"Blue-and-white" refers to painting a porcelain tire with cobalt, then coating it with transparent glaze, and firing it once at high temperature, showing white and blue. Although the fragments of porcelain pillows unearthed in Tang Cheng, Yangzhou, Jiangsu Province and a white glazed blue-and-white tripod unearthed in Luoyang, Henan Province can't completely prove that blue-and-white originated in the Tang Dynasty, at least it tells us that China had the technology of firing this high-temperature underglaze blue-and-white in the Tang Dynasty. Blue-and-white porcelain in Yuan Dynasty developed rapidly with Jingdezhen as the center, and became the main force of Jingdezhen porcelain making. At the same time, it is famous for its unique distinctive and elegant national characteristics.

Jingdezhen blue and white porcelain vase antique ornaments

First, the totem worship of Mongolian "Canglang White Deer"

As the first unified dynasty established by ethnic minorities in the history of China, the Yuan Dynasty followed political rule and their national beliefs. The blue and white melancholy of blue and white porcelain accords with the aesthetic characteristics of "respecting white and worshiping blue" in Yuan Dynasty, which is related to Mongolian totem worship. According to the Secret History of Mongolia, "Genghis Khan's ancestors were Kyle Tiechihan (a pale wolf) born in heaven and his wife Huo Aimalanle (a poor white deer). They had a son named Batachihan." Among them, touching legends about Canglang and Bailu have been passed down to this day, and Canglang has become the totem of Mongolians since then.

Pale color is blue, and together with white, it becomes the eternal color of Mongols. This may be related to the natural environment in which they have lived on the grassland for generations, with blue sky and white clouds overhead. The introduction of blue-and-white ancestral legends in Historical Records just shows that this aesthetic concept has been deeply rooted. Blue-and-white porcelain was deeply loved by the rulers of the Yuan Dynasty because of the blue decoration of the white tire bottom.

Second, the infiltration of the atmosphere of the times.

Before the Yuan Dynasty, the land of the Central Plains was ruled by the emperor of the Han Dynasty. Under the guidance of the ideal of imperial power, people pursue benevolence, self-cultivation, keeping the family in order, governing the country and leveling the world. The corresponding paintings are enlightening, such as "being civilized and helping others". Under the background of the dominant position of painting art, the externalization of ceramic decoration art is gorgeous Tang tri-colors, elegant secret porcelain and black-and-white Cizhou kiln in our eyes. In short, it is permeated with the positive and enterprising spirit of Confucianism.

This kind of social and cultural difference is more obvious in Yuan Qu of Tang poetry and Song poetry. Read Wang Changling's "Join the Army". "The snowy mountains in Qinghai are dark, and the lonely city looks at Yumenguan. The yellow sand wears golden armor in hundreds of battles, and the loulan is not returned. " Deeply moved by the poet's indomitable will and lofty sentiments beyond words. Read Liu Yong's Looking at the Tide of the Sea again. "Southeast, Wujiang municipality, Qiantang since ancient times. Smoke willow painting bridge, the wind is clear and the willow is green, with a million people. Clouds and trees surround the sand embankment, the raging waves roll frost and snow, and the natural barrier is endless. Pearl in the city, Luo Qi in every household, competing for luxury. " I can't help sighing at the bustling scene. Tang poetry is magnificent, and Song poetry is graceful and freehand. Jathyapple-style blue-and-white femininity has such a meaning only in Yuanqu. Read Ma Zhiyuan's "Tianjingsha Qiu Si": "Dead vines and old trees are humming, bridges are flowing, ancient roads are thin and horses are westerly, the sun is setting, and heartbroken people are at the end of the world". Reread Georgie's "Folding the laurel tree, the guest window is bright": "ups and downs, pear blossoms, narrow curtains, clever small window screens. In front of the emotional lamp, on the guest pillow, I am worried about the world. My sorrow is as long as the old man's white hair. Fifty years have passed, just like a one-night dream of spring. When I see others, the willow branches divide the smoke and help the eaves. " The scenery in the two songs is soft, giving people an ethereal feeling. Blue and white, a unique art form, is brewing in this era atmosphere.

Third, green accords with Tao and explanation.

China culture has always continued the culture of Confucianism, Buddhism and Taoism, and the quietism thought of Taoism and Buddhism can only be expressed by the green color of blue and white. In fact, China porcelain wanted to show the perfect cyan pace, and it never stopped until the appearance of Shang and Zhou celadon. Liang's "Ancient Kiln Porcelain" said: "Celadon is the most expensive, followed by multicolor." Among these porcelains, blue and white porcelains and Qing Ji are all made of green materials. Jin called it "celadon", Tang called it "the emerald color of a thousand peaks" and wuyue called it "the secret color". Although the later Song porcelain was rich in color, the porcelain produced by Ru kiln, the first of the five famous kilns in the Song Dynasty, was still light blue, and the porcelain produced by Ge kiln and Longquan kiln was also blue. Throughout the history of Chinese ceramics, China people have loved celadon for generations, and the development of celadon has become more and more prosperous. The light color above white porcelain is not only loved by Mongolians, but also conforms to the aesthetics and literati mood of China people.