My system is not decent

Longquan kiln porcelain in the Yuan Dynasty was dominated by scratched patterns, with rough patterns and unrestrained lines.

Most of the decorations are Yunlong, Feihuang, Pisces, Baxian, Bagua, peony, lotus leaf and so on.

In addition, there are also a large number of inscriptions in Chinese and Basiba characters.

Longquan celadon in the Ming Dynasty tended to decline, and the carcass of the utensils was thick and rough.

The tire color is grayish yellow, the glaze layer is thick, the transparency is high, and the glaze surface has a strong luster.

There are several kinds of glaze colors such as blue gray, tea powder, and gray yellow. The decoration is mainly underglaze engraving, and there is also a decoration method of imprinting characters and stories.

Longquan celadon in Song Dynasty is the historical peak of celadon craftsmanship.

The beauty of the glaze color and texture of its celadon is just like the ingenious man-made jade, and the whole world is fascinated by it.

So, in the long history, what kind of development track has Longquan Kiln experienced?

In the book "Longquan Kiln Celadon", Mr. Zhu Boqian summarized the development of Longquan Kiln into four stages: creation, development, heyday and decline.

The Wei, Jin and Five Dynasties and Ten Kingdoms were the pioneering period, with few porcelain kilns and intermittent production, which was in the intermittent production stage of local sales;

From the Northern Song Dynasty to the early Southern Song Dynasty is the development period, the porcelain kiln developed rapidly, and gradually formed a large porcelain kiln system;

From the late Southern Song Dynasty to the Yuan Dynasty was the heyday, the porcelain kiln developed rapidly, the quality of celadon was greatly improved, and the products sold well in domestic and foreign markets;

The Ming and Qing Dynasties were in decline, especially after the mid-Ming Dynasty, Longquan kilns were in a difficult situation, and the number of closures of porcelain kilns continued to decrease until the end of the late Qing Dynasty.

If we talk about these four stages, it outlines the entire context of the development history of Longquan Kiln.

Then, the three glorious periods in the development history of Longquan Kiln are the focus and points of the coherent development.

Longquan has continuous mountains, dense forests, and extremely rich mineral resources such as porcelain clay.

It also lives in Oujiang-Buyou, which not only has sufficient raw materials, fuel and water resources, but also has convenient water transportation, and its natural conditions are unique.

As early as the Three Kingdoms and Jin Dynasties, the local people took advantage of the superior natural and geographical conditions to start firing porcelain.

They absorbed the porcelain-making technology and experience of surrounding kilns such as Ou Kiln and Wuzhou Kiln, and began to fire celadon.

But the celadon fired at that time was very rough, and the scale of the kiln industry was not large.

This situation changed suddenly in the Five Dynasties and the early Northern Song Dynasty.

This period is also known as the "confusing period" of Longquan kiln celadon.

The representative utensils of this period are light blue glazed porcelain.

This kind of light blue glazed porcelain has regular shape, even and smooth glazed surface, revealing a light blue color.

Some are also decorated with inscriptions, which seem to lack transitions compared with the rough early Longquan celadon.

Compared with the later famous Meiziqing and Fenqing, this batch of porcelain does not seem to have any inheritance relationship.

This seems a bit abrupt in the entire history of Longquan celadon development, so it has become a "confuse".

The classic work of this period is the Longquan kiln celadon plastic paste double fish pattern wash, 6cm high, 23.5cm in diameter, and 13cm in foot diameter.

This wash has an open mouth, folded edges, and circled feet.

There are two swimming fishes plastered inside the washing heart, and the outer wall is engraved with chrysanthemum petal patterns for a week.

There are two perforations on both sides of the mouth, corresponding to each other, which can be used to wear metal handles for easy carrying.

This vessel has a green glaze color and clear fish pattern on the plastic paste. It is a typical work of Longquan kiln in the Southern Song Dynasty.

Similar artifacts were also found in the shipwreck at Nanbang Xin'an Seabed.

In the Northern Song Dynasty, the Longquan kiln was glazed with lime, so the glaze layer was thin and transparent, and the luster was strong.

The early products were thin and white, with light blue glaze, and the utensils were mainly plates, bowls, and pots, and pots, pots, etc. were rare.

After the middle stage, the fetus is gray or light gray, and the glaze color is blue-yellow;

Carved patterns are generally used for decoration, supplemented by grate dots or grate scratches, in addition to group flowers, waves, banana leaf patterns and other patterns.

Plates and bowls are often engraved with round flowers and wave patterns, the interior is filled with grate patterns, and the outer walls are often marked with grate patterns and straight stripes.

