Baby pillows were popular in Song Dynasty. Both Ding Yao white porcelain and Jingdezhen blue and white porcelain had baby pillows handed down from generation to generation, but their postures were different. The children in Jingdezhen Kiln and Yaozhou Kiln are lying on their sides, holding a lotus leaf, with the lotus leaf as the pillow surface and the children in Ding Yao Kiln as the pillow surface. The children's eyes are bright, and there are two locks of children's beards on both sides of their heads. They are dressed in silk robes and the flowers are faintly discernible. The bottom is a rectangular bed with embossed patterns on the side of the bed. This child sculptor is very excellent and precious.
Ding Yao has a legendary story about children's pillows.
During the Northern Song Dynasty, Ding Kiln had begun to take shape. There is a couple who are both experts in kiln burning. Although they have been married 10 years and have a happy life, they are almost 30 years old, but they have no children.
In ancient China, there was a popular folk custom called "tying (tying) dolls", also called "holding dolls". It means that a woman who can't have children after marriage goes to the local Tianhou Palace, prays for a son from the Empress Dowager, and then ties a clay doll with red thread, takes it home, and gives it as a sacrifice, so that she can get pregnant smoothly. So, the couple invited a clay doll.
But a year later, the husband and wife still have no children. The wife is sad every day, and the husband smashed the clay doll in a rage. But the fall broke his wife's heart. She felt that she would never be pregnant again and fell asleep crying. In her sleep, she seemed to see a little doll laughing and running on the grass, and kept calling her mother. Tired of running, the little doll leaned on her arm and lay on the ground laughing.
After waking up, her mood was much better, and the smiling face of the child remained in her heart during her sleep. After thinking about it, she drew a picture, picked a good blank soil and described a child-like porcelain pillow. When the husband saw his wife like this, he carefully burned the pillow described by her. This baby pillow is exquisite, beautiful, lifelike and particularly pleasing. My wife sleeps with it, as if she can see the doll she misses so much in her sleep. I didn't expect to be pregnant after half a year.
The couple were overjoyed and thought that the baby pillow played the role of a clay figurine in Tianhou Palace. According to the folk custom, after the woman who invited the clay doll to get pregnant successfully, she should set up bowls and chopsticks for the clay doll at every meal, and put on fruit cakes and "patchwork clothes" on holidays. As a result, the baby pillow at home is treated the same. Later, their child was born smoothly, and the baby pillow became the big brother of the child. According to folk custom, the porcelain pillow was called "the big brother of the doll".
Li Qingzhao, a poet in the Song Dynasty, also praised porcelain pillows in the word "Drunk Flowers": "The fog is thick and the clouds are light, the golden beast is sold in the brain, and the double ninth festival is celebrated, and the jade pillow gauze kitchen is cool in the middle of the night." It is said that Emperor Qianlong loved baby pillows very much. Once he got a baby pillow, and he was so excited that he wrote a poem: "Porcelain pillow is full of gas field, which has won the battle against the banners and mountains." If you don't feel sleepy, Dream Butterfly should be safer. "
Citizens' collection100000 pieces of old kiln porcelain.
Ma Lian tidied up his collection of Ding kiln porcelain in the museum.
In Ding Yaobiao's museum on the sword street in Dingzhou, Baoding, Ma Lian carefully placed several pieces of white porcelain in front of him, trying to put them together. It took ten years to invest all the savings, and Ma United used hundreds of thousands of pieces of ancient kiln porcelain collected to build this "Ding Kiln Specimen Museum" which is open to the public free of charge.
Some unique experts were surprised.
Ma Lian, a 44-year-old Dingzhou native, has been obsessed with porcelain culture in his hometown since childhood. In 2002, he began to collect Ding Yao porcelain wholeheartedly. In addition to picking it up at construction sites and dirt yards, Ma Lian will not hesitate to buy valuable Ding kiln ceramics. His family's savings for many years were replaced by pieces of porcelain. Over the past decade, Malaysian has collected and purchased more than 100,000 pieces of Ding Yao porcelain, many of which are excellent, which has opened the eyes of experts.
A small white porcelain bowl composed of several pieces of porcelain is one of Ma Lian's proudest achievements. "Experts say that the latest is the Southern Song Dynasty, which was made by burning. The thinnest part is similar to an eggshell. It truly embodies the praise of' porcelain is as thin as paper, and it is as loud as a whistle', which can be called a specimen of porcelain in that era. "
The other is Ding Kiln porcelain, which is only the size of a palm, but it has a very rare exquisite peony pattern. Ma Lian found this in a garbage dump. Chen Wenzeng, a master of ceramic art in China and an expert member of the China National Art Treasures Appraisal Committee, concluded that it was a part of the porcelain pillow for figures in the Northern Song Dynasty, which was made by two processes: printing and flower removal. Not only is its pattern quite rare, but it looks very three-dimensional, but it feels as smooth as a mirror by hand. Even in today's advanced technology, it is still impossible to copy such exquisite porcelain. It is the most beautiful porcelain piece seen at present and has great research value.
