What is the history of blue and white porcelain?

1) The appearance of blue and white porcelain

When did blue and white porcelain come into being? Opinions vary, and no one can agree. Let's start from the facts. In the forties of this century, people discovered a blue-and-white porcelain bottle of the Yuan Dynasty, engraved with "Eleven Years of Zheng Zheng". Since then, many blue-and-white porcelains handed down from ancient times or unearthed in China have been identified as blue-and-white porcelains in Yuan Dynasty by researchers at home and abroad, which are similar to this porcelain in shape, embryo, glaze, material color and decoration. After this bottle with year model was made public, the research on ancient ceramics at home and abroad became the basis of blue and white creation in Yuan Dynasty. However, these blue-and-white porcelain wares are beautifully decorated, colorful and magnificent, and they have high attainments in decoration and craftsmanship. Jingdezhen blue-and-white porcelain has appeared in large numbers in the Yuan Dynasty, but its style tends to be mature. So some people think that such a mature blue-and-white porcelain can't suddenly appear. It must have gone through a bumpy stage and gradually reached such a level. Therefore, in the early days of blue-and-white porcelain, in recent years, some people thought that blue-and-white porcelain in Song Dynasty was popular in rivers and lakes, which led to the rapid development of Jingdezhen porcelain. It is speculated that blue-and-white porcelain sprouted in Jingdezhen Song Kiln, with excellent texture and clear blue-and-white transparent glaze.

After liberation, especially after the Cultural Revolution, great achievements have been made in the inspection of cultural relics in China. A large number of archaeological excavations provide us with a scientific basis for understanding the face of early blue and white flowers. In recent years, when the Institute of Archaeology of China Academy of Sciences excavated the site of Yuandadu, the site of Hutian ancient porcelain kiln excavated in ceramics museum, Jingdezhen, unearthed blue and white porcelain with exact stratigraphic relationship. For example, when ceramics museum of Jingdezhen tried to excavate the site of Hutian ancient porcelain kiln, he found a shadow blue bowl bottom painted under the glaze and a tiger-shaped pillow with brown dots and black under the shadow blue glaze, which provided some material data for studying the origin of Jingdezhen porcelain painted under the glaze and the germination of blue and white porcelain. Up to now, all the early blue-and-white porcelain found were produced in Jingdezhen in Yuan Dynasty. The blue-and-white porcelain unearthed at Hutian ancient porcelain kiln site in Jingdezhen is basically the same as that unearthed at home and abroad during this period. It can be said that blue-and-white porcelain appeared in the world. At the latest in China Yuan Dynasty (1970s to 1960s), it was made by China potters.

2) Celadon in Yuan Dynasty

With the development of domestic and foreign trade in Yuan Dynasty, Jingdezhen's porcelain production has made greater progress than that in Song Dynasty. From a large number of kiln furniture and porcelain fragments left by Hutian ancient porcelain site, you can find printers and blue-and-white porcelain pieces printed with the words "Shufu" at that time. Among these tiles, there is a blue-and-white decoration with gray-blue tone and poor porcelain quality, which is painted with earth materials; The other is exquisite works with neat brushwork, complex composition, bright hair color and delicate porcelain. We speculate that this kind of blue-and-white porcelain painted with earth materials may be folk porcelain at that time, and the exquisite blue-and-white porcelain with bright blue hair color should be a "human treasure" that is expensive and exported overseas.

Because Yuan blue-and-white porcelain was only known in recent years, with the understanding of Yuan blue-and-white porcelain, the wrong view that Yuan porcelain was rough in the past was reversed. In fact, with the appearance of blue-and-white glazed red painted bowls and plates, Yuan Dynasty porcelain has been quite exquisite in material color, shape and pattern. Judging from the blue and white of Yuan Dynasty handed down or unearthed at home and abroad, its material color belongs to the so-called "Suniboqing" type, that is, there are black spots and faint lines in the blue; Some are bright blue-purple, which is very close to the color tone of modern green materials prepared with very pure cobalt oxide; There are also gray-blue ones, which may be painted with earth. Judging from these circumstances, the sources of green materials at that time were relatively extensive.

