Among the above-mentioned famous kilns in the Song Dynasty, Yaozhou Kiln is a famous kiln in the north and has its own kiln system. Here is rich in carved celadon with unique style and distinctive features, which has become the representative of northern celadon, and then become the representative of central kiln and Yaozhou kiln system. The appearance of its exquisite and sophisticated products is the product of the prosperity and development of economy and culture in the Song Dynasty, and also the reflection of the scientific and technological level and social aesthetic consciousness in the Song Dynasty.
First, the history of kiln firing porcelain and the heyday of the Song Dynasty
Yaozhou Kiln is located in Huangbao Town, Tongchuan City, more than 0/00 kilometers north of Xi City/Kloc. The kiln site is centered on Huangbao, including Shangdian, Shidipo, Yuhua, Chenlu and Tapo in Yao County. This place was under the jurisdiction of Yaozhou in the Song Dynasty, hence the name Yaozhou Kiln. Its products are called Yaozhou Porcelain, or Yao Ming Porcelain. The kiln began to burn in the Tang Dynasty (AD 6 18-906), matured in the Five Dynasties, reached its peak in the Song Dynasty, and continued in the Jin and Yuan Dynasties, ending in the middle of the Ming Dynasty and the end of 15, and continued to burn for more than 800 years.
The site of Yaozhou Kiln in Huangbao Town has obtained comprehensive and systematic scientific data through many field visits and large-scale archaeological scientific excavations in this century, thus making the world truly understand the development of Yaozhou Kiln. More than one million pieces of ceramic fragments unearthed belong to five historical periods: Tang Dynasty, Five Dynasties, Song Dynasty, Jin Dynasty, Yuan Dynasty and Ming Dynasty. Porcelain fired in five historical periods is different.
In the Tang Dynasty, black, white, blue, brown, yellow, tea foam and glazed porcelain were fired, as well as painted porcelain painted with white glaze, green glaze, brown glaze, plain black flower and white color under green glaze. The shape of the artifacts is full and powerful, reflecting the prosperity of the Tang Dynasty empire. In addition, Tang Sancai and glazed tiles were fired, which was the most abundant kiln species in China at that time.
The kilns of the Five Dynasties mainly fired celadon, and the firing process of celadon was mature. Celadon glazes are grayish green, turquoise, sky blue and light sky blue. Also burn a small amount of black glaze and sauce glaze porcelain. Beautiful and gorgeous shape, imitation of gold and silver. Often use the method of picking flowers or drawing flowers to make various vivid and smooth patterns. Porcelain patterns include dragon and phoenix patterns specially designed for royal porcelain. A number of celadon bottoms engraved with the word "official" were also found. The discovery of these exquisite porcelains is the only systematic archaeological data of important celadon kilns in northern China during the Five Dynasties.
Song Dynasty was the heyday of firing celadon in this kiln. After entering the Song Dynasty, the kiln made great innovations and creations in porcelain-making technology in order to maintain and develop its leading position in northern celadon in the late Tang Dynasty and the Five Dynasties, maintain the original sales market and compete for new markets. First of all, in the preparation of mud, we invented and took the lead in using the crushing device of large stone mill tank, as well as the elutriation tank, sedimentation tank and stale pottery tank for treating mud. This ensures the full supply of a large number of high-quality celadon mud and glaze slurry. Secondly, the main part of the wheel-making tool is changed from wood to stone, and an iron bearing is added under the wheel-making tool, which greatly improves the drawing process. Third, the fuel for burning porcelain is changed from firewood to locally rich coal. Accordingly, the structure of the kiln has also undergone scientific changes, which is conducive to mastering the manual control of the reduction atmosphere of celadon. These great changes in the porcelain-making technology of Yaozhou Kiln in Song Dynasty provided an advanced scientific and technological basis for firing a large number of fine glazed celadon. At this time, there are many kinds of Yao porcelain firing vessels, exquisite and beautiful in shape, crystal clear and moist in porcelain glaze, unique in engraving printing technology and rich and gorgeous in patterns, which are deeply welcomed and loved by the royal family and all walks of life. In Cun Wang's Records of Yuanfeng Jiutian and Geography of Song History, it is clearly recorded that Yaozhou Kiln paid tribute to the imperial court during Yuanfeng years in Song Shenzong and Chongning years in Song Huizong. The long edition of Zi Zhi Tong Jian also records the fact that "Yaozhou's children brought Tao four cars to Beijing for trading" in Song Zhezong Yuan You for eight years. Besides being sold in China, its products are also exported to all parts of the world. Yaozhou celadon exported in Song Dynasty has been found in ancient sites in Japan, Korea in East Asia, Oman in Persian Gulf, Egypt on the southern coast of Mediterranean Sea and Tanzania Island on the east African coast. These are the evidences that Yaozhou Kiln celadon flourished in the Song Dynasty and had a broad domestic and international market.
