl.
Fragment of a red-and-green colored pier bowl
Bundle lotus pattern
Compared with the goblets of this period, the proportion of red and green figures in the use of bowls is very small. At present, there is a "picture of leaving the hometown", the picture is an official wearing a man's green robe and hugging his fists respectfully, talking to people with a sad expression, the breeze slowly lifts the placket, and a small boat is docked behind him, as if he is reluctant to endure the pain of parting. The characters are portrayed in detail, with only a few brushstrokes, that is, the picture is clearly explained and the feelings are sincere.
Diagram of leaving home
In addition, there is also "Nezha Tu", wearing a green robe, holding a gun in one hand, and holding a silk in the other, full of color, full of dynamics, and the outer wall of the bowl is painted with tangled begonia flowers. The character portrayal brushwork is the same as the blue and white Nezha diagram unearthed in the early Ming Dynasty stratum of Zhushan in Jingdezhen in 1990, according to Mr. Liu Xinyuan's research, the unearthed blue and white Gaozu Nezha fragment should be the product of Hongwu two years to Hongwu ten years, and the two should be able to refer to each other in the dating judgment. However, the common motif of "feasting and drinking" or "figure and flower sketch" in the goblet is rarely seen in the bowl.
Nezha map
Jingdezhen unearthed a fragment of a tall foot of a blue and white figure in the early Ming Dynasty
The program pattern is the same as that of the goblet, and it is not used in the bowl at a high rate. It is mainly based on variant lotus petals. The outline of the lotus petals is depicted in red color and filled in with green color. The lotus petals are long and narrow, arranged symmetrically in a cross, and the lotus petals are attached at the interval between the two petals, so that they overlap and cover three layers. The outside of the double circle is lined with red and green color Ruyi head patterns, and the overall style is full of strong Buddhist colors, which is more unique. This type of ornamentation is not only used in goblets and bowls, but also in utensils such as red and green colored pots. Although the ornamentation has changed, it is similar to each other, and there are reflections of the Buddhist ideas of "Mani Pearl" and "Bao Lian".
Variant lotus pattern
According to the author's research for many years, although most of the red and green colored porcelain in the late Yuan Dynasty and early Ming Dynasty were the genus of pan bowls or wine utensils, the patterns and decorations of some utensils were full of strong Buddhist colors. Some of them even write the word "Buddha" directly on the theme decoration of cups and bowls, which puts forward new thinking for us whether there were other special uses of early colored porcelain in Jingdezhen.
The word "Buddha" in red and green color
(3) Disk
There are two types of red and green color discs, and the main difference is at the bottom of the disc. One is a lap foot, and the other is a flat bottom. The walls are shallow, skimming, shallow arc belly, and broad bottom. The lap foot is wedge-shaped, slightly collapsed bottom; The flat bottom layer is glazed to the end, and there is a circle of unglazed at the turn between the flat bottom and the outer wall. The excavation situation shows that the discovery of the red and green color middle plate in Jingdezhen at the end of the Yuan Dynasty and the beginning of the Ming Dynasty is less than one percent of the goblet, and the same is true for the hand-me-down. This situation is special and worth **. The drawings and trims are roughly the same as those of goblets and bowls, and most of them have a stenciling process. At present, the real objects seen are mainly flowers, animal patterns are relatively rare, and only fish patterns are seen. The fish is made of large red painted flat coatings, and the left and right sides are decorated with green colored aquatic plants. There is an obvious rotary cutting groove near the inner ring wall of the bottom foot, and the characteristics of the early Ming Dynasty are obvious.
Fragment of a red and green colored chrysanthemum plate
(4) Cup
One is a pier cup, skimming, arc belly, wide circle thick sole foot, unglazed soles, and obvious rotation. It is similar to the shape of the pier bowl, but the size is slightly smaller, like a reduced version. There are not many physical finds, the ornaments are mostly flowers, the author sees the theme pattern of Ganoderma lucidum Ruyi head, the red color depicts a double circle, and the center is painted with green double-horned Ganoderma lucidum head pattern, which is very rare. In addition, it is also seen that there is an inscription of the word "Buddha" written in green color, and the word "Buddha" in red color regular script is still to be studied. This kind of pier type small cup is mostly with mold printing process.
Red and green color Ganoderma lucidum pattern
See also a flat-bottomed skimming cup, the body of the cup is the green glaze of the shadow green lake, the flat bottom, slightly concave inward, and the outer wall is decorated with a variant lotus petal pattern with a mixed technique of red and green color.