Blue and white flowers in Yuan Dynasty are not only rich in color, but also very neat and meticulous in modeling and pattern decoration, each with its own characteristics. The common utensils in this period were large plates, bottles and jars. The market generally has two forms: round mouth and edge mouth. At that time, this big market was one of the main varieties exported abroad, and now a large number of them remain in Iran, Turkey and Indonesia. According to Han Huai's book China Ancient Export Porcelain Left over from Nanyang, "At that time, Malays used to eat with a big plate for four to eight people at banquets". Ma Huan's Ying Ya Sheng Lan also records that "China people ... put their rice on plates, pour ghee soup and eat it with their hands", so the market in the Yuan Dynasty may be specially burned for export. Commonly used blue and white decorative patterns in the market include chrysanthemum, lotus, peony, rolled grass, bamboo, plantain, bamboo leaf green, plantain, etc., which are generally painted with stone. Birds include flying phoenix, heron, duck, mandarin duck and so on. Animals include unicorns and deer. Dragons are also widely used and have their own characteristics. For example, the Yuan Dynasty blue-and-white moire plum vase (see figure 15) in the porcelain collection of the Palace Museum has a small mouth, a short neck, rich shoulders and thin feet. The decorated dragon is different from the Ming Dynasty after15th century. It is characterized by a narrow neck and three claws, and dragons always draw clouds or sea water. There are three groups of decorative patterns on the bottle body, and wishful head patterns are often hung on the shoulders, and flowers are painted in the patterns; Draw flowers or dragons in the middle; The lower part is mostly a lotus petal pattern, in which lotus petals or eight treasures are painted. The shape of the jar is mostly straight mouth, short neck, wide shoulders and thin feet. The shoulders protrude with double animal ears, and the mouth, neck, shoulders and feet are neatly decorated. For example, 1960, a blue-and-white jar with a big cover unearthed outside Deshengmen, Beijing, has a wide mouth and abdomen, and the whole body is in the shape of thirteen petals of melon ribs, covered with lotus leaves and covered with vertical moire. The theme of the cover is flowers with broken branches, and the edge ring of the cover is covered with grass patterns. The mouth of the body is bounded by palindromes, and the bottom is decorated with wishful heavy moiré. The main part is patterned with different kinds of flowers, and the roots of flowers are lined with rocks. The lower part of the body is decorated with a lotus leaf, on which a flower and a four-leaf chrysanthemum are respectively installed, and the two lotus leaves are separated by palindromes. The ring around the foot is covered with grass patterns. Such a large-scale blue-and-white product with seven layers and ten layers is not inferior to the exquisite blue-and-white works in the Ming and Qing Dynasties. Another example is 1970, a flat blue-and-white pot with crested head, a blue-and-white lamp and a blue-and-white bowl unearthed in Beijing Yuandadu, among which the flat blue-and-white pot with crested head is an unprecedented masterpiece. Its shape was developed from the space-based pot sent by Jin and Tang Dynasties. Jingdezhen still had a chicken-headed pot in the Five Dynasties and the Song Dynasty. The potters in the Yuan Dynasty skillfully inherited this traditional modeling technique, and cooperated with the blue-and-white painting and decoration of the phoenix image to combine with the pot body very naturally and appropriately. Make the image of the whole phoenix pot more vivid and decorative. At the same time, it absorbs the flat shape of the northern national wok, which is obviously related to the user's hobbies. Its blue and white is bright blue-green, using the best materials at that time, and its brushwork is neat and delicate, which is also from the hands of porcelain painting experts. Such works were a few luxuries that were carefully designed and produced at that time. From these exquisite decorative patterns in Yuan Dynasty, we can see the origin relationship between them and the patterns of Yingqing engraving and Dingyao printing in Jingdezhen in Song Dynasty, such as the fence edge on the plate, chrysanthemum, peony, lotus, Yunlong and other patterns, all of which were born out of Yingqing engraving and Dingyao printing. However, the new decorative pattern of the pot shoulder is influenced by Mongolian culture. Since then, this pattern has been appearing on the ceramics of Ming and Qing Dynasties, which has become a unique style of ceramic decoration in China. Others such as 1962 blue vases unearthed under the north wall of Xinjiekou, Beijing; 1964 Yuan Dynasty blue-and-white purple-mouth carved pots and blue-and-white octagonal pots unearthed in Baoding, Hebei Province; Beijing Cultural Relics Management Office 1954 Yuan Qinghua Yuhu Spring Bottle in Tibet; 1962 yuan blue and white peony jar of Shanxi Museum; 1966 The blue-and-white Yunlong jar unearthed in Jinkeng, Jiangsu Province, and a large number of blue-and-white porcelain pieces unearthed from Hutian ancient porcelain kiln site in ceramics museum, Jingdezhen in recent years can prove that the quality of blue-and-white porcelain in Yuan Dynasty has reached a quite high level in terms of shape, color, glaze water and pattern, and it is a mature and stereotyped product.

