My system is not decent

Every shape of porcelain pier is both beautiful and practical, which shows the ingenuity of the working people and their rigorous pursuit and creation of a better life.

It is a pity that during the turbulent period, as an old thing, the porcelain pier was abandoned and destroyed countless times.

Therefore, there are very few remaining until now. The more famous porcelain piers should be the hexagonal porcelain piers of Qingguang Kiln.

This object is a cultural relic of the Qing Dynasty, with a diameter of 34.6cm, an abdominal circumference of 112.5cm, a height of 50.5cm, and a bottom diameter of 26.8cm.

Guangyao is a porcelain kiln of the Song Dynasty. It is located in Yangjiang, Zhaoqing, Guangdong Province. The tire is thick and brown in color.

Now this porcelain pier is collected in the Hujian Folk Museum. This pier is hexagonal, with a bulging belly and a hollow bottom.

The upper and lower sides of the pier are piled with papillae-shaped drum nails for decoration, and the sitting surface is smooth and flat, slightly protruding, with bean green glaze as the background color.

The six sides of the pier body are decorated with three-color hollow carved begonia flower shapes, and hollow carved butterfly patterns inside the light.

Guang Kiln is a porcelain kiln of Song Dynasty. In Guangdong Province, the tire is thick and brown in color.

Although judging from the current craftsmanship, the technology is not very good, but it is always Song kiln. It is really difficult for ordinary people to imitate the works of Song kiln.

But for Chen Wenzhe, it was not difficult at all.

Just to do it, Chen Wenzhe would definitely not make a porcelain pier.

Of course, it is impossible for him to repeatedly make a large number of the same porcelain piers.

So what does he do?It was because of a porcelain pier that reminded Chen Wenzhe of all the porcelain that could be used and displayed in the room.

Ceramics are taken from mountain soil and tempered by fierce fire to achieve "poetic connotation and jade-like character".

Even in the splendid ancient arts and crafts of our country, it is not inferior to others.

For the West, ceramics are even a business card of Chinese culture.

my country's ancient ceramic production reached its peak in the Ming and Qing Dynasties. During the Jiajing period alone, "Ming Shilu" recorded that "the eunuch Liu Liang was ordered to supervise the manufacture of Hongzhi, and there were more than [-] unfinished porcelains in Zhengde."

And looking at the export porcelain of the past dynasties, the total amount is also hundreds of millions.

Behind the amazing production volume is the huge market demand.

The ancients were not only proficient in the production and manufacture of ceramics, but also in the display and use of ceramics.

Literati works such as "Chang Wu Zhi" and "Kao Pan Yu Shi" repeatedly mentioned various ceramics in the decoration of the living room.

And in the ancient paintings that reflect the life scenes of the ancients, there are all ceramics.

So what are the ceramic furnishings in the ancient people's living room?

In addition to porcelain for dining and drinking, the ceramics used in the living room of the ancients can be roughly divided into four types: for worship, for display, for stationery and ceramic furniture.

Porcelain for worship can be divided into two types: porcelain statues and porcelain worship utensils.

Porcelain statues needless to say, the porcelain statues of Buddhism and Taoism have been handed down to this day.

During the Jiajing period of the Ming Dynasty, He Chaozong, a master of porcelain and sculpture in Dehua Kiln, made statues of Guanyin, Tathagata, and Bodhidharma, which were especially famous for their pursuit of perfect jade texture.

Porcelain worship utensils are mainly incense burners and candlesticks, and most of them are porcelain incense burners, and their shapes are quite diverse.

Simple ones such as cylinders and bowls, often with scriptures written on them;

There are also antique bronze wares such as tripod type, gui type, lid furnace and so on.

In addition, a considerable part of my country's traditional flower arrangement culture comes from Buddhist flower offerings.

In the "Southern History·Prince Jin'an·Mao Biography" during the Southern and Northern Dynasties, there is a record that "there were people who offered lotus flowers to Buddha, and the monks used poppy to hold water and soaked the stems, so that the flowers would not wither."

Among the flower offerings, the most common ones are vase flowers, that is, flowers are arranged in vases for Buddha. The most commonly used vases are glassware and porcelain vases, which have the meaning of light and purity.

Wen Zhenheng also mentioned in "Chang Wu Zhi": the desk uses old magnetic clean bottles to present flowers, and clean bowls to drink water.