(5) Trays
There are two kinds of shapes, one is a disc-shaped tray, with a ring of ring-shaped protrusions on the upper part of the apostrophe, folded edge, arc belly, flat bottom, and bottom center, which is slightly higher than the bottom of the tray, shallow circle foot, and foot sand bottom unglazed; The other is the Song style, which is the "plate" type of tray. There is a bearing plate on the foot of the high circle, full of glaze, and the middle is a circular circle wall bracket, which is like a "high platform". The outer wall is decorated with red red lines and green colored round spots, arranged in a ring; The mouth is slightly constricted, and the mouth is astringent and unglazed. Due to the poor preservation environment, the carcass of the tray is covered with open pieces. The interior of the red color double circle edge line of the bearing plate has four red and green color entwined branches Ganoderma lucidum, the red color is warm, the green color is deep, and it is very unique. This "table-plate" shape of the tray evolved from the gold and silver ware of the late Tang Dynasty and the Five Dynasties, and has the artistic effect of "silver cup and gold cup" as a whole, which is more common in blue and white and colored glazed ware in the same period, and less commonly painted in it.
Red and green disc-shaped trays
Most of the central ornaments of the disc-shaped tray are painted with flame patterns, lotus patterns, chrysanthemum patterns, etc., and there are flowers such as tangled ganoderma lucidum and chrysanthemums in the theme ornamentation around the central pattern, and there are occasional flowers with broken branches. The trim is lined with curly grass, sea water, etc. Compared with other vessel shapes, the number of trays found in red and green color is not large, and it belongs to a rare variety of colored porcelain in this period.
Tray tray
(6) Tanks
At this time, the red and green color jars were roughly similar to the blue and white jars of the same period, divided into large jars and small jars. The height of the large tank is about 20 cm, and the height of the small tank is about 7 8 cm. Mouth, short neck, sloping shoulders, gradually closing from the shoulders to the bottom of the feet, the bottom is slightly outward. In order to make the decorative pattern simpler, there are pine, bamboo, plum and three friends pattern, lotus pond pattern, character flower and grass pattern, tangled branch flower pattern and so on. The brushwork is unrestrained and rough. There are many glaze marks in the can, the can body is obviously connected, and some cans are coated with green color materials along the tire jointing part, which seems to modify the inner wall kiln cracks and other defects. The whole is rough, and there are few fine ones. Except for a small amount of shadow green glaze, most of them are bran tires with poor porcelainization.
Red and green color cans
Red and green color landscape tree stone pattern jar
(7) Jade pot spring bottle
At present, there are lion hydrangea patterns in the collection of the National Museum of Japan and the jade pot spring vase in the collection of the Genzu Museum of Art.
The lion hydrangea pattern jade pot spring bottle in the collection of Tokyo National Museum in Japan is skimming, thin neck, abdomen drooping, circle feet, body decoration up to six layers, with red and green color decoration painted banana leaves, ancient money, ruyi cloud head, curly grass and variant lotus petals, the most eye-catching is the painted lion play ball pattern on the abdomen, the lion eyes are round and angry, the big ears and wide mouth, the curly hair is red back, the tail is like a flame and erect, the limbs are powerful, and the elbow hair is thick. In the middle, there are double horns, fire beads, silver ingots, Fang Sheng and other miscellaneous treasure decorations, which are wonderful and abnormal.
Although it has been borrowed and compared in many articles, the damage to the mouth has never been mentioned in the book. Such specimens have also been unearthed in China, and the subject matter is also a lion playing ball pattern, but the subtleties are slightly different.
At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, the red and green color lion play ball jade pot spring vase, Tokyo National Museum collection, Japan, the mouth is restored.
A fragment of a red and green lion-patterned jade pot spring vase found in Anhui
A fragment of a red and green colored jade pot spring bottle mouth collected in Beijing
The author found that the red and green colored porcelain in Jingdezhen in the late Yuan and early Ming dynasties had a close influence on each other with the black and brown porcelain of Yuzhou, Henan Province and the five-color porcelain of the Annan kiln in the same period, and their styles and tones were also closer. Comparing with each other, we can better repeat the influence of Jingdezhen Wucai on the surrounding pottery industry in the early Qingming Dynasty.
The Nezu Museum of Art in Japan collects the Jingdezhen kiln red and green color treasure pattern jade pot spring vase
In the fifteenth century, the Annam kiln in Japan was decorated with colorful twig patterns, and the composition and trim of the jar decoration were the same as those in Figure 20
Annan kiln colorful color and color material and Jingdezhen early Ming Dynasty color contrast
The most significant feature of the jade pot spring bottle after entering the Ming Dynasty is that the neck gradually becomes thicker, the curvature of the skimming mouth is reduced, and the overall shape of the vessel is bloated, without a sense of uprightness. The author has seen that this kind of jade pot spring vase also has character patterns, which are similar to the characters painted by the so-called domestic material Yuan blue and white jade pot spring.