Build a public welfare museum, which the public can visit for free.
Pieces of porcelain collected by Ma United have been found from the late Tang Dynasty to the Jin and Yuan Dynasties, and the types of glaze colors, patterns and techniques are also very comprehensive, which has attracted many people's admiration. Looking at thousands of kiln furniture specimens at home and tourists coming and going every day, Ma Mengsheng came up with the idea of opening a public welfare kiln furniture museum. After the Spring Festival this year, Ma Lian transferred a house in his family and rented a house in Knife Street without telling his wife. After some intense preparations, "Ding Yaobiao Museum" quietly opened and opened to the public free of charge.
Chen Wenzeng, Lin Zhanxian and He Huan, three national porcelain masters, got the news and took a dozen disciples to visit. They thought that many porcelain specimens in the museum were very precious, and some were unique. Knowing that the operating funds of the museum were tight, Chen Wenzeng sponsored 20,000 yuan on the spot.
Yang Jianmin, deputy director of Dingzhou Wenguang New Bureau, believes that the joint collection of Ding kiln porcelain pieces and the holding of public welfare exhibitions by Malaysia will promote the exploration and promotion of Ding kiln porcelain culture.
White glaze official flower socket lamp in Northern Song Dynasty
The white glazed "official" flower mouth lamp in the Northern Song Dynasty.
Cup usually refers to a bowl of tea set used for drinking tea. A cup holder refers to a tray for putting tea cups. The lamp holder is mostly round, and there is a raised seat ring in the middle as a support, that is, the seat opening. Porcelain cup holders were first seen in the Eastern Jin Dynasty and became popular in the Southern and Northern Dynasties. After the Tang Dynasty, with the popularity of drinking tea, cup holders were introduced, and some were rolled into lotus leaves, which were quite beautiful. In the Ming dynasty, the mouth was slightly bulging, and there were boat-shaped lamp holders, which were called "tea boats" and "tea boats". The cup holder in Qing Dynasty was round.
During the Song and Liao Dynasties, the cup holder almost became a fixed accessory of the teacup, with a high mouth and a hollow cup in the middle. Dingzhou Museum has a white glazed "official" flower mouth lamp in the Northern Song Dynasty. Height 7.5 cm, diameter 9 cm and foot diameter 7.8 cm. 1969 was unearthed in the underground palace of tower foundation of Jingzhi Temple. The cup and the bracket are integrated, and are formed by connecting a goblet and a bottomless cup. The mouth of the cup is round, the mouth is unglazed, the wall is straight and the abdomen is deep; The tray is bent and inclined, the mouth is five-petal, and the high feet are omitted; The tire is thin, the quality is fine and white, and the glaze color is crystal clear; The bottom of the plate is enough to engrave the word "official" in a line of books.
There is no doubt that there is an oil lamp in this kiln in the Northern Song Dynasty, which gives people a feeling of foolproof. Five twisted lotus leaf supports are rich in texture and tension, vivid and vivid. The neat and exquisite teacup is firmly fixed on the lamp holder, which is elegant and full of charm. This device is one of the most perfect objects given to the underground palace by Buddhist believers, and it is also a necessary object of Buddhism. A Zen monk must eat tea before worshipping Buddha, learn Zen because of insomnia, and only drink tea without eating. In this way, we can cultivate our own mind and understanding, pursue metaphysical purification, realize and return to nature, and reach the realm of true self in meditation. The artistic conception of Zen is somewhat similar to the spiritual interest of tea. Tea, pure and indifferent, simple and natural, meaningful, is the naive and natural human destination required by Zen.
Zen is also reflected in this device: the bottom of the lotus leaf is natural, and the performance of the tendons is enough; It is like a wide palm, trying to close it and holding a priceless treasure. The light on the wall is unremarkable, but it can receive the artistic effect of telling more in silence than in sound, which shows that this brilliance belongs to the highest state of dullness; It is a lotus flower placed on the lotus leaf, which gives people the joy of harvest and immediately makes people feel confident, because it interprets the scenery of spring flowers and autumn fruits; It is a gem with perfect cut and full of fire color, inverted in the hand. No matter who holds it, it will put on a cherished gesture, appreciate it and love it. Through the dust of history, we have reason to believe that people who use this device to taste tea should also be enlightened people at that time.
Identification of Ding Yao White Porcelain
The popularity of Ding Yao white porcelain began in the Northern Song Dynasty, while the firing of Ding Yao white porcelain began in the Tang Dynasty. Ding Yao Kiln is located in Jianci Village, Quyang County, Hebei Province. Ding Yao white porcelain in Tang Dynasty and Yao Xing white porcelain have similar characteristics, including bowls, plates, plates, pots, pots, ding, toys and so on. Compared with the works of the Five Dynasties, the vessel has thick lips, rich shoulders and flat bottom, and the bottom is full of round cakes, and some of them are jade bottoms. The white porcelain of Ding Yao in Tang Dynasty was similar to that of Yao Xing at that time, with thin fetal bone section and white fetal color. The other kind of fetal bone is thicker and has a thicker section, but it is better sintered. Glazing is generally dipped in glaze, and the abdomen of the outer wall of the vessel is not glazed from the bottom. The texture of glaze varies from thing to thing. The glaze applied to the objects with heavier carcass is thicker, the glaze surface is thicker, the glaze color is generally blue-white, the glaze water condensation is mostly turquoise, and the glaze surface is open. If the tire quality is fine and the tire color is white, white glaze is applied, the enamel is very delicate and the surface glaze is bright and moist. For the yellow tire, in order to achieve the white effect, first coat a layer of white cosmetic soil on the carcass, and then coat it with transparent glass glaze. This method is the same as Yao Xing white porcelain.
