Maweidu: There are mysterious opportunities in the blue and white of the Yuan Dynasty
In the heavily guarded warehouse of Topkapi Palace in Turkey, 40 pieces of blue and white flowers are preserved. There are many international orphans in the world, and they are well-known in the preservation .industry
马未都：元青花中有玄机
Blue and white is a very literary name, very poetic, only ancient Chinese ceramics are so romantic. Other varieties, both before and after it, have come out in a scientific and calm attitude. The ceramic variety “glazed red”, which is similar to its contemporaries, is not called safflower, and blue and white is never called glazed blue. I have been wondering for a long time why Chinese ceramics are only named after blue and white.
[Peony flower plum bottle (pair)]
Height: 42 cm, Topkapi Palace Collection
The blue glaze of Yuan blue and white is full of thick blue. This pair of peony plum bottles has a quiet and deep blue glaze. The peony on the main body of the bottle and various patterns are painted with a plump brush stroke. The change of color in the Yuan Dynasty was influenced by foreign cultures, which completely changed the inherent aesthetic taste of Chinese ceramics.
Scholars all hope to find the origin of blue and white. Today, the blue and white of the Yuan Dynasty is an indisputable fact. The “positive type” is the standard, and the excellent Yuan and Qing dynasties are all this gesture. Many scholars believe that blue and white burns are earlier than Yuan, and they started in Tang, and they started in Song, so there are Tang Qinghua and Song Qinghua. But the question is whether the so-called “Tang Qinghua” and “Song Qinghua” are in the same line as the recognized “Yuan Qinghua”? In terms of fetal soil, glaze, ornamentation, craftsmanship, modeling, etc., is there a cultural blood relationship between him and the other?
[汝 青 青 green glaze oval wash]
Northern Song Dynasty, caliber: 14.5 cm, hidden in the British Museum
Before the appearance of the Yuan and Qing dynasties, blue was not the traditional color of the Chinese civilization, and was once considered to be an unlucky color. Song glaze pursues the color of natural attributes, paying attention to the azure color of “the rain breaks through the blue sky” (shown in the kiln washing as shown above).
Blue and white in the Yuan Dynasty is obviously not our cultural tradition, depending on the color of the farming people. We admire red and yellow. Red is life and yellow is fundamental. Blue, especially blue and blue, has never occupied a place in the cultural aesthetics of our nation. We have long regarded blue as bad, and the evil spirits in the Buddhist scriptures are called blue women. The ancient township tried blue pens, called blue. Single; there is a blue snake in the legend, its first poisonous blue medicine, the drug is dead…
[Kirin Feifeng Blue Glaze White Flower Lingkou Market]
Caliber: 41.5 cm, Topkapi Palace Collection
The blue glaze is a land, contrasting with the white-patterned blue-and-white mosaic of the Yuan Dynasty. The plate is painted with the common unicorn and flying phoenix in Chinese traditional culture. Surrounded by complex flowers. The glazed surface is plump and delicate, and the blue is full, revealing a mysterious atmosphere. Such a market is unique in the world.
Why can blue and white in the Yuan Dynasty drive straight into? Since then, for seven hundred years, the anti-corrupt cultural concept, or color or ornamentation, has entered the Chinese ceramic culture.
[Blue glaze white dragon plate]
Yuan Dynasty, caliber: 16 cm, the palace
This blue-and-white small plate of less than 20 cm is only collected in the National Palace Museum in China.
The ever-changing ceramic glaze is metallic. The blue and blue of the blue and the blue of the Tang Sancai are the same as the metal cobalt as a coloring agent. It is only Tang Sancai that pottery is not porcelain, blue and white is porcelain and not pottery. Pottery and porcelain are very different in science, and the difficulty of firing varies greatly. Therefore, before the blue and blue flowers, Turkey and other countries can only burn blue glazed pottery.
These have deeply influenced the blue and white flowers, and even ignited its birth.
There are only a record of the inheritance of the Yuanqinghua in the Topkapi Palace collection worldwide, and many of these blue and blue flowers are orphans in the world. Ma Wei is carefully studying one of the eight gourd bottles.
Yuan blue and white flower origin
Most Chinese scholars have recognized that blue-and-white buds began in the middle of the 14th century or earlier. The exact standard of the Great Verde Foundation’s standard instrument, the blue-and-white dragon-sized bottle, was not controversial. Even if the blue-and-white flower was earlier than the early 14th century, this conclusion has reached a consensus. In the Turkish literature, the use of cobalt as a underglaze blue color entered the Persian region as early as the end of the 12th century, but it was only used on glazed pottery, which is still a big step away from porcelain. Japanese ceramic authority three last time Mr. Man also believes that after the middle of the 11th century, Persian ceramics have had an impact on Chinese ceramics, especially Persian white glazed blue pottery directly affects the birth of Chinese blue and white. This technology transmission from west to east clearly has obvious cultural integration characteristics.
[Lianchi Waterfowl Lingkou Market]
Caliber: 45 cm
The blue glazed anti-white market in the Topkapi Palace collection is extremely unique. After the craftsman has finished, a layer of mottled color points is sprayed on the entire pattern. This decorative technique is not found in other world blue and white collections.