In the yuan dynasty, due to the widespread appearance and maturity of blue-and-white porcelain, its production and sales were described in "Tao Ji lue" written by Jiang qi? Quot kiln fire has stopped, merchants try to sell it, and superiors choose what to do. This is called picking kiln. At the time of the transaction, the owner of the tooth "due to the development of production, the exploitation of Jingdezhen porcelain industry by the ruling class in the Yuan Dynasty intensified. The taxation and extraction of porcelain kilns are extremely cruel and the customs are extremely strict. In terms of kiln foundation, there is a relationship between kiln length and rate, and the official borrows the ruler to pay taxes first. "When you want to burn, you should borrow money to pay. In terms of customs protection, "the kiln has a ruler, and the private person is punished. Glaze has three colors, and whoever takes it will be punished. Anything that is beneficial to officials, if it involves cheating, the dentist will bear it, and one case is guilty. In this way, "the big businessmen at that time are dissatisfied today in nine cases out of ten, and officials are envious of their profits, but sometimes they suffer losses." "At the same time, the rulers of the Yuan Dynasty indiscriminately distributed the banknotes of the Yuan Fund-the banknotes of the central government and the banknotes of the supreme government, which caused great disasters to Jingdezhen porcelain workers. The folk song "One Kiln and Five Kilns" at that time was a true portrayal of that era. The working people in Jingdezhen made great contributions to the development of Jingdezhen porcelain under the cruel exploitation and oppression of the rulers of the Yuan Dynasty.

3) Blue and white porcelain in Ming Dynasty

In the Ming Dynasty, a new situation appeared in Jingdezhen porcelain industry. Since the Ming Dynasty, Jingdezhen has overwhelmed all the famous kilns in history and become the center of China porcelain industry. If the blue-and-white porcelain of the Yuan Dynasty once shook the status of celadon, then from the Ming Dynasty, the blue-and-white porcelain of Jingdezhen began to overwhelm celadon in history. In the future, the output of blue-and-white porcelain is increasing, and the output of celadon is gradually decreasing. The commercial market of celadon has even dropped to such an extent. According to Hui, a Chuzhou celadon bowl is worth 150 penetration overseas, and a blue and white porcelain bowl is worth 300 penetration. Blue-and-white porcelain bowls cost twice as much as blue-and-white porcelain bowls, but blue-and-white porcelain is easier to burn than blue-and-white porcelain bowls. So blue and white porcelain defeated Chuzhou celadon. It is not surprising that Jingdezhen can develop into the center of porcelain industry in China after14th century.

With the development of blue and white porcelain, Jingdezhen porcelain production in Ming Dynasty entered an unprecedented level of development. According to records, Jingdezhen was known as the "Xiongzhen in the South of the Yangtze River" at that time. Later generations described the bustling situation here as: "the hub hits the shoulder, gathers in all directions, and the lanes are connected, and thousands of households are thick, and Chengjiang is the right capital." It is said that there were nearly 300 official and private kilns at that time, with an annual output of hundreds of thousands of pieces of porcelain. How is the production? Quot During the day, white smoke enveloped the air, and at night, red flames smoked the sky. At the end of the year, fireworks face each other. "The product is:" Equipment becomes the world. "Market competition sales, best-selling all over the world. Song said in "Heavenly Creations": "The famous hunters in China are all produced in Jingdezhen, Fuliang County. "Blue and white porcelain is the most important porcelain in Jingdezhen in the Ming Dynasty. Judging from these circumstances, the blue and white porcelain of the Ming Dynasty reached an unprecedented peak on the basis of the Yuan Dynasty.