The Song Dynasty was the heyday of Yaozhou Kiln, and its exquisite porcelain-making technology and vivid and beautiful decorative skills had a great influence on Xunyi Kiln, Linru Kiln, Xin 'an Kiln, Baofeng Kiln, Yiyang Kiln, Neixiang Kiln and Yuxian Kiln in Shaanxi and Henan. Furthermore, it also affected the Xicun kiln in Guangzhou thousands of miles away, as well as the export porcelain kilns such as Yongfu kiln and Rongxian kiln in Guangxi. Yaozhou kiln system, which is composed of many kiln sites from west to east and from north to south, has been formed. Yaozhou kiln, far from the political and economic center and coastal ports, located in the Weibei Plateau in the northwest inland, could have such a great influence in the Song Dynasty, when the competition in commodity production was fierce. What are the advantages of its members? As long as we study the development of Ru kiln in Song Dynasty, it is not difficult to find that its advantages lie in its exquisite and advanced porcelain-making technology, ingenious modeling like Jin Fan, moist and crystal blue glaze, sharp and free and easy carving, and unique and superior products produced by combining these advantages.
After the Song Dynasty, Yaozhou Kiln continued to burn porcelain for hundreds of years. In the early Jin Dynasty, the kiln continued the firing of celadon in Song Dynasty, highlighting the innovation of celadon on moonlight glaze. In its later period, the firing of ginger glazed celadon focuses on the middle and lower layers, and the firing process of unglazed rings is outstanding, which can increase the number. Decorative patterns also tend to be concise.
During the Yuan and Ming Dynasties, the development of kilns tended to decline. On the one hand, we will continue to burn celadon with ginger glaze, on the other hand, we will gradually strengthen the firing of black, white, sauce, tea foam glaze and white and black flower porcelain. Among the firing of various glazed porcelain, white and black flower porcelain is the representative work of this kiln in this period. At this point, the firing of celadon in this kiln has obviously declined. Soon, the kiln also burned down and disappeared from the original historical stage.
Second, the jade-like green glaze of the secret color of Yao kiln.
Porcelain is a daily appliance and a handicraft created according to people's aesthetic consciousness in different times. No matter which era, every successful porcelain product is the product of harmony and unity of practicality and artistic beauty. The artistic beauty of porcelain, on the one hand, is reflected in the crystal clear glaze on the surface decoration of porcelain, on the other hand, it presents the beautiful shape of utensils, on the other hand, it reflects the skillful decoration techniques and gorgeous patterns. Among the artistry and beauty that these porcelains strive to show, the ancient upper class paid special attention to enamel and its characteristics. As early as the Eastern Han Dynasty, China successfully fired blue glazed porcelain and black glazed porcelain, and also fired yellow glazed porcelain and white glazed porcelain from the Northern Dynasty to the Sui and Tang Dynasties. For the production and use of these monochromatic enamels, the artistic conception pursued by people's aesthetic consciousness is the effect of various colors of jade in nature. Whether these blue, black, yellow and white enamels can achieve the aesthetic feeling of jade is an important criterion for appreciation and evaluation. This aesthetic taste is particularly important to the upper class and literati, which is fully revealed in some poems of the Tang Dynasty. For example, Gu Kuang's poem "Tea Fu" said: "The iron in Shu is like a golden tripod, and the more muddy it is, the more jade it becomes." It is a praise for the "jade" Yue kiln celadon. Another example is Du Fu's "Wei Qi Dayi Porcelain Bowl": "Dayi's porcelain burning is light and firm, and it is like the legend of mourning Yujincheng. Your white bowl is better than frost and snow, and it's poor to send it to Mao Zhai in a hurry. " It is a feeling that Dayi white porcelain is "buckled like a mourning jade" and "better than frost and snow". This aesthetic consciousness of longing and love for jade has a long history, which is the continuation and development of China culture since ancient times. As early as in the Book of Songs Qin Feng Xiaorong, there was a saying: "A gentleman is as gentle as jade; Therefore, gentlemen