The Artistic Features of Hongzhi Blue and White Flowers

In the Ming Dynasty Hongzhi Dynasty (1488-1505), Xiaozong diligently served in the affairs of the state, appointed the ministers, suppressed the eunuchs, Chao Chingning, and the people's livelihood. The historian had the title of "Hongxing Zhongxing". Ming Xiaozong’s personal life is frugal. According to historical records, Jingdezhen’s Yuki Kiln Factory had stopped firing or reduced porcelain production on several occasions. Therefore, although this time is not a short-lived dynasty, the variety and quantity of official kiln handed down by the world’s products are few. Hongzhi’s blue and white flowers continue their craftsmanship and style, so there is a saying that “scholarly does not divide”. In recent decades, new discoveries have been made in both domestic and overseas archaeological achievements and handed down articles. In particular, the kiln-blue kiln porcelain has a variety of varieties and novel decorations. It reflects that at this time the official kiln was in a low period, and the kiln was very prosperous. The community and the collectors gradually have a new understanding. This article tries to compare the typical styles of Hongzhi blue and white flowers with similar artifacts and similar artifacts in terms of articulation and chronological value, so as to outline the outline of blue and white decorative arts in this period.

Painted craftsmanship, official kiln patterns in two common styles: First, the characteristics of the era of the lotus pond dragon pattern pattern, and the second is to imitate the pattern of the flowers on the folding plate.

The lotus pond dragon bowl (Fig. 1, Taipei National Palace Museum) has a “Ming dynasty Koji system” at the bottom of the device, with a diameter of 20.1 cm. The line and material color of the pattern are very clear, basically two tones, the lines painted by the lines are dyed with light color, the color changes between the head and neck, back and fin, and the edges of the petals are lighter than the middle. Evenly clean, clear, no obvious turbid pen marks. Green color is more colorful. The wavy lines on the inner edge of the bowl line the hook line, which consists of a whirlpool line that forms an unhooked contoured wave body. The wavy lines are dyed with light-colored, shaded white waves. Judging from the above characteristics, the painting program first hooks all the lines, and then uses two kinds of water with good shades to achieve the effect that the dyed colors are basically the same. There is no stained water mark on the pattern of large color blocks, and the color of the double hook lines of dragon's whiskers, fins, claws, flames, lotus leaf stems, aquatic plants, etc., are accurately filled in, and there is no overflow outline, indicating that The pen used is smaller. The lotus pond dragon plate (Fig. 2, Idemitsu Museum of Art) has a "Ming dynasty Koji system" at the bottom, with a calibre of 21.4 cm and a disc diameter of about 13 cm. The pattern is relatively small, and the dragon pattern is a layered tone, while the lotus and the leaves are the same as in Fig. 1. The pattern in Fig. 1 is larger, so it is achieved with two levels of change to achieve a rich hue.

Folding flower and fruit platter (Figure 3, Beijing Palace Museum (microblogging) possession) at the end of the device "Dongming Hongzhi years" section. Specialized varieties, followed by the techniques of the North Korea, hook line, top wipe (in combination with dyeing). The edge of the petals of the ramifications gardenia is dark, the whole block of strokes, the material color is more uniform, there is no repetitive staggered traces, it should be made with a large stroke full of pigment; the main veins are parallel to the large stylus pen marks The leaf veins are clear and there are no traces of vertical wiping, indicating that the leaf veins are painted after the leaves have been painted. This is the painting process of Ming Wing-lok and Xuande, and it is also a typical species of Chenghua imitation Xuande, so it continues to retain this technique. What is slightly different is that Chenghua and Koji have had less washing and dyeing.

Second, civil kiln pattern Hongzhi Min Kiln occupies a considerable amount of blue and white, there is exquisite refinement and rough abbreviated difference between the two, there is no clear line between the two. Two features are described below:

The twin-eared earrings (Fig. 4-A, the British David Wright Collection) "Mingzhi nine years (1496)" Ming. Hook the line first, and then stain. This pattern is fine, the same with the kiln Figure 1 painting process. The lotus pond and water pattern bowl (Fig. 5-A Jingdezhen ceramics collection) was unearthed in the "Hongzhi four years (1491)" tomb. The lotus leaves are hooked and stained; the skeleton is composed of a number of color patches that touch the top of the brush strokes, and the water plants are drawn from fine to coarse strokes. This rough line rate, combined with the use of hook line, topology and dyeing techniques, there is no strict process procedures.

Decorative styles and characteristics First, the type of decoration of the official kiln blue and white is mainly bowls and plates. Bowl common three types: outer wall painted lotus pond dragon pattern, the inner mouth along the wave pattern, the inner painting lotus pond single dragon pattern; the outer wall painted lotus flower dragon pattern, inside the imitating Yongle blue and white gold lotus pond pattern (see below); outer wall painting Yunlong pattern, the inner mouth along the wave pattern, the heart of Ssangyong play beads pattern. There are two types of discs: Pan Xin, Lianchi Dandan (with bowl heart), Shuanglong Opera Beads (with bowl heart); the vast majority of bowls and pans are decorated with wave patterns in the inner mouth, and occasionally in the plate mouth Along the grass pattern. Bowls and rims are full-length books for the "Ming dynasty Koji system".

Pattern features: rigorous pen, fine lines, dyeing clear, beautiful colors. Figure 1 shows the typical characteristics of the Hongzhi Guan Yao dragon pattern. The mouth is closed, which is the biggest feature of all the dragon sculptures in Hongzhi Guan Kiln. There are no visible teeth. The side of the dragon's head looks like a small circle of glasses like eyes, a large burst of rising hair, a curved body, the wheel-shaped claws, etc., have retained the style of Chenghua. The eyebrows and whiskers of this pattern are all spiked (Shuanglong play bead bowl and lotus pond dragon pattern dish are also the same, as shown in Figure 2). Chenghua dragon pattern is a flame-tailed shape (Hongzhi also has this kind of pattern, as shown in Figure 7). The lotus pond dragon pattern is the creativity of this period, with many vertical, curved and delicate lotus stems, leaf stems and aquatic plants, and it is more or less, delicate and stout between vertical and wavy dragons. The staggered linear contrasts; space and flower, leaf, duckweed and other forms of point, face shape of the reconciliation, resulting in a very rich form of beauty. This pattern has originally borrowed from the Chenghua Guan Yao Lin Chi tank (Figure 6), the dragon is the basic form of the traditional, but the combination between the two to give a new sense of beauty.

In the ceramic pattern, the five-claw dragon pattern, which has always been supreme, has all appeared in the state of an open mouth and a warm and peaceful state. It also swam in lotus ponds. The lotus in Tibet is metaphorically pure and pure. Here, it should be explored from another aspect of dragon culture. Connotation. "Nirvana" cloud: "But I have a poisonous dragon in my residence. I am in a violent situation and I fear it will endanger us." Wang Wei's "Hengxiangji Temple" poem says: "Blank hollow cymbals, Anzen makes poisonous dragons." If this means Consistent with the original meaning, then, this pattern is clearly because of the flower enlightenment, into the meditation, imaginary introspection, the intention of purifying the mind and the nature, reflects the consciousness and development of the cultural connotation of the kiln, and reached the highest spiritual realm of the ancient kiln .