The cultural value of blue-and-white porcelain is most obvious from two aspects:
1. The aesthetic value of blue-and-white porcelain
A phoenix in the fire is like a China traditional Chinese painting with profound meaning and the most national characteristics. It combines Chinese painting with exquisite porcelain, and its artistic value is obviously greatly improved. On the varied and beautiful Jingdezhen artistic porcelain modeling, on the surface of the white porcelain tire, elaborate and elegant Chinese paintings are drawn, the contrast between green and red is gorgeous and colorful, and the jade texture on the cover is very beautiful, and then it is baptized by the art of uncontrollable fire. It's like a phoenix in the fire! This wonderful artistic treasure was extremely rare at the beginning of its creation in the Yuan Dynasty. It can only be collected and tasted by emperors and other nobles, or "given" to friends as a national treasure.
the artistic representation of the picturesque scenery in the south of the Yangtze River. Jingdezhen is located in the mountains surrounding the rest of Huangshan Mountain, between Huangshan Mountain, Lushan Mountain, Jiuhua Mountain, Boyang Lake, Yangtze River and Xin 'anjiang River, with beautiful mountains, beautiful birds and flowers, and typical picturesque Jiangnan scenery. Under the long-term influence of this beautiful natural environment, artists of all ages have learned from nature and created various pictures. This has played a natural role in improving the artistic value of red pictures in blue and white glaze.
there are many talents and great masters. Jiangxi is known as an outstanding person. It is located at the end of Wutou Chuwei, with the traditional advantages of Chu culture and Wu Yue culture, and at the crossroads of cultural exchanges between the north and the south of the Yangtze River, forming a unique Jiangxi culture. Among the eight great writers in Tang and Song Dynasties, Jiangxi accounted for Wang Anshi, Ouyang Xiu and Ceng Gong. Linchuan, the hometown of talented people, has maintained and carried forward its traditional advantages for thousands of years. The paintings and calligraphy of Zhu Da, a native of Badashan Mountain in Nanchang, are peculiar and magnificent, which has a far-reaching influence on Jingdezhen ceramic art. Jingdezhen is adjacent to Huizhou, Jiangsu and Zhejiang, which are developed areas of culture and art. Jingdezhen began to pay tribute to the imperial court in the Song and Yuan Dynasties. In the Ming and Qing Dynasties, the imperial court sent a governor to set up an imperial kiln to burn imperial porcelain and national porcelain, and hired painters from all directions to do their best to paint. Influenced by these advanced cultures, Jingdezhen artists have been handed down from generation to generation. In modern times, there were eight friends of Zhushan. Their paintings and porcelain paintings are treasures handed down from generation to generation. Since the founding of the People's Republic of China, Jingdezhen Ceramic Institute has been established, and the specialty of ceramic art has been set up, which has changed the tradition of teaching skills by teachers and apprentices for thousands of years and cultivated a large number of ceramic art talents with modern scientific methods. On the basis of inheriting excellent traditional culture, they create new works full of the flavor of the times. Since the founding of the People's Republic of China, the Jingdezhen master of fine arts has been brilliant. Bi Yuanming, Wang Xiliang, Zhang Songmao, Zhou Guozhen and Qin Xilin have their own characteristics. With so many ceramic artists handed down from generation to generation, it is natural to draw exquisite blue-and-white underglaze red art porcelain.
Blue-and-white artistic porcelain is a harmonious unity of elegance and beauty. It's like a peony, Julia bonus, elegant, and beautiful. Its tonal proportion has a wide range of variability, whether it is strong or light, or realistic and freehand, all of which are far-reaching and ingenious. Blue-and-white underglaze red art porcelain has wide adaptability to porcelain modeling. The shapes of artistic porcelain are mostly bottles, and their shapes vary endlessly, generally including size, height and width. For the same shape, the upper and lower straight lines and curves are alternately used. Among them, plum bottles with small mouths, short collars and rich shoulders, tall and straight and small bottoms, decorated with blue and white glazed red pictures, complement each other and are intriguing. Its handsome beauty is like a handsome girl, which can transcend the boundaries of time and space and has been loved by Chinese and foreign people for thousands of years. Modern, the quiver and all kinds of exaggerated and varied shapes, even the incomplete and beautiful shapes, decorated with blue and white glazed red pictures are all interesting.
2. Charm beyond time and space
Since the creation of blue-and-white underglaze red artistic porcelain in Yuan Dynasty, it has gone through the Ming, Qing and even modern times. In this 657-year development process, artists from generation to generation have worked hard to explore, from the initial stage that the glaze color is not pure enough, and the shapes and patterns are relatively simple, to the pure glaze color, and the shapes and patterns are increasingly colorful. It is precisely because of the continuous development and perfection of this artistic porcelain variety that it has been more and more tasted by Chinese and foreign people with the passage of time.