are also expensive. " This concept of jade symbolizing the virtue of a gentleman was vividly interpreted by Confucius, an ancient sage in China. According to the Book of Rites, Confucius said, "In the past, a gentleman was more than virtuous. Warm and gentle, benevolent. Be cautious and chestnut, and know it. Cheap but not old, that's all. Hanging like a team, courtesy also. In this way, jade was endowed with all kinds of personification in the ancient culture of China. This aesthetic consciousness of comparing people with jade has played an important role in the development of China porcelain industry in the past two thousand years, which determines that the evaluation of porcelain monochrome glaze is based on the presence or absence of jade. For this reason, Lu Yu, a Cha Sheng in the Tang Dynasty, thought that "prospering porcelain is silver, while yueyao porcelain is jade" when evaluating the white porcelain and yueyao celadon with the highest firing level in China at that time, so "prospering is better than yueyao", and yueyao celadon with "jade" was regarded as the top grade of Tang dynasty porcelain. In the celadon of Yue kiln, the secret color porcelain, which is known as "the emerald of a thousand peaks" from the late Tang Dynasty to the early Song Dynasty, is the highest level.
Using this standard to measure the celadon produced by Yaozhou kiln, it is not difficult to understand why it is called the representative of northern celadon. The kiln started firing celadon as early as the Tang Dynasty, but at the beginning, the enamel was thick and uneven, and the glaze color was bluish yellow or bluish brown, which was obviously immature. After learning Yue Kiln, the firing level of celadon has improved rapidly, and the products in the middle and early Tang Dynasty have caught up with and surpassed the famous celadon kilns in China, such as Wu, Yue, Shou and Hong. In the late Tang Dynasty, there were more and more exquisite celadon with turquoise glaze, which laid the foundation for it to become the representative of northern celadon. The disadvantage is that the tire has high iron content and is iron gray, the green glaze layer is thin, the glass texture is strong, and the moist jade texture is not enough. During the Five Dynasties, kilns mainly burned celadon. There are two kinds of embryos, black and white. The green glaze of the black tire is lake green, lake blue, slightly gray lake blue and deep blue sky blue. The blue glaze of white tires is mostly light blue, light azure and pink blue, and a few are lake blue and lake green. The green glaze of the two tires has fine texture, uniform glaze layer, moderate transparency and good jade temperature. Compared with the late Song Dynasty, it has the characteristics of rich and varied glaze colors and poor stability. After entering the Song Dynasty, the celadon of this kiln has undergone epoch-making changes after a short period of technical transformation and exploration. The blue glaze of Song Yao porcelain is delicate and pure, with moderate transparency and stable olive blue tone, which has the aesthetic feeling of "its color temperature is moist" and "its color is better than jade". This olive blue is very similar to the "secret color" of Yue Kiln in Tang and Five Dynasties, so it was called "secret color" in Song Dynasty. Lu You, a great poet in the Song Dynasty, once clearly pointed out in Notes of Laoxue Temple: "Yaozhou celadon is called Qi Yue, which is also like Yuyao's secret color." This kind of blue glaze, similar to the secret tone of Yue Kiln, was called olive blue by Mr. Wang in the middle of this century. Since then, academic circles have been paying attention to it, and so has the author. Today, a batch of Tang Dynasty Yue kiln secret color porcelain collected in Famen Temple underground palace has been rediscovered. We compare it with the celadon of Yaozhou in Song Dynasty, and feel sorry for the similarity of glaze color between them. The author thinks that it is advisable to restore the ancient name of Song Yaozhou celadon and call its green glaze Yaozhou secret color, so as to clarify the authentic inheritance relationship between Yaozhou celadon and Yueyao secret color porcelain. The successful firing of this kind of "similar" secret color porcelain in Yaozhou kiln has had an important influence on the firing of porcelain in other kilns in Yaozhou kiln system, and it is also one of the important factors for the formation of Yaozhou kiln system.