Li Yu also thinks that porcelain vases are the best for growing flowers: the vases are made of magnets, the water for growing flowers is clear but difficult to turbid, and there is no copper smell.

The ancient literati also had a kind of elegant interest in the study called "Qing Gong".

That is to say, flowers, clear vegetables, beautiful utensils, etc. are used as offerings to display the world, gods and ancestors.

Yuan Hongdao in "The History of Bottles".Just listed a few offerings.

Most of the vegetarian vases should be short and small. Bronze wares such as flower goblets, copper goblets, Zungu, Fanghan pots, Suwen pots, plaque pots, and kiln wares such as paper hammers, goose necks, sacks, flower vases, flower sacs, and yarrow and cattails, all of which must be short and small in size before they can be offered in the Qing Dynasty.

However, Wen Zhenheng was more picky about the selection of Qing Dynasty porcelain vases.

Official, elder brother, Ding kiln ancient gallbladder vases for porcelain, a branch vase, small yarrow vase, paper mallet vase, others such as dark flowers, blue and white, eggplant bag, gourd, thin mouth, plaque belly, thin foot, medicine altar and new cast copper Bottles, kilns and other bottles are not included in the Qing offering.

This elegant interest can also be represented by the Sui Dynasty Qing offering, that is, various elegant objects and utensils are displayed during the Spring Festival.

These things often have some auspicious meanings, such as vase of flowers means peace and prosperity, pomegranate means more children and more blessings, Ganoderma lucidum means longevity celestial herb.

Porcelain itself is beautiful in shape, elegant in spirit, and has high aesthetic value.

This is also an important reason why ceramics have become a basic furnishing item. Even if it is not used for worship, it is also an excellent embellishment in living room.

In "Dream of Red Mansions", it is mentioned in Jiamu Flower Hall's banquet: "All kinds of old kiln vases are dotted with fresh flowers and plants such as Suihan Sanyou, Yutang Fugui and so on."

It is also mentioned in the main hall of Mrs. Wang: "There is a Ru Kiln beauty goblet on the right side, with seasonal flowers inserted in it."

Furthermore, ancient porcelain is also a major category in the appreciation of Qing play.

Ru, Guan, Ge, Ding, Jun and other famous kiln wares are not only excellent in appearance, but they may also be the finale of the study in terms of collection value.

Ming and Qing literati were especially good at displaying ceramics. The large ones were placed on the ground, and the small ones were placed on tables or desks. They were set up according to the place, or symmetrically or separately.

The long case in front of the living room hall in ancient times also paid attention to the "east bottle and west mirror", in order to mean "calm and calm".

They often have their own opinions on the laws of decoration.

For example, Yuan Hongdao thinks: "Bottles should not be placed in pairs, should not be placed in a row, should not be bound by ropes."

Tu Long also doesn't like being in a pair: "Don't be in a pair, don't use a small medicine jar, and don't use a gourd bottle."

Shen Fu used vases to insert chrysanthemums and also emphasized: "The number of flowers to be inserted should be single, not double. Use one type for each bottle, not two colors. The mouth of the bottle should be wide and large, not narrow, and the wide one can be stretched freely."

It can be seen from this that the literati in the Ming and Qing Dynasties had their own set of rules for arranging flowers in porcelain vases.

Porcelain vases come in a variety of shapes, many of which are listed in Tao Ya: "The best vases are Guanyin Zun, Tianqiu, Bobostool, Gallbladder, Beauty Shoulder, Cudgel... Plum Vase..."

Among them, the plum vase and the flower goblet are particularly classic. The plum vase was originally used for wine storage, and because of its slender body, earless and ringless, it is very in line with the aesthetics of literati;

The flower goblet originated from the bronze goblet of the Shang and Zhou Dynasties. Yuan Hongdao also praised an old goblet from a family in the south of the Yangtze River in "History of the Bottle", "the green is deep into the bone, and the sand spots are rising. It can be called a golden house of flowers."

Among them is a very special wall vase, which is half the size of an ordinary porcelain vase, with one side shaped like an ordinary vase and the other side punched into a flat plate. It can be hung on the walls of living rooms and sedan chairs, and can also be used for flower arrangement.

Flower pots for holding flowers and rocks are often made of porcelain, and this kind of ceramic pots are often displayed in courtyards, corridors, under pavilions, on both sides of doors and steps, etc.