As Chairman Mao pointed out: In feudal society: "Only farmers and handicraft workers are the basic classes that create wealth and culture." Jingdezhen Potter is the creator of colorful blue and white ceramic art in Ming Dynasty. Blue-and-white porcelain wares in Ming Dynasty have different characteristics in different periods. If the blue-and-white porcelain wares of different periods are distinguished according to the characteristics of different times, then the blue-and-white porcelain wares of Ming Dynasty can be divided into: 1. Early Ming Dynasty (Yongle to Xuande); Second, the middle of the Ming Dynasty (Chenghua, Hongzhi, Zhengde); Third, the middle and late Ming Dynasty (Jiajing to Wanli); Fourth, the late Ming Dynasty (Apocalypse, Zhenguan). The sources of blue and white materials in these four periods are different, and the colors are also significantly different.

Early Ming dynasty

After entering the Ming Dynasty, Jingdezhen became the national porcelain center. In the second year of Hongwu, a royal factory was set up in the town. The porcelain it produces is exquisite, regardless of the cost, and is exclusively for the enjoyment of the palace nobles. This system was used until the end of Qing Dynasty. Blue and white porcelain is the mainstream of Ming dynasty porcelain, and Jingdezhen's porcelain-making technology is becoming more and more exquisite. The achievements of blue-and-white porcelain in the early Ming Dynasty were mainly manifested in the works of Xuande period. Yongle and Xuande periods were the heyday of porcelain production in Ming Dynasty, and Lu Tao in Jingdezhen was a cloud. Quot Xuan kiln blue and white is the most expensive. "It can be seen that the first type of Ming porcelain' Xuande Kiln' is represented by' blue and white'." Xuande blue-and-white is characterized by dark blue-green hair color, bright and vigorous color, material color infiltrating into glaze bone, and lines often have halo phenomenon and dark halo spots (that is, the so-called "Suniboqing" type of green material is used). Much like the ink halo formed by Chinese painting on Xuan paper, with the halo, the brush lines are naturally muddy and interesting. In painting techniques, painting with a brush and developing the relationship between light and shade with a pen are the technical characteristics of Xuande and previous blue-and-white painting porcelain, because the muddy dyeing (water separation) method was not invented at that time. Most of the paintings are wrapped in flowers and fruits, and some figures, gardens, fish, birds, animals, waves, dragons, etc., with certain lateral foot lines, are often painted inside and outside plates and bowls, making the whole porcelain more plump and solemn. In addition, it is also made of large vessels such as vats, piers, large plates and vases, and with heavy blue and white decoration, it is magnificent, creating the wonders of the blue and white art generation. For example, Xuande blue-and-white flower-tied celestial vase in the Palace Museum (see figure 16) is solid and tough in shape, dignified and stretched, decorated with blue-and-white branches, fluent in pen, light in materials and pure and solemn in ink color, which makes the whole look rich and beautiful. It is a representative work.

Mid-Ming dynasty

By the time of Chenghua in 1960s, the production of blue and white porcelain had undergone new changes. In the selection of materials, green body, firing are more particular. Porcelain-making technology is also more skilled, and porcelain tires are delicate and light. Quot Blue and white paper is made of thin sprinkler lamps. "The shape of utensils tends to be lead, light and clever, and the technique of painting porcelain has also developed from a single pen to a thin pen line, and the other is to use a large number of water kites. Are you familiar with curtains? ∩ Xia Youju all magpies? Hey? Is that enough? What is an enzyme? By steel? [14] by? Different shades are closer to the ink effect of China's ink painting. Among the blue and white pigments, Ping Dengqing materials are used, which is said to be the broken hall green of Leping, a neighboring county in Jingdezhen. Its color is beautiful and elegant, becoming a low-key blue and white. Although it is not bright and dignified, it is also beautiful and lovely. " "Drinking Studio Talking about Porcelain" said: "Chenghua is colorful and blue and white, all of which are extremely beautiful. Blue and white goes deep into the glazed bone, and the brush is old and horizontal. Kangxi was still scared off. "This can be translated into" Blue and White ". Although not as good as Xuande, it also has its advantages. During the period of Zheng De, some works with rich cyan and full decoration appeared. According to documents such as "A glimpse of the sky", Zheng De obtained the "Renaissance of the Western Regions" from Yunnan, but in terms of decoration style, it is basically the same as Chenghua. After Chenghua, the decorative patterns of medium-sized vessels were generally rendered (Jingdezhen is now called "mixed water", which is the same as ancient documents). At that time, blue and white dishes were "moving 100 thousand" In order to "paint the same" instead of "different" ("Ye Tao Tu Jibian"), the craft of painting blue and white is divided into "painters only learn to paint but not dye, and dyers only learn to dye". According to "Tiangong Wu Kai", "A total of 72 workers have handled a bad job, and only in this way can they be completed, and the detailed procedures cannot be exhausted." Seventy-two Changes shows how detailed the division of labor is. In the Ming Dynasty, Jingdezhen potters once created many exquisite blue and white wares for mankind with their unique "division of labor".