Peony patterns are often carved on the abdomen of bottles and jugs.

Figure eucalyptus patterns are generally symmetrical.

After the Southern Song Dynasty, lime alkali glaze was applied, the glaze layer was thick, soft and elegant.

In the Southern Song Dynasty, the color of the fetus is white, dark and medium-grey.

In addition to continuing to produce the original artifacts of the Northern Song Dynasty, gossip furnaces, tripod furnaces, dowry furnaces, pots, statues, slag buckets, bile bottles, five-tube bottles, dragon and tiger pattern bottles, etc. appeared.

The abdomen of the five-tube bottle is in the shape of a multi-section gourd. There are three to seven vertical tubes on the upper part of the bottle, and five tubes are more common.

Bowls and dishes have thicker bottoms, generally shallow digging feet, wide and short ring feet, and exposed tires on the outside.

The decoration is mainly to depict flowers, with five flower openings, and five straight lines protruding from the lower bowl wall of the flower opening.

There are many cloud patterns engraved in the bowl, and there are also "s"-shaped patterns carved inside.

It is also common to see the four characters "Jinyu Mantang" or "Hebin Legacy Model" printed on the heart of the bowl.

At the end of the Northern Song Dynasty, the pattern of floating withered lotus petals became popular, and it was widely used on the outer walls of plates and bowls.

In the late Southern Song Dynasty, the lotus petal patterns became shorter and wider, close to each other, and the veins in the petals protruded.

The Southern Song Dynasty can be divided into white-bodied thick-glazed celadon and black-bodied thick-glazed celadon.

The white-bodied celadon has a fine and dense body, a white-to-medium-blue glaze, and a rich and soft glaze layer.

Pink green glaze and plum green glaze are the best.

The exposed part of the sole of the foot is purple, commonly known as the cinnabar sole.

Utensil shapes include bowls, plates, dishes, water bowls, incense burners, etc.

There are also many antique utensils, such as Li, Gu, Cong and other utensils.

The decorations are mainly lotus petals and strings, and double fish, dragon and peony appliqués appeared at the end of the Southern Song Dynasty.

Black-bodied celadon has a thin body and thick glaze, and the color of the body is gray and black, commonly known as iron bone.

The glaze color is blue, multi-patterned, and the mouth edge of some utensils reveals the tire color, which is purple-brown, and the bottom of the ring foot is iron black, commonly known as purple mouth and iron foot.

The shapes of the utensils are mainly bottles, furnaces, statues, washers, pen holders, and lamps, and the decorations are rare. They have many similarities with the official kiln porcelain in the suburban altar of the Southern Song Dynasty.

In the Yuan Dynasty, the shape was tall and the carcass was thick.

The color of the fetus is basically the same as that of the Southern Song Dynasty, and the glaze color is blue and yellowish.

Antique utensils are rare, and newly created utensils include goblets, rhombus plates, ring-eared vases, phoenix-tailed statues, lotus-leaf-covered jars, and so on.

The stem cup foot is relatively short, basically the same size from top to bottom, decorated with bamboo joints, and the inside of the foot is hollow and deep.

The decoration adopts various methods such as drawing, engraving, printing, pasting, engraving, stacking, etc., mainly drawing flowers, with rough drawing patterns, bold and unrestrained lines, and brown stippling.

Utensils are generally decorated with patterns, and the themes of the decorations are mostly Yunlong, Feifeng, Pisces, Eight Immortals, Eight Diagrams, plum, chrysanthemum, and Mahou Fenghou.

In addition, a large number of inscriptions in Chinese and Basiba characters have been published.

The lotus petals on the outer wall of the plate and bowl are long and narrow, and the arrangement is relatively sparse. The middle of the petals generally has no veins protruding, which is different from the Southern Song Dynasty.

The bottom feet of plates and bowls are generally dug deeper, and some are deeper than the outer wall. A ring of glaze is scraped off in the middle of the outer bottom feet, revealing the body and turning red, with glaze in the center.

In the late Yuan Dynasty, some bottom feet had no glaze at all, and there were cream-shaped protrusions in the center.

The Ming Dynasty is basically the same as the Yuan Dynasty, but tends to be rough.

The tire is thicker, the glaze color is blue-gray, the glaze is thin and transparent, and the luster is strong. Generally, the bottom of the plate and bowl is not glazed, and there is also a ring of glaze scraped off the middle of the bottom foot of the Yuan Dynasty.

The most common utensils are stem cups, bowls with chrysanthemum petals, jade pots and spring vases, holding pots, and jars with lids.

The foot of the goblet is relatively high, decorated with bamboo joints, one or more joints, and the foot is rough and shallow.