Three, beautiful and diverse types and shapes of utensils
Yaozhou celadon in Song Dynasty, beautiful as jasper, has a wide range of uses and a wide variety of utensils. Judging from its use, it can be divided into tableware, including bowls, plates, dishes, bowls, pots and dregs buckets. There are wine utensils, such as banknotes, bowls, jade pots, spring bottles, plum bottles, cups, cups and so on. A tea set includes a lamp, a lamp holder, a bowl, a pot, a fragrant box, a pitcher and water washing. Daily utensils include pots, pots, urns, cans, pots, etc. Lighting equipment includes lamps, small lamps, candlesticks, oil pots and oil bottles. Cosmetics include boxes, powder boxes and powder boxes. There are various types of furnishings, including respect, bottles, bottles and flower arrangements. Suppliers include plates, lamps, bottles and stoves. Sanitary ware and sanitary ware, including spittoon, slag bucket and fuming furnace. In addition, there are bedding pillows, chess sets, chess boxes, chess pieces, musical instruments, Jie drums, shackles, birds, snack pots, small kettles and so on. All kinds of utensils needed for social life in the Song Dynasty were found in the products of this kiln. It is rare for a kiln to produce so many kinds of utensils in other porcelain kilns in the Song Dynasty.
Yao porcelain in Song Dynasty not only has a wide range of objects and uses, but also has exquisite and colorful shapes and is rich and diverse. Take bowls, lamps, plates and saucers as examples. Only the shape of the mouth edge includes small mouth, small mouth, opening, six-petal sunflower mouth, six-diamond mouth, six-curved mouth, straight mouth, folded mouth, and corresponding flanging, wrapping and folding. Then, by observing the shape of the most common circular-arc abdomen with concave round feet in bowls and cups, only the changes of its abdomen can be divided into several types: circular-arc abdomen, shallow circular-arc abdomen, thin circular-arc abdomen and slightly inclined circular-arc abdomen. In the abdomen where these arcs have changed, they are often decorated with melon ribs or tendons, giving people a sense of beauty with regular shape, appropriate proportion, moderate change and exquisite variety.
Another example is the pot, which was fired in the early kiln, and holding the pot is the most common. The pots in the Tang Dynasty were bell-mouthed, round-bellied, short DC and single handle, with plump and generous shapes. In the Five Dynasties, the pot was changed to a straight neck, a small mouth, a round belly, a slightly longer curved flow, and a single handle, with varied shapes, so that the different lines of round, long, curved and straight were harmoniously unified into one, forming a beautifully shaped vessel. In Song Dynasty, the holding pot was generally inherited from five generations, but the thin straight neck became longer and the round belly was slightly folded in the circle, which not only enhanced the stability of modeling, but also increased the artistic beauty. At the same time, as the neck of the kettle becomes longer, the kettle flow becomes a long curved flow with high outlet edge, which further integrates convenience, practicality and elegance. Among the common holding pots, the kiln also produces a melon-shaped melon-side pot, which is beautiful and changeable in shape and has the characteristics of combining the naturalness and practicality of melons. Among the Song pots similar to those created by aesthetic consciousness, there is also a gourd-shaped pot, which is characterized by three double-bellied gourd-shaped pots with upper, lower and lower parts as the main body, with a long curved flow on one side of the lower abdomen and a curved single handle connecting the upper and lower abdomen on the other side. The shape of this gourd-like pot is more varied and touching than that of the gourd-like pot. In addition, the kiln also innovated some distinctive pots in the Song Dynasty. If the shape is small straight mouth, ball belly, three short animal feet, faucet flow, half-moon hanging beam with hanging beam pot for playing with babies. Another example is the belly of the ball, where the feet are circled and the mouth is at the bottom of the vessel. There is a hollow tube communicating with the mouth in the vessel. The lying lion suckles two lions, and the inverted pot has a bow-shaped flying phoenix handle. They are all rare products in Song Dynasty pots with ingenious conception, strange shape, gorgeous decoration and exquisite production.
