Host: Hello everyone, our morning Song Dynasty Ding porcelain Culture Summit Forum now begins.     This morning, three teachers gave us a lecture.    The first teacher is Feng Xiaoqi, a researcher of the Palace Museum and a famous expert in the research and identification of ancient ceramics in China.     He will tell you about the porcelain in the Palace Museum.     Her father is also an expert in ancient ceramics research of the older generation.     It should be said that he has made a great contribution to the development of ceramics in our country, including the history of Chinese ceramics.     Today we have the honor to have Mr.     Feng, to give you the first lecture, the Imperial Palace Collection Kiln Porcelain, let's welcome Mr.     Feng to give you the first lesson with warm applause.    

Feng Xiaoqi: Good morning, everyone.     I received the notice of this meeting three days ago, so I was in a hurry to prepare.     I think there are a lot of experts from Hebei Ding Porcelain here.     We will mainly listen to their speeches later.     They may have a deeper understanding of Ding Porcelain than us.     My topic is Dingkiln Porcelain from the Palace Museum.    

Let me first make a general introduction of the porcelain collection in the Imperial Palace.     The number of porcelains collected by the Palace Museum is 360,000 recently, of which 300,000 are porcelains from the imperial kilns of the Ming and Qing dynasties.     This number is relatively large.     There are also 60,000 pieces of kiln porcelain produced in different parts of the country, from all dynasties.     The Five Great Civilian Kilns of the Song Dynasty are a key part of the collection of the Palace Museum, including the National Palace Museum in Taipei, because our two collections are mainly based on the Five Great Civilian Kilns of the Song Dynasty and the official kilns of the Ming and Qing Dynasties.    

I have made a preliminary statistics, the Song Dynasty statistics of the figures of the five major kiln, there are some such figures, Ru kiln announced 20 pieces, 45 Guan kiln, Ge kiln 64 pieces, 388 Ding kiln, Jun kiln 427 pieces, a total of 944 pieces.     There may be some pieces that have not been counted, but the number published now is 944 pieces.     Of course, the total number is a little more than this, especially for the white porcelain in the fixed kiln.     There are some white porcelain without the fixed kiln opening, which should contain some products of the fixed kiln.     So roughly look at the Imperial Palace collection of five big kiln products nearly 1000, is such a number.    

So 388 fixed kilns.     These are the numbers posted online.     I also made a preliminary understanding of the Ding Kiln in the collection of the Taipei Palace Museum, and it is about 400 pieces.     In this way, there are about 800 pieces of fixed kiln porcelain collected by the two Imperial Palace, which is quite a lot in the five big folk kilns.     So in these collections, we look at the period from the Tang Dynasty to the Yuan Dynasty.     Of course, we have to judge from the kiln specimens investigated by the Imperial Palace in these decades.     We may kiln specimens earlier.     We have found samples from the Sui Dynasty, just as there are samples from the Sui Dynasty in today's exhibition, so the earliest history of Ding Porcelain can be traced back to the Sui Dynasty.     However today there are Yuan and Ming Dynasties, so if the firing of Ding Porcelain is on a large scale, it may be a longer time, this is the age in this stage.    

Let's look at the variety.     Some of the objects in the Imperial Palace collection are, of course, mainly white porcelain.     We all know this.     The kiln is mainly known for white porcelain.     In addition to the white glaze, there are sauce glaze, black glaze and green glaze carving.     It's my first time to see tricolor, which is also very beautiful.     Ding Porcelain among the five major civilian kilns, I think Ding Porcelain has the most abundant connotation and the most diverse varieties.     If you look at the Jun glaze, perhaps its white skin and black flowers are the most important.     Take the kiln for it is also green glaze, color changes a lot, there are emerald green, also have spring green.     The black glaze is painted, and it's a little bit like a feather strip, and it's radioactive, so it's very diverse for each species.     We have been investigating ancient kiln sites for more than ten years with the young people of our group.     The more we investigated, now we have nearly 370 kiln sites after 12 years of investigation.     The more we looked at it, the more we realized that the material we have now was actually a fraction of what was produced back then.     The connotation of each kiln is very rich, of course, we speak of this kiln is a big concept.     For example, as we say, the distribution range of Ding Kiln may have a lot of locations from morning to night, which we may know, Jun Kiln is the same, Jun Kiln site is nearly 180 more, each kiln is a large kiln, burning varieties, glaze color, decoration are very rich.     In fact, we now know each kiln, but it is the most typical, the most standard.     We know there are a few others that are slightly more unique, so we can't say for sure.    