Although the works such as the blue glazed white flower Lingkou market fully express the color of Islamic culture, the blue is full, but why is it not a popular trend? The blue and white works are undisputedly the mainstream of this kind of blue porcelain. In the visit of Istanbul, in the understanding of the blue of Islamic culture, it gradually realized the expressiveness of its blue, dense, shady, content. The mysterious blue is no longer a simple blue.
[Yuanqinghua Ghost Valley Down the Mountain Cans]
With blue and white as the ground, the anti-white decoration is a minority in Yuanqinghua and even the Ming and Qing Dynasties. Think carefully, this seems to remind us. When blue and white were born, Chinese artisans had tried many kinds of attempts because they tried to leave us with a variety of aesthetic meanings of blue and white porcelain. Blue and white are monochrome, which can directly express content and contrast content. Although the cost limits the number of anti-blue and white works, the exploration of artisans in the early start-up period is precious.
[Blue and white Yunlong pattern plate mouth plum bottle]
Caliber: 44.5 cm
This dragon-shaped bottle has a green dragon in its body, which is large in size. From a single angle, it can only “see the end without seeing the tail” or “see the end without seeing the head”.
Su Ma
Su Ma is a professional term, listening to the strange, so the interpretation of Su Ma has been inconsistent for many years. Su Ma is also written in the literature on the Qing dynasty. This is a necessary coloring agent for blue and white. Among them, the word “green” behind Su Ma and Qing and Su Bo is the common suffix, such as the word “tea” behind Longjing tea and oolong tea. So what is Su Ma?
【青花莲池鸳鸯八方梅瓶】
Height: 40.5 cm
The two octopus bottles in the Topkapi Palace collection have become orphaned in the world because of their uniqueness.
According to the law of the name, Su Ma is the most likely to be a place name. Scholars are looking for this transliteration in the possible range. The earliest scholars believed that the green material came from Sumatra in Indonesia, and later scholars said it was Somali. Japanese scholars also verified that it was Smaltum, which is a color material in Central Asia; Some scholars have verified that the oldest ceramics center in the Middle East, Samarra, is the birthplace of Su Ma.
[花口莲纹大碗]
Caliber: 40.5 cm, height: 18.5 cm
This is the largest blue-and-white bowl in the Topkapi Palace collection. Its size is superb and extremely rare in the world. The bowl of this bowl is painted with a squid lotus, surrounded by white clouds and waves. The outer wall is painted with delicate patterns such as squid lotus, and the blue and white and white leaves complement each other.
Regardless of who is the origin of Su Ma, it should be related to Islamic culture, first of all its color – blue; followed by its application – pottery, which can prove the blood of blue and white. Most of the above regions completed the process of Islamization before the 13th century.
Su Ma from the Qing Dynasty Wanli people Wang Shizhen “seeing the sky outside” first mentioned: Yongle Xuande room in the interior of the burning, so far is expensive … with Su Ma from the green. All other similar records after this time were similar, and even later fell into the mud after the Qing Dynasty. This phenomenon also caused the Chinese to stubbornly believe that blue and white were burned for the Yongzheng period. After 600 years of blue and white birth, American Pope corrected this statement.
[Blue and white worm flower and flower gourd bottle]
Height: 60.5 cm
Subsequently, whether Su Ma’s life experience was related to Zheng He’s voyages to the West began to become a problem. In the past, it was believed that Su Ma was brought back by Zheng He’s Xiayang, which made the Yongxuan Blue Flower unattainable. However, the traceability of Yuan Qinghua and Qingyuan’s life experience became clearer and clearer. This historical rewriting makes it tend to be true.
[Peony-style gourd bottle]
Height: 70 cm
Grass worms are the literary taste of Chinese literati, and are also traditional subjects in the Yuan Qing garnish. The gourd bottle in the picture above is the collection of Topkapi Palace. It has its distinctive features in its prismatic shape. The gourd bottle in the picture below is known for its large body shape. China has not found such a huge gourd bottle.
Today, the world knows that blue and white is the quintessence of China and has a history of 700 years. The secret of this history has gradually become public, and Yuan Qinghua is the crystallization of Chinese culture, Islamic culture and Mongolian culture. It combines farming culture with nomadic culture, uses traditional Chinese and excellent porcelain craftsmanship to express the metal crafts of Islamic culture, and uses the bright blue color of Islamic culture to change the inherent aesthetic taste of Chinese people. This culture combines unprecedented beauty, let us enjoy it. .
The blue glaze of Yuan blue and white is full of thick blue. This pair of peony plum bottles has a quiet and deep blue glaze. The peony on the main body of the bottle and various patterns are painted with a plump brush stroke. The change of color in the Yuan Dynasty was influenced by foreign civilizations, and then completely changed the aesthetic interest inherent in Chinese ceramics.
Experts are looking for a source of blue and white. Today, the blue and white of the Yuan Dynasty is an indisputable fact. The “positive type” is the standard, and the excellent Yuan and Qing dynasties are all this position. Many experts believe that blue and white burns are earlier than Yuan, and they started in Tang, and they started in Song, so there are Tang Qinghua and Song Qinghua. But the question is whether the so-called “Tang Qinghua” and “Song Qinghua” and the recognized “Yuan Qinghua” are in the same line? In terms of fetal soil, glaze color, ornamentation, skill, appearance, etc., is there a civilized blood between him?