The characteristics of underglaze red wares in Yuan Dynasty are as follows: the ornamentation is relatively simple, and there are few ornamentation themes; Copper is easy to volatilize at high temperature, with no light color, only a relatively strong color scale, and decorative lines are often dizzy; The copper color material is very sensitive in the firing process, and the expected effect cannot be achieved if the atmosphere in the kiln room is slightly changed. There are very few in-glaze red wares in the Yuan Dynasty.
the blue-and-white porcelain wares of the yuan dynasty are represented by four pieces of blue-and-white porcelain wares discovered in Jiangxi province in 1979. Among them, there are 2 figurines, 1 tower-type four-spirit jar and 1 pavilion-style barn. The last two artifacts were written to the year of Yuan Wuyin. Cover the jar and pile up green dragons and white tigers as ears, pile up Suzaku and Xuanwu on the abdomen, and decorate the deformed lotus petals near the bottom of the abdomen for a week. The lines are blue-and-white, the protruding part is painted with glaze red, and the neck and shoulders are marked with "Dayuan to Wuyin June, Renyin Ji set up the residence of Ambassador Liu Ling's family". The barn is shaped like an archway, and the two reeds are burned. Both upstairs and downstairs are plastic figures. The prominent part is painted in glaze red, and there is a blue and white epitaph behind the warehouse. This should be a barn tombstone. According to the epitaph, the owner of the tomb, Ling, was born 3 years before the Yuan Dynasty and died 4 years after the Yuan Dynasty, so these four pieces of blue and white underglaze red wares were all made in 1388.
blue and white in Ming dynasty. "Eight Notes on Zunsheng" said: "Xuande made a red fish target cup in the year of Xuande, with a western ruby as the end and a fish-shaped picture, which was burned from the bone, protruding and bright red. If it is purple-black, it seems that the heat will miss." This kind of red fish in Xuande glaze is collected by Gao Zubei and Shanghai Museum.
the production of Kangxi and Yongzheng was improved in the Ming dynasty. In Kangxi period, the effect of hair color was basically mastered, and its copper-red coloring effect was generally stable, which was as light red as the successful works in Xuande period. In Yongzheng period, there were even more bright red tones, and the yield was very high. At home and abroad, there are blue-and-white wares of "Zhonghetang" in the tenth, eleventh and twelfth years of Kangxi, and pavilions and tree trunks are often painted in blue and white to paint flowers, and both colors are relatively light. Kangxi blue-and-white ware has a double dragon pattern that combines blue-and-white dragons, as well as flowers that match blue-and-white and underglaze red. Patterns, and even a so-called underglaze tricolor, which combines blue and white, underglaze red and bean green glaze hues, are a step forward in the porcelain-making process of underglaze painting.
the Yongzheng period was more progressive. Tang Ying described the important porcelain-making in Yongzheng period in Tao Cheng Chronicle Monument.
During the Republic of China, after a long period of war, the production was seriously damaged, Jingdezhen porcelain industry declined seriously, and all kinds of artistic porcelain also showed a serious decline trend.
since the founding of new China, Jingdezhen porcelain industry has been rapidly restored and developed. Especially since the reform and opening up, the porcelain industry has entered a new period of development. With the increase of international trade and the improvement of people's life in China, the demand for art porcelain in the international and domestic markets is increasing day by day, and blue and white porcelain has entered a new period of prosperity. Its fine works of art can be collected by the state, bought and tasted by foreign businessmen or high-income people, and ordinary works of art can beautify the lives of the people.
a new leap in manufacturing technology. Under the new situation of market economy, firing blue-and-white porcelain with traditional wood kilns can no longer meet the market demand, what's more, Jingdezhen only keeps a few wood kilns, and there are fewer and fewer experienced kiln-burning masters. The new situation puts forward new technical requirements. Professor Zhao Dafeng from Jingdezhen Ceramic Institute and others formed a research group. With the approval of the Ministry of Light Industry, the colored glaze formula prepared by modern testing methods was studied, and blue and white porcelain was fired by gas kiln instead of wood kiln. After several years of repeated experiments, a large number of experimental data have been obtained, and finally success has been achieved. Its quality completely meets the standard of wood kiln firing, and it is changed from empirical firing to modern scientific and technological instrument monitoring, so that the product quality is stable and the rate of genuine products is high. In this way, it provides modern technology and equipment for small-scale production of this precious artistic porcelain.