So in the study of ancient ceramics, we say that the identification of it should be divided into three aspects.     One is the identification of The Times, which I think is relatively simple for us.     The second one is the identification of the kiln, which is difficult, because as I said just now, from morning to night, from the end of each kiln, the site is constantly changing.     Its style and appearance are constantly changing, and we look at each kiln to imitate, learn and communicate with each other at the same time, which also makes it difficult for us to determine its specific production site.     For example, I used to have this kind of experience, Mr.     Peng and I went to various places to identify the past, a look at the white ground and black flowers, I would like to Cizhou Kiln.     But I see that he is always silent.     After so many years of investigation on kiln sites, I also have a feeling that the more you look at such things, the less you dare to jump to conclusions.     So sometimes people's knowledge is not up to a certain level, the courage is very big, dare to say anything, really to a certain level of research, really less and less courage.     Therefore, the identification of kiln is a difficult point in the identification, because there are too many similar things, and it takes great effort to identify them.    

In addition, the authenticity of the situation, now all over the country in the archaic, archaic imitation is very good.     This also brings great difficulty to identification, so identification must be hard work.    

Just said the variety is very rich, and then the decoration is also very rich.     Some previous speeches have also mentioned the main two kinds of printing and carving of Ding Porcelain.     I think the connotation of Ding Porcelain is really too rich, which is worth studying.     We can see the shape of the Imperial Palace collection is also rich, a large number of bowls, wash more.    

Some of the carving flowers of the fixed kiln in this device also had grate, so there were grate lines in the Song Dynasty.     The grates text is the most common decoration of the Song Dynasty porcelain.     Basically, you can judge its age by seeing this kind of decoration.     Its scope is the Northern Song Dynasty, Jin Dynasty, Southern Song Dynasty, each kiln is widely used.     Among all the patterns, day lilies pattern should be the main, which is widely used on the porcelain of the Ding kiln.     I had also done a statistics, in all the patterns of the day lily pattern accounted for 1/2, it is the most characteristic of the kiln.     In addition, peony, chrysanthemum pattern, double fish pattern, are also common in the kiln.     One of the most important patterns, and the court porcelain is related to the dragon and phoenix pattern.     The dragon and phoenix pattern also belongs to the Ding kiln.     We have a special cabinet for holding boxes, very large, engraved with dragon and phoenix patterns, these are palace porcelain.     The dragon and phoenix patterns are also carved.     What I see now are all large ones, many of them.     A large number of specimens collected by the Imperial Palace in the 1950s and 1960s were carved with dragon and phoenix patterns.     The plates were relatively large, with slightly small lips and very good quality.     There are printing patterns, and some seem to have some small pieces.     So there are two kinds of decoration: dragon and phoenix carving and printing.    

Looking at the definition of Ding Porcelain, from the Tang Dynasty and Song Dynasty, it should be related to the national use of porcelain.     If expanded to the kiln specimen to see the content of that knowledge is more rich, we look at the "official" word, there are several.     We say that we study a kiln implements to combine the handed down and unearthed, national museums and private collections, so that we see the material will become more abundant, understanding of this kiln, will be more in-depth, because is the same as the site investigation of our experience, we run a province is a province, each of us as much as to a site also look at the museum.     I also look at private collections and markets, so I have a specific understanding of the kilns in this region, so this is a good way to learn.    

Inscription: official, new official, Yi Ding, east palace, food bureau, drug bureau, food official bureau is seven characters, Wuwangfu (Royal Highness Palace), Fenghua, Fenghua, Cifu, Juxiu, Forbidden Garden, De Shou, Beiyuan, etc.     There are dozens of types of Dingkilns unearthed in Hangzhou.    

It can be seen that most of these certificates were appointed by officials, new officials, and some institutions in the royal palace, and some certificates were related to the name of the palace, which were carved by the special craftsmen of the palace after the utensils were brought to the palace, and most of them were the names of the palace.     Like the Beiyuan is also our collection of specimens, so roughly see Ding Porcelain very rich knowledge, can be divided into such a few categories.    

There is also a kind of imperial inscription on the porcelain, this we and the Taipei Palace Museum have, the number I do not have time to check in detail, it should be within four, is carved in the kiln Qianlong poem.     This is also in the Qing Dynasty, the poem was engraved on the porcelain.    

Casting process: burning, burning over.     One of the reasons why we can see more chances of Song Dynasty porcelain now is that the method of burning over, which can multiply the output, so all the kilns around use this method, then the number of times increased, which is also one of the reasons why we see more Song Dynasty porcelain.    

Now let's look at the characteristics of a kiln through some utensils.    (Picture), we all say that this is a typical shape of the Liao Dynasty, but we can see that this shape first appeared in the Tang Dynasty, it should be the first time that this shape appeared, and then it became a typical shape in the Liao Dynasty.     What is special about this artifact is that it has several words engraved on the bottom, "XXXX", which we can further study, whether these four words were craftsmen or what at that time.    