Another example is the bottle, which has been burned in the kiln since the early Tang Dynasty. Tang bottles have various shapes, including open bottles, long-necked bottles, clean bottles, oil bottles, gourd bottles, Pisces bottles and double-tied bottles. In the Five Dynasties, the shapes of the above-mentioned bottles were still in production, and new shapes such as short-necked bottles appeared. After entering the Song Dynasty, on the one hand, it inherited the above-mentioned traditional bottle types of Tang and Five Dynasties, on the other hand, it created a series of new bottle types. Among these new types of bottles, there are many kinds, such as Yuhu Spring Bottle, Bold Bottle, Plum Blossom Bottle, Dirty Road Bottle, Gateball Bottle, Vase, Melon Bottle and Panlong Bottle. Jade pot spring bottle has a thin neck, a round belly and a round foot. It caters to people's love with its soft and changeable streamline beauty and has been circulated in ancient China for thousands of years. The craftsmen also slightly changed the mouth, abdomen and dividing line of the bottle, and made a new shape of the bottle. Plum bottles and jade pot spring bottles are both wine vessels, but they have different uses. The spring bottle mouth of the jade pot is omitted, and the thin neck is easy to grasp. After drinking wine, the center of gravity is below the abdomen, which should be a bottle used for ironing and pouring wine. The shape of plum bottle is small mouth, wide edge, short neck, full shoulders and folded down, deep abdomen and feet. This shape of plum bottle is suitable for wine. The shape of the earthen oven bottle is similar to that of the plum bottle, but the abdomen is short and cylindrical, just like the upper half of the plum bottle after waist cutting. The shape is not as slender and beautiful as the plum bottle, but it is more round and heavy. Croquet bottle is also evolved from plum bottle, and its modeling features are small mouth, lip process, neck, overlapping shoulders and deep abdomen. Similar to plum bottles, there are big-mouthed plum bottles, which can also be called pot-shaped plum bottles. They are characterized by large mouths, short and straight necks, round shoulders, circular arcs and concave feet in the abdomen. The appearance of these kinds of bottles evolved from the shape of plum bottles is the embodiment of the innovative spirit of Yaozhou kiln craftsmen in Song Dynasty, and also reflects the superb level of kiln wheel making at this time. In the shape of the bottle, there are flower-mouthed bottles with a blooming mouth, bottles with vertical concave and convex sides on the belly, plastic dragon-shaped bottles decorated on the bottle shoulders and the surrounding walls of the bottleneck, and so on. The appearance of this variety of bottle statues proves the colorful shapes of kiln furniture.
Other kinds of utensils also have various beautiful shapes. Limited by the length of the article, I can't describe them one by one, but only point out some shapes of utensils that have not been seen in other kiln systems or kiln mouths. Such as warm bowl wicker barrel braided reed type, multi-folded belly ring foot type with flower mouth; In flower arrangement, the inner and outer double walls are decorated with horizontal rings, hollowed-out sockets and vertically carved flower heads. The outer disk sleeve in the cup holder is shallow; The inner and outer double-layer boxes in the tray are decorated with the shape of wishful pot door or sitting Buddha; Molding an open round belly in the cup with a single handle; The shape of standing lion or lying lion as the base in the lamp; Multi-layer nested in fumigation furnace, decorated with hollow net pattern and applique dragon pattern; The porcelain box is shaped like a war drum, decorated with drum nail patterns, and so on. These are some exquisite celadon shapes that are uniquely innovated by Yaozhou kiln craftsmen.
When sorting out the artifacts unearthed from Yaozhou kiln site in Song Dynasty, we sorted out different shapes of artifacts into different "shapes" and "shapes" respectively. Among them, "shape" is a different shape, and "form" is a different shape of the same kind of object in the early, middle and late Song Dynasty. Therefore, thousands of typical specimens with different "shapes" and "styles" were selected. This result means that there are thousands of objects with different shapes in Yaozhou kiln in Song Dynasty. Faced with these thousands of objects and objects of various shapes, we can't help but marvel and sigh.