Middle and late Ming dynasty

During the Jiajing and Wanli periods after the 1920s, with the development of social economy and overseas trade, the production of blue and white porcelain was expanded unprecedentedly. The style of blue and white art is also more beautiful and complicated, which is manifested in a large number of dragon and phoenix patterns on the official kiln porcelain. The shape of the vessel has also become more complicated. In addition to making large pieces of porcelain, various shapes of inlays were added. Create a rich and luxurious blue and white multicolored porcelain, which is extremely gorgeous for a while. The green material used is recycled green. After washing and rejuvenation, the stone green flowers produced in Jiangxi are very rich in color, some are purple-blue, some are purple-red, which is completely different from the blue and white flowers in Xuande and Chenghua periods. Its shape and pattern are also different from the previous generation in complexity.

In the Ming Dynasty, Jingdezhen folk kiln blue and white was very developed, with bold and magnificent painting style and simple production, which was beyond the reach of official kiln porcelain. Before the middle of Ming Dynasty, there were many porcelain wares in folk kilns. Now, we can find famous folk kilns in Ming Dynasty, such as Cuigong Kiln between Ye Jiajing and Qin Long in the middle of Ming Dynasty, with fine products.

By the end of Ming Dynasty, political corruption, national unrest, official kiln production almost stopped, and thick and exquisite porcelain rarely appeared. On the contrary, there were many wonderful works of blue-and-white porcelain in folk kilns at that time. The sketches of flowers, birds, insects, fish and landscape figures are simple and beautiful, with only a few strokes and full of interest. The blue-and-white tone is also very clean and beautiful, and it has another simple and fresh taste of being close to the people.