We compare the difference between fixed kiln and Cizhou kiln.     The pillow of fixed kiln is higher than that of Cizhou kiln in shape.     We identify whether it is Ding Kiln or Cizhou Kiln, and height is one of the aspects we refer to.    I think this is what's called the grates, the decorations on the leaves, and this is one of the most important decorations we can tell about this time, and it's found in every kiln.     Northern Ding Kiln, Cizhou Kiln, Yaozhou Kiln, several main kiln are used.     In the south, there are more.     The pearlescent celadon burned in the south is fired everywhere in the south, and there are grates and grates commonly used.     We say the color of the kiln, generally we read the teeth are yellow, white, ivory white.     No matter how you call, it is white with yellow, slightly in the kiln is the larger amount of a color, but beyond that we see the color of the different time to burn is different, such as the early tang dynasty, five dynasties, only when burning, its slant blue, partial white color is more, every kiln by its glaze color is not uniform.     Because it is in different kiln locations and at different temperatures, the color will be slightly different.     So no matter which kiln you look at, celadon, white porcelain, the same kiln out of its colors vary.    

When we look at the official kilns of the Ming and Qing Dynasties or the three dynasties of the Qing Dynasty, you can see its archaized colors are exactly the same without much difference.     That means that at that time, the temperature in the kiln is very skilled, and you can burn whatever color you want to burn.     Qianlong, as we know, reached the peak in craftsmanship.     He could burn whatever color he wanted and make whatever look like.     Therefore, at that time, he completely mastered the temperature in the kiln.     But the Song Dynasty is not the same, the Song Dynasty in the kiln site collection of specimens is really very different.    

This is a jar with a lid.     It is a large bowl with a straight mouth, generally equipped with a lid, which is very scientific from the perspective of hygiene.     It was popular in the Song, Jin and Southern Song dynasties.    

This is the day lilies I talk about most.    

(Picture) This depends on the characteristics of the glaze of the kiln.     We look at the characteristics of the tear mark decoration and the formation of the process recorded in the literature.    There are two deep flow of glaze here, the outflow of traces so the literature records the tear marks, which is also a characteristic of the Ding kiln.    

This is a large overheated bowl with a little adduction at the mouth.    

Some of them look dirty, which are commonly used in the palace.    

(Picture) This is the pomegranate grain, we call the mouth and flower decoration is different.     Flower mouth is the mouth with a few petals, then this flower decoration from the mouth to its body have petal shape, the whole bowl like a six-petal flower modeling.     This was very popular in the Song Dynasty.     We can see that there are many six-petal flower mouths in Ru Kiln, Guan Kiln and Ge Kiln, which shows that it is a feature.     We can see that there are more begonias.     In the Five Dynasties, there are more five petals.     In Song Dynasty, there are more six petals.    

Our experts say that the printing of Ding porcelain can not be seen from the beginning to the mature stage of development, it is very mature from the first appearance.     Experts analyze the relationship with Dingzhou silk carving.     It directly adopts the pattern of cutting silk to print on the mold, so the printing process of Ding porcelain can not be seen from morning to night.     But the gold is relatively rough, which is the difference of The Times.    

This is the gold decoration.    

(Picture) This is the flower petals carved.    

We see that Ding Porcelain especially likes to use the back grain, there is a week of back grain in the mouth, this is still a lotus bowl.     This is the picture from the bowl.    

(picture), this one is also covered with burning, dragon pattern, and this one is printed pattern.     We have this in the Palace Museum, Shanghai Museum, and other museums.    

This is the printed peony.     It's delicate.    

This is like a happy character, this kind of bowl, dish, wash style is more.    

This is also an imitation of gold and silver ware.     We can see that there are six lines protruded in the dish, which are all the shapes of gold and silver ware.    

This kind is also carved with lotus flowers and lotus leaves.     This kind of generation is divided into the Jin Dynasty, some in the Song Dynasty and some in the Jin Dynasty.     The Jin Dynasty is usually decorated with one flower and one leaf.    

This is the waist plate, is also the shape of the kiln firing, Cizhou kiln also has a copy of this shape.    

This is a wash, wash the bottom of the modeling has an inscription.    

This is the same wash.    

This is the printing washing.     This washing is very good imitation of Jingdezhen white glaze.     If you don't look closely, it is hard to distinguish it from Ding Porcelain.     Where can we see that it is an imitation of the fixed kiln?  It is a little blue in the place where the glaze is turning, and it can be judged that it is white glaze rather than white glaze by this blue color.     Therefore let us be attentive at the mouth of the kiln when we are dividing the generations.     In our identification of old kiln porcelain, firing process is a particularly important method in our identification, such as the identification of Ming and Qing porcelains, may refer to its knowledge, and firing process is a very important method in the identification of old kiln.    