Fourth, sharp and free and easy engraving printing.
The decorative techniques of Yao porcelain in Song Dynasty are varied, such as painting, picking, carving, printing, applique, poking, molding, hollowing out, painting, mending soil and so on. Among them, the most outstanding and unique is that its carving technology and printing technology have the same style. Strictly speaking, this kind of carving is a decorative method of carving flowers, mainly carving flowers, supplemented by painting flowers. It appeared late in the early Northern Song Dynasty and reached its peak in the middle and late Northern Song Dynasty. Previously, the decorative techniques of the kiln were mainly simple and smooth single-line painting. In the Five Dynasties and the early Song Dynasty, a pattern-taking process was innovated, and the backing part except the main outline of the pattern was removed by the method of "reducing the ground", so that the pattern of the main outline stood out from the surface of the device and had the decorative effect of bas-relief. In the Song Dynasty, the clever Yaozhou craftsmen learned from each other's strengths in the above two carving techniques and integrated them into one, creating a unique new carving technique. This carving process needs to be carried out in two steps: first, the carving knife is deeply inserted into the blank, and the main outline of the pattern is carved with the vertical edge; Then, on the outer side of the main outline that has been deeply cut, a diagonal cutter is used for continuous wide cutting to remove the backing outside the main outline of the pattern. The new carving process retains the relief three-dimensional decorative effect of the carving process, and avoids the time-consuming and laborious cutting and the boring cutting. At the same time, it also absorbs the advantages of smooth and lively carving techniques, so that the new carving techniques show the sharp and rounded movement of the carving knife in the carving knife, so that each pattern can leap above a piece of porcelain. After the two-step carving is completed, the details of vein and petal texture are carefully drawn in the main outline of the convex carving with grating tools, so that the new carving pattern can achieve a clever combination of coarse and fine, convex and concave, large outline and small details. After glaze decoration, under the jade-like crystal green, it presents different tone levels, which makes it have a subtle, elegant and poetic artistic beauty and become a flower that will never fade in the history of China ceramics. For this reason, this decorative technique of Yaozhou Porcelain in Song Dynasty was praised as "the crown of carved celadon in Song Dynasty" in the famous kilns of the same time, reaching the highest level of carved decorative technology in Song Dynasty. Its products are very popular in domestic and foreign sales markets. Market demand promotes the development of production. Later, in the middle of the Northern Song Dynasty, in order to provide more Yao porcelain with this decorative style to the domestic and foreign commodity markets, Yao kiln craftsmen invented a new printing technology with the same carving style. This printing process is to make a printing model (also called master model) by engraving, then make a printing model, and then buckle the blank with the same shape on the printing model to print the pattern, and then glaze and burn it. In the process of excavating and sorting out cultural relics, we observed thousands of celadon specimens carved and printed on kiln sites in the Song Dynasty. It is known that its printing technology is developed from its engraving technology, but it is not a simple copy of the engraving technology in the middle Song Dynasty, but a development of it. The new printing technology has the advantages of simplicity, convenience and quickness. Once it comes out, it will focus on pattern design. Compared with Yao kiln engraving process, the new printing process has made great progress in pattern theme, pattern type and composition method. It can be seen that the celadon printed by kiln transformation in Song Dynasty reached the highest level of similar technology in the same period. Yaozhou Kiln, a superb and unique engraving printing technology, has won a wide market at home and abroad with its successful charm, and at the same time, it has influenced the decoration technology of a large number of domestic kiln porcelain production.
Fifth, the patterns are rich and diverse.