4) Blue and white porcelain in Qing Dynasty

Blue-and-white porcelain in Qing Dynasty continued to develop and improve on the basis of outstanding achievements of blue-and-white porcelain in Ming Dynasty. Especially in the period of Kang, Yong and Gan, new achievements were made in porcelain modeling, glaze color and flower painting. According to Lu Tao of Jingdezhen, "Today (Qing Dynasty) pottery is exquisitely made, skilled in craftsmanship and exquisite in color; Before the antique law, the pattern was different from the lunar calendar. " Official kilns are superior to those in the past. "(Volume 5), blue and white porcelain is the most prominent in the works of Kangxi period. In the 19th year of Kangxi, the Qing government set up imperial kiln factories in Jingdezhen with different sizes and styles. The color of blue and white porcelain is just like the color of pearls in Yunnan today, and it has a fresh and bright feeling. The decorative patterns of blue-and-white wares, such as landscapes, figures and flowers and birds, are all plain, which is called the three crowns in Qing Dynasty. The style of its utensils changed in the Ming Dynasty. Modeling is mostly in the form of tall and straight. Such as plum blossom hammer, banana, phoenix tail, flower shape and so on. Most of them are hard, straight and square. Its style can be coordinated with the beautiful and clear blue and white decoration at that time. The color of blue and white is bright blue-green, bright and beautiful, delicate and green. Fine and beautiful painting, increasing the color separation level, and even dividing the stroke depth one by one, showing skilled porcelain painting skills and rich expressive force. For example, the porcelain blue-and-white golden pheasant peony phoenix tail statue in the Palace Museum (see figure 19) and the blue-and-white landscape pattern covered jar statue (see figure 20) are typical works in the Kangxi period. In the decorative style, it absorbed more expressions of folk woodcut prints, generalized and exaggerated the image, drew lines with rigid and meticulous brushwork, and then used various shades. After rendering, it looks bright and clear. Kangxi's blue and white achievements have always had a far-reaching influence, and its color has become the standard for later generations to imitate. "Tao Ya" said: "The blue and white of Yong and Gan Dynasties were far from being covered by Kang () kilns, but blue and white. Although Kang Qing is not as beautiful as Ming and Qing Dynasties, she can go her own way. " (Volume I) Drinking also said in "Six Zhai on Porcelain": "Hard colors and blue and white are subject to Kangxi." (the fourth color), it can be seen that Kangxi blue and white is unique in the Qing Dynasty. There are two articles about "green materials" in "Illustration of Ye Tao", and the eighth article says: "People who cut their blue and white porcelain without gardens are different. They learned that the green material was used to paint green glaze for the needs of painting, and they also cooperated with the green material to produce mountains belonging to Shaoxing and Jinhua counties in Zhejiang Province. ..... The property owners in the mountainous areas of Guangdong, Jiangxi, have a weak color and can't stand the tempering. They can only paint and dye the market and sell rough products. "Article 9 When selecting green materials, it is said that" the green method is used, coated on the green body, covered with glaze water, and fired in the kiln to make it green. If you don't cover the glaze, its color is still black, and the kiln fire is a little higher, then the painted blue and white will be scribbled ...? quot。

During Yongzheng and Qianlong periods, porcelain production was dominated by glaze and pastel, which developed highly. The production of blue and white flowers has been affected to some extent and lost its previous advantages. But there are still some very fine works. For example, the Forbidden City porcelain Yongzheng blue-and-white group chrysanthemum pattern jar (see Figure 2 1) has a symmetrical shape, and the pattern format of the group chrysanthemum pattern is even and delicate. Ganlongqinghuameimagpie-patterned fruit bottle (see Figure 22) is a typical style of Gan Long, which is transformed from the hard-core style of Kangxi, and makes the shape of the vessel beautiful with soft lines. Its decorative magpie comes from Kangxi, delicate and realistic, and tends to sketch from nature, which is also the style characteristic of Gan Long's painting decoration. At that time, antique style prevailed, and most of them imitated works published in Ming Dynasty. Although some of them are very exquisite, they lack novelty and original natural and fluent style. There are many blue and white porcelain wares in folk kilns, and the words Daming or Chenghua are often written at the bottom. At this time, the color of blue and white has changed greatly. Generally speaking, Yongzheng is calm, and when it is dry, it is bright blue and rich.

In the late Qianlong period, due to the end of feudal system, Jingdezhen porcelain production declined accordingly. In addition to the fresh and simple style of folk blue-and-white porcelain at that time, the official kiln blue-and-white porcelain also pursued naturalism with complicated patterns, which reflected the decadent and low-level aesthetic taste of the ruling class.

After the Opium War, with the invasion of foreign capitalism, China became a semi-colonial and semi-feudal society. Due to the plunder of imperialism and the destruction of domestic reactionaries, Jingdezhen's porcelain production has collapsed, and the blue-and-white porcelain with a long history has lost its former glory. By the late liberation, the production of blue and white porcelain in Jingdezhen had almost stopped.