Character pattern red and green colored jade pot, spring vase and fragments
Therefore, the author believes that it is necessary to reconsider that the so-called Yuan blue and white artifacts and red and green colored porcelain are systematically studied.
(8) Pots
Red and green colored pot specimens are the most rare. There is no relevant information on the heirlooms, and there is only one case of specimens at present, which was collected in Nanjing. High neck, wide mouth, thick lips, sloping shoulders, round belly, and symmetrical two systems under the spout, with a crank at the back, short flow and upturned curved, has the style of the early Ming Dynasty. What is unique about this specimen is that there are several neck hairs similar to phoenixes painted on the pot stream, which are like streamers and full of movement, like the evolution and simplification of the phoenix's first stream.
Fragment of a red and green colored phoenix neck pot
The phoenix is the most common motif in traditional Chinese decorative arts, and has been widely used in ceramic patterns since the Tang and Song dynasties. The porcelain of the Yuan Dynasty based on the shape of the phoenix head not only became a major feature of the Yuan Dynasty, but also rare in the world.
John Carswell wrote in his book "Tibetan Chinese Blue and White Porcelain Around the World" that a Yuan blue and white phoenix head pot resembles a phoenix flying in the clouds with wings spread out and a novel concept. Although the head and eyes of the phoenix stream are slightly rough, the neck hair is prominent, and the shape and curvature of the pot stream are similar to those of the red and green color specimens.
The phoenix neck hair depicted on the mouth of the plum vase is more unique and obvious, which fully illustrates the inheritance relationship between the fragments of the red and green color phoenix neck pot and the phoenix head artifacts of the Yuan Dynasty in terms of ornamental art.
Yuan blue and white phoenix head pot
Zhejiang private Tibetan Yuan blue and white phoenix head plum vase
The body of the red and green phoenix-necked pot is decorated with entwined flowers, all of which are common flower varieties in goblets and bowls, but the combination of several flowers is more special. The body of the vessel is covered with open pieces, which are broken from the middle of the pot, and the lower part is unfortunately damaged, and the characteristics of the foot cannot be restored. However, among the heirlooms of the later dynasties, there are Yongle official kiln phoenix wear pattern bamboo crank pot and white glazed crank pot similar to this shape, which provides a reference for the restoration of red and green color phoenix flow pots.
Jingdezhen excavated Yongle white glaze crank four-series pots
According to the excavations, some of the pots appear to have lids. The curvature of the cover is small, slightly raised, the cover button is a mastoid process, there is no glaze in the cover, it is a pit, there is a sub-mouth, and there are smear marks of tire repair. The cover is mostly painted with red and green variant lotus petals, and the cover is tied.
Red and green color cover
(9) 匜
The shape is similar to that of the blue and white of the same period, with a flat bottom, curved belly, and an astringent tire along the mouth without glaze. The outer wall is painted with twig floral ornamentation. The inside is full of glaze, and obvious traces of spinning blanks can be seen, and the bottom is a broken branch chrysanthemum. The author has also seen a friend treasure the remnants of red and green color, the money pattern as a trim, the first two symmetrical paintings of Ruyi, the bottom of the painting open sea water and there is a broken branch Ruyi, the whole is extremely lively, all reflect the gorgeous characteristics. This kind of hand-me-down artifact that is almost fully painted has not been seen, and there is not much unearthed information. Although there are still more porcelain-making techniques of the Yuan Dynasty, whether such an age belongs to the Yuan or the early Ming Dynasty still needs to be carefully studied.
Fragments of red and green color crates
Mr. Yin Shuli's saffron green color remnant
Second, the value of red and green colored porcelain in the early Ming Dynasty
Due to the scarcity of red and green color vessels in the late Yuan Dynasty and early Ming Dynasty, most of them are hidden in overseas public and private collection institutions, so the genuine products that can be circulated in the market are still rare, and most of them are in the shape of goblets.
In the 80s of the last century, Sotheby's Hong Kong auction company held the "Mr. Ye Yi Special" (DrIP Yee) has seen a "pivotal" type of Yuan red and green colored floral pattern pier bowl. The bowl mouth is decorated with red color curly grass pattern, the inner wall is molded with a circle of tangled branch chrysanthemum pattern, the bottom of the bowl and the outer wall are painted with red and green swirl peach-shaped flowers, this bowl was unearthed in the early years, the bottom of the bowl and the edge decoration color material faded seriously, after hundreds of years, only the outer wall decoration is still relatively clear. It was won by the Hong Kong collector Mr. Luo Guixiang, and donated to the Hong Kong Museum of Art in 94, published in the book "Out of the Blue Treasure Color Float", at that time because the research was still to be deepened, so it was named: Yuan Dynasty Shufu kiln enamel painted printing bowl.