Yaozhou Kiln in Song Dynasty enjoys a high reputation in carving flowers and printing celadon, not only because of its unique decorative techniques, but also because of its colorful patterns. At present, there are about 200 patterns, whose themes and contents include plants, flowers, vegetation, branches and leaves, melons and fruits, etc. Swiss animals, rare birds, insects, aquatic animals and other animals; Baby play, maid play, character makeup; Buddhist statues include Feitian, Luohan, Lux, Monks, Providers and Metamorphosis. Xianhe controls Taoist statues of Xianyou; There are rocks, flowing clouds, water waves, geometric patterns and so on. There are many sub-categories in each category, which form various patterns by using the same composition alone or combining several compositions. Yao porcelain patterns are not only colorful, but also often imply good luck. Peony, a symbol of wealth and a better life, is very common among plants and flowers. The peony patterns we can see have various forms, such as tied peony, broken peony, cross peony, opposite peony, vase peony, potted peony and pearl peony. They are characterized by lush foliage and vitality. There are many kinds of peony flowers and petals, such as tower-shaped multi-layer flowers, double-layer multi-petal flowers, single-layer three-petal flowers, peony knots, peony clusters and so on. Peony not only uses a single peony to form a variety of patterns, but also often combines with animals, figures or other flowers to form more vivid and colorful patterns. For example, Phoenix Plays Peony, Birds Bite Peony, Flying Butterflies Love Peony and Twin Babies Play Peony. Among flowers and plants, chrysanthemums and Ao Shuang, which symbolize purity and immortality, are also very common, symbolizing lotus leaves that are "out of the mud but not stained, lingering but not demon". Various patterns composed of chrysanthemums are similar to peony patterns in form, and the unique feature is that they are composed of single-layer or multi-layer chrysanthemums in dishes. These patterns highlight the vitality of blooming chrysanthemum petals in simplicity. Or the bottom of the bowl is decorated with chrysanthemum patterns and wrapped in chrysanthemums, which is particularly gorgeous in the lush composition. The composition of lotus and lotus leaf is different from that of peony and chrysanthemum, and they are often distributed in clear and rippling water waves, accompanied by ducks, Yuanyang and fish, forming dynamic pictures such as "Water Lotus", "Two Ducks Playing Lotus", "Yuanyang Playing Lotus", "Lotus Pisces" and "Yuanyang Playing Fish Playing Lotus". There are also compositions of lotus flowers, arrowheads with lotus leaves and even peonies tied with ribbons. The patterns of this composition include "One Lotus", "Two Lotus", "Three Lotus", "One Lotus Peony" and "Lotus Sage". There are also pictures that combine lotus flowers with characters, such as "prince playing with lotus" and "baby playing with lotus branches", all of which have the auspicious meaning of "Lianzi". Among the patterns of plants and flowers, plum blossom symbolizes the perseverance of Ling Xueao cream, sunflower symbolizes the sunshine and flowers, and cockscomb symbolizes the promotion and wealth, and the high officials are generous. All these plant and flower patterns have realistic characteristics. After artistic processing, they all show lush vitality and real and vivid aesthetic feeling in sharp and free and easy carving and printing.
Among the animal-like patterns, there are dragons soaring in the rolling waves, symbolizing the "real dragon emperor"; There are three running lions, the "king of beasts" chasing each other in the running; There are "benevolent beasts" elk lying or standing with Cao Rui and Peony; There are tigers who can "beat down"; They form a vivid picture. Among the rare birds and animals, there is a phoenix wearing flowers, dancing clouds and fruits. There are flying clouds holding Bo Gu to drive away singing cranes symbolizing longevity for cranes; There are peacocks who fight lotus, peony and hold grass to symbolize peace and beauty; There is a pair of mandarin ducks playing in the water, symbolizing the loving couple who "depend on each other day and night" and "all shall be well"; There are magpies flying or standing to symbolize happy events; There are ducks that are good at swimming in the water and have no obvious feathers; They form a colorful picture one after another. Taking swimming ducks as an example, we can see patterns such as "swimming ducks with water waves", "two ducks beating lotus", "Yuanyang beating duck" and "fish and ducks beating lotus". Most of the patterns are symmetrical and balanced, with one duck looking back at the front and the other duck following closely. There is also a three-point layout, which consists of multiple ducks and Yuanyang, or "single duck hits Yuanyang" or "double ducks hit Yuanyang". The rippling water waves, blooming hibiscus flowers and slightly floating lotus leaves in the picture, in which ducks and mandarin ducks swim freely, are vivid and interesting, and are the reproduction of the real pond scenery, which is quite vivid and pleasant. Among the aquarium patterns of animals, the most common ones are swimming fish patterns, such as "three fish in one wave", "five fish in one wave", "algae fish", "duck fish playing with lotus", "fish playing with conch", "Yuanyang swimming with fish playing with lotus" and "willow fish". Among them, "Three Fish in Water Wave" is the most vivid, and the inner wall of the bowl is divided into three parts. With a few knives, three lifelike swimming fish came to life. The fish were surrounded by heavy water waves drawn with grates, and the three fish swam in the water waves. Not only the vivid picture, but also the free and easy washing of the carved three fish, the smooth rippling of the carved water waves and the moist and soft lake green glaze are all integrated into a perfect whole, which is a masterpiece of celadon carved in Yaozhou kiln in Song Dynasty.