In the Northern Song Dynasty, Ding Yao porcelain stood out. Although white porcelain was still dominant at that time, black glaze, blue glaze, sauce glaze and white glaze stripper were also burned. Carving decoration methods are widely used, which can be divided into carving, scribing and printing according to the process. The carving technology of Ding Kiln in Northern Song Dynasty is very different from other kilns at that time, giving people a very "hard" feeling, which can only be understood, but can be described by analogy. For example, when a steel knife is used to carve flowers on soft wood, the surface of the wood around the knife will sink with the cutting pressure, which is called "softness", while carving flowers on hard mahogany will be cut by the knife.
The decorative technology of carving flowers was popular in the Northern Song Dynasty, but the printing technology appeared in the Jin Dynasty. The development process of Ding kiln printing decoration from simple to complex, from low to high, may be influenced by Dingzhou reeling. Porcelain makers used silk reeling pattern powder carving, so it was mature from the beginning. Judging from the glaze color, the glaze color of Ding Kiln in the Jin Dynasty is different from that in the Northern Song Dynasty, which is not as moist as that in the Northern Song Dynasty, but has a powdery texture and is relatively thin, and the decorative patterns protruding from the surface of the utensils are slightly white.
Ding kiln white porcelain in the Northern Song Dynasty, which accounts for the bulk of Ding kiln porcelain, has the following characteristics:
1 tears
Tear mark refers to the phenomenon that glaze flows on the surface of the device. The flowing glaze on fixed porcelain is often strip-shaped like a pendant, so it is called tear mark. The phenomenon of tears is only found in Ding Kiln in Northern Song Dynasty, but not in Ding Kiln porcelain from Tang Dynasty to Five Dynasties. The glaze of Tang porcelain is thin and white, and the combination of fetal glaze is very close, and there is no glaze flow. In the Northern Song Dynasty, it was thick and yellow with many bubbles in the glaze. During the firing process, the glaze layer sagged and flowed with the vessel, forming tear marks. In the early Northern Song Dynasty, Ding Kiln used direct firing, and the direction of glaze flow was from the mouth to the bottom. After the mid-Northern Song Dynasty, Ding Kiln created over-burning technology, and the direction of glaze flow was from bottom to mouth. However, there are some special circumstances. The author has seen some Ding kiln white porcelain, and the direction of tear marks is horizontal, which is very strange, and the reason remains to be verified.
2, bamboo brush marks
Scratches as thin as bamboo filaments can often be seen on the outer walls of bowls and plates in Ding kilns. These scratches were left when the spinning blank was first formed. Of course, the rotating billet can also be seen on the outer wall of other kilns, but it is not as thin and dense as the fixed kiln, which is a feature of identifying the fixed kiln utensils.
Step 3: feet
There are not many types of kiln furniture, which are mainly divided into two categories: flat bottom and round foot, and their round feet are obviously different from other kilns. These characteristics are reflected in the kiln furniture that was over-fired after the mid-Northern Song Dynasty. Due to the invention of over-firing, the round foot of the vessel was glazed and moved to the vessel. However, the appearance of glazed foot is not so perfect, and there is always a foot surface (the part where the round foot touches the ground). This phenomenon is strange, but it is very effective to identify. All foot-winding devices in Ding Kiln in the Northern Song Dynasty (those who glaze their feet by over-burning) have this feature, which is the key to identification.
In addition, there are two kinds of round feet of ding kiln: the feet of big round feet are often marked with bamboo brush marks, which are concentric circles, but the feet of small round feet are not. However, regardless of the size of the round foot, the foot is extremely shallow and the foot wall is narrow. The foot of the small round foot can't dig over the shoulder and there is almost no hook.
Step 4 deform
Ding kiln utensils, especially bowls, are mostly deformed. If it is a complete vessel, it is easy to find this feature by turning the vessel on the table upside down.
As far as the imitation white porcelain seen in the market at present is concerned, the phenomenon of tear marks can be done, and the brush marks of bamboo filaments are not difficult to do. As for the deformation of utensils, it can be forced rather than manual, but it depends on factors such as temperature, kiln site and atmosphere during firing. If you rely on manpower, it will inevitably leave deliberate and unnatural traces. At present, there is only one thing that is difficult to achieve, that is, the unevenness of the foot surface, which is completely natural and has not attracted enough attention from counterfeiters, and can still be used as a standard for identification.