Mr., the former president of Sotheby's Hong Kong, who was responsible for the preparation of the entire auction at that timeJulian Thompson once recalled with the author and said frankly, "There are few genuine colored porcelain in this period, and the blue and white porcelain in the Yuan Dynasty is even rarer in the market, but the market recognition is not high due to the difficulty of finding the whole vessel, and many collectors have focused on the Yuan blue and white porcelain, so they do not know that there are such mature colored porcelain works in the Yuan Dynasty." "Although this bowl is not in good condition in terms of decoration, it is very rare to be a new variety of ceramics in the Yuan Dynasty and can be preserved intact.
According to public data at the time, there are only three of these red and green color bowls in the world, and this is only the only one that can participate in circulation. In 1979, the Hong Kong Museum of Art and the Oriental Ceramics Society jointly organized "Southeast Asian and Chinese ** Porcelain" and in 84 "Jingdezhen Yuan Porcelain Innovation" held by the Feng Pingshan Museum of the University of Hong Kong in 84 exhibited this lot, providing valuable material for the world to understand the Yuan Dynasty colored porcelain technology. ”
Mr. Geng Baochang, an authority on ceramic identification, quoted the black and white plate of this bowl in his book "Identification of Ming and Qing Porcelain" published in the last century.
Although there are more than three known red and green colored bowls, the rarity and preciousness of genuine red and green colored porcelain in this period are still self-evident.
Mr. Ye Yi's old collection and the same size, ornamented moulded chrysanthemum pattern red and green color pier bowl
At present, there are a lot of colorful utensils drawn on the standard Yuan Dynasty "Shufu" egg white fetus in the market, and the patterns are dense and the patterns are rich, and there are many similar character themes with Yuan blue and white, and the author believes that it should cause a high degree of vigilance. After years of research and observation by the author, many materials have not yet found that the red and green colored porcelain in this period is painted with the pattern of "Zhizheng" type Yuan blue and white porcelain, and its painting brushwork and overall style are similar to the small pieces of "domestic material" Yuan blue and white porcelain exported to Southeast Asia.
Third, the difference between red and green color and pink color
For the early colored porcelain created and burned in the Jingdezhen kiln in the Yuan and Ming dynasties, there is also a kind of colorful ware with leaching powder and gold, which is completely different from the one described in this article.
Jingdezhen kiln red and green color, mostly painted on the blue and white porcelain of the shadow blue glaze, the glaze is blue, and the glass texture of the lake green is very strong. Although there is a "Shufu" type of porcelain, the glaze is also transparent glaze with open pieces, rather than the typical "Shufu" white opalescent glaze. The color material is bright and shiny, and the color loss phenomenon is mostly caused by wear; Judging from the current hand-me-down objects and unearthed materials, the Yuan Dynasty glazed gold five-color artifacts were mostly fired on the high-grade egg-white glazed porcelain fetus of the same period, and a very small amount was the shadow celadon fetus.
The characteristics of these leaching and piling plastic utensils are more obvious than those of the Yuan Dynasty from tire repair to vessel shape. The color material is piled up like toothpaste, matte luster and full of bubbles and trachoma, and the color loss phenomenon is mostly hard peeling, so that it leaves scars on the carcass.
The author observes that the production age of red and green colored porcelain in Jingdezhen kiln seems to be later than that of the Yuan Dynasty, which is not the product of the same period. At present, there is a similar point of view, the color of this style of leaching powder is regarded as the originator of the "color" porcelain of Jingdezhen kiln, and the author thinks that this theory is inappropriate. From the comparison of the color materials and ornamental compositions of the two, it is obvious that the exotic decorative style of the five colors is quite different from the traditional "five colors", and the pattern embodiment technique also lacks a inheritance relationship.
The classification of ceramic attributes and the establishment of the sect should not only look at the order of the production age, but also pay attention to the relationship between the raw materials and the painting method. After all, the art of porcelain is also a subtle embodiment of the chemical industry and fine arts.
Shangbo Tibetan egg white glaze leaching powder gold multicolored porcelain
Fourth, summary
The emergence of red and green colored porcelain in Jingdezhen kiln played a crucial role in the development of Ming and Qing colored porcelain in later generations. This colorful art form, which was popular in the folk market during the Song and Jin dynasties, was quickly valued and recognized by the official kiln industry, and was successfully transplanted into the decorative art of official kiln porcelain.
With the continuous development and innovation, Jingdezhen kiln colored porcelain has gradually been loved by more people and even emperors, thus forming a three-point situation with blue and white and color glaze, and further promoting and establishing the absolute monopoly position of Jingdezhen porcelain in later generations.
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