Among the figure patterns, the baby play pattern is the most prominent. As early as the Tang Dynasty, kiln workers began to decorate porcelain with baby patterns, and once saw the pattern of "little children's play rope" painted in black on the black board of plain tires. In the Five Dynasties, it developed into a pattern of carved celadon "baby playing with branches". After entering the Song Dynasty, China's painting art developed greatly. Not only landscape painting and flower-and-bird painting have developed into independent painting disciplines, but also figure painting has developed more finely and perfectly. There are also paintings that specifically reflect children's themes in figure paintings, and there are some painters who are good at painting children and babies and their works. For example, Su Hanchen of Xuanhe Painting Academy once painted Autumn Baby Play and Merchant Map, and Song Li also painted Merchant Map. With the appearance and development of children's theme painting in painting art, it has an important influence on the baby play patterns on contemporary and later porcelain. It is against this background that there are more and more baby play patterns on Song Yao porcelain. Baby play patterns were rarely used in carved celadon in Yaozhou kiln in the early and middle period of Northern Song Dynasty, but they were often seen in printed celadon in the late Northern Song Dynasty. There are many kinds of characters in baby play. There are "Single Baby Playing Peony" and "Single Baby Playing Plum", which are arranged in the form of clouds, highlighting the image of a fat doll with a big head and a round face playing in the middle of the branches and leaves of peony or plum blossom. There are also "two children playing with peony", "two children playing with plum", "two children playing with fruit", "two children playing with lotus" and "two children playing with plum, lotus, fruit and bamboo". In the peony, plum blossom, lotus flower and plum bamboo bound with branches or opposite branches, two babies play in the form of "greeting" or with their heads rotating clockwise. Then there is the "three-baby swing branch", in which three-baby swing branches and three-fold peony are arranged at intervals with six tendons as the boundary; "Three Babies Dancing with Branches and Butterflies" (referred to as "Three Babies Dancing with Branches and Butterflies") distributes three babies in a deformed triangle surrounded by branches and leaves, and the outer circle is decorated with branches and leaves and three flying butterflies. In addition, there are "Four Waxes Playing Lotus" with layers of water waves as the background, "Five Waxes Playing two dog" interspersed among babies, rocks and reeds, and "Tuanwa Playing Grapes" playing among numerous branches and rich vines, and so on. Children who play tricks are all fat dolls with big heads and round faces. They are either naked with wrapped bags, or naked with ribbons, collars, bracelets and fetters. The picture vividly depicts a lively scene of innocent and lovely children playing with the difference between vines and rocks with branches and leaves, or swinging with open arms and hands, or grasping vines tightly, or climbing over them, or turning over and dancing. This is a very beautiful and moving picture in the porcelain pattern of the Song Dynasty.
Compared with other contemporary porcelain kilns, the carving patterns of Yaozhou Kiln in Song Dynasty are the most diverse, some of which are Capricorn and Hippocampus in Shui nationality, Metaplasia in figures, Feitian in Buddhist statues and Xianyou Crane in Taoist statues. It is unique in the celadon pattern of this kiln and is not seen in other kilns. These colorful patterns are also an important condition for the famous celadon of Yao kiln in Song Dynasty.
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