V) Conclusion

Throughout the 600-year history of blue-and-white porcelain in Yuan, Ming and Qing Dynasties, we can clearly see that blue-and-white porcelain is the crystallization of blood, tears and wisdom of the working people in Jingdezhen, and it is also the evidence of cruel oppression by the ruling class. Rulers of past dynasties have set up imperial ware factories in Jingdezhen to burn luxury goods for the ruling class, and pottery officials have been stationed in the factory to build them. This was a heavy burden for the working people at that time. According to local records, "there are about 500 craftsmen of all sizes, but more than a thousand people can't run away", so that "people have been ill with pottery for a long time." It can be seen that the Imperial Factory employs more than 1000 people every year, working hard for the royal family and bullying the people. "In the name of offering sacrifices, Taoist officials are extremely demanding", extorting and squeezing the working people in Jingdezhen in every way. A famous folk song in Yuan Dynasty: One Kiln and Five Corners is a true portrayal of the disasters suffered by the working people. At the end of Jiajing in the Ming Dynasty, the local government issued more silver coins with grain, which caused "public and private difficulties" and made the people miserable, which became a tyranny that disturbed the people. In the 19th year of Wanli, more than 239,000 sets and pieces of porcelain were added. Pan, the eunuch of twenty-seven years in Wanli, was in charge of pottery affairs. Pan Xiang and his minion Wang Si collected business tax everywhere and exploited the kiln workers. The Potter's child died in the fire because of burning the blue and white dragon jar. During the Wanli period, an official named Wang Jingmin once went to the Emperor of Shu to "play, burn, make strange objects and be skillful" (Fu Liang Xian Zhi) and Zheng Tao Pian). This sparse performance did not reduce the oppression of the ruling class on the workers in Jingdezhen, but aggravated it. In the twenty-five years of Jiajing alone, the extra cost of burning "imperial vessels" was as high as122,000 silver and 205,480 stone rice, which was equivalent to137,000 food rations for poor farmers for more than a year. The blue-and-white dragon pot unearthed in Ming Dingling was fired by a Potter in Jingdezhen at that time. It cost 520 taels of silver to burn this dragon jar, which was equivalent to the salary of a Potter for six years at that time.

In the eighth year of Shunzhi in Qing Dynasty, a dragon bowl was made in Daoe, Jiangxi Province, and the official book said, "Share the interest with the people." It is useless to send the Dragon Bowl to Beijing. It's no use doing this, it will stop forever. "This is the crown word of buying people's hearts when entering the customs in the early Qing Dynasty. In fact, the blue-and-white Yunlong incense burner in front of the Buddha statue in Yonghe Palace in Beijing reads in regular script, "In the eighth year of Shunzhi, Jiangxi was supervised by officials, and several pieces of Qinglong Bowl were all made in the eighth year of Shunzhi, which is not the" interest sharing with the people "as stated in the official book of places of interest.

The Royal Kiln Factory is a hell for working people. The achievements of Imperial Kiln Factory are based on the cruel exploitation system. "People Take the Kiln Road" is a portrayal of Jingdezhen potters' life at that time: potters eat "except bitter intestines, and dare not ask leeks", but at work, they still "give priority to one heart and spare no effort". When they are old and sick, they will be insured for ten dollars. Some of them "served for twenty years and were ill for nine years." Whoever serves porridge first will run out. Abandoning my green hills and sunshine, green phosphorus shines beside me, and I feel alive and dead, and it hurts faintly. I am in a mess now, and I am eager to return to a foreign land. "Ballad of the Qing Dynasty:" A house builder, a house builder and a house washer, with their hands folded, bent over and squeezed, would rather die than be a grass. "These are the blood and tears of Jingdezhen Potter's life.

Where there is oppression, there is resistance. The ruling class stepped up its plunder of the working people, which also inspired the people's resistance. During the Ming and Qing Dynasties, there were rebellions of different scales almost every year. For example, from the twenty-seventh year of Wanli in the Ming Dynasty, the working people in Jingdezhen persisted in their struggle against feudal autocracy for four years. By the third year of Wanli, more than 10,000 potters surrounded the imperial kiln factory and set it on fire, and launched a massive resistance struggle. During Jiaqing period of Qing Dynasty, under the leadership of Wang Zizhen, a blue-and-white painter in Imperial Kiln Factory? The movement of "Mao Yin changing into tattoo silver", the movement of "white apron" of grass planting workers in Qinggan Long and the movement of "knowing four meats" all show the tenacity of Jingdezhen potters' struggle.

Historical facts clearly tell us who invented blue and white porcelain? Who made blue and white porcelain develop? It was not invented by one person, but by dozens, hundreds and thousands of people; Not the official history of the supervisor, but thousands of working potters. Blue and white porcelain is the product of the labor, invention and strong struggle of Jingdezhen working people for centuries. When we understand the history of blue and white porcelain, we must not stick to these names and mistake them for the achievements of the ruling class, pottery officials and imperial kiln factories.