You can see that the back lines on the outside and inside are incomplete and must have been cut off.     The shape of this washing is relatively high, and it grinds off half of the whole mouth edge.     This is common in both your kiln and Ding kiln.    

What we see above is white glaze, and below is some sauce glaze, which is also a variety of Ding Porcelain firing.     From the current investigation of kiln sites, the three kilns with the best glaze level are Ding Kiln, Henan Kiln and Yaozhou Kiln.     The quality of the fetus is relatively coarse, so the kiln still needs to be further studied.    

We look at the high quality of the kiln paste glaze porcelain its tire is extremely white, but I will say that every kiln is diverse, this tire will not be the same, a better tire, a worse tire will have more, so the determination of the kiln mouth is a difficulty.     This is a Cizhou kiln style flower, compared with similar pillows in Cizhou kiln, it still has the characteristics of higher height than Cizhou kiln.     You can find the rules.     If you collect a group of utensils for comparison, it has this characteristic.    

This pillow was acquired in the eighties, and there are eight years' knowledge under it, which clearly tells us that this thing is the implements of the Jin Dynasty.     We all know that Ding kiln fired this kind of things picked flowers, it should be in the Jin Dynasty.    

This is another one we keep in our palace.     This Song Dynasty pillow, many people have raised questions, is it practical, or a ghost or?  The study found that it was practical.     For example, the words written on a pillow, some of which were suitable for a man's pillow or good for a boy, were clearly practical.     More is the south to use, it is the product that takes in a cool place, not all the year round use this pillow, affirmation cervical vertebra cannot stand.     In fact, it is used to cool off during the hottest days of summer.    

This is from the Taipei Palace Museum.     Their glaze color is not as white as that of the Palace Museum.     It's a little yellow, but he has a pillow with a royal inscription under it.    

Just now we have selected some of the porcelain collected by the Palace Museum to give you an introduction.     So these are kiln site specimens investigated by the Palace Museum after the 1950s.     This is from the Sui Dynasty.    

So we say the handed down artifacts, we see so much, but we see the specimen will be very rich, the specimen is now constantly out, constantly increasing, we see this is too rich too rich, it can supplement the varieties of handed down artifacts on the deficiency, these are printed pattern specimens.     This one is made of carved patterns.     We see that the object is larger and the fetus is thicker.    

In the 1950s and 1960s, the Imperial Palace collected more Ding Porcelain, because at that time, the Japanese used hemp bags to take away a large number of our Ding Porcelain specimens, and based on this research produced a book Ding Porcelain, we should not show weakness.    

These are as close to the magnetic state kiln style, now we say who influence, but at the time the exchange between kilns is inevitable, such as the product is popular, I also to burn, so everyone is the product competition, as long as the sales of the products is good, a kiln kiln in succession to imitate other, now also is such, so easy to form style together, form a kiln system.     But some experts do not agree with this, and some experts are a little unhappy when it comes to kiln system.     This may also be a bit of a problem in scientific degree.     However, in terms of narration and research, this question was relatively convenient at that time, because when I said Cizhou Kiln, everyone immediately thought of the decoration of picking flowers with white background.    

Now talk about the type of Cizhou kiln, may everyone think of white background black flowers, like many Cizhou kiln also have a surname.    

This is the glaze, we see the tire is also very white, this is a small mouth bottle shape.     There are also fixed kiln decoration, we see sauce glaze printing, scratched.    

This one is beautiful.     This group of black glaze is very beautiful.     There are spots of maroon color on the pure glaze color.     So we say that the black glaze is dark and bright, and the fetus is white and flawless, which is also a characteristic of it.    

This is dragon green glaze.     It's very precious.    

This sculpture is from a private collection.     Now some people say that society expert is totally deny didn't see you, in fact is not the case, we get together, it was the first time I saw it, but a look at the things is by no means a modern, this boy riding on the cow, you see a big cutting edges and corners, is a modern thing, must be of the era, the tang dynasty of the very best logos.     This group has something to do with the statue, several figures are completely different, different faces, different expressions, different attitudes, so the gradual determination of the kiln of this shape.    

Well, I will give you these things of the Forbidden City, thank you.    

Host: Mr.     Feng told us about the Ding Kiln in the Palace Museum.     It should be said that it is in bold lines.     In this way, we all have a clear understanding of the Tibetan porcelain in the Palace Museum.     I think what I said is very good.     Thank you again for your applause.     Below we arranged for a research on kiln should be more senior teachers, rose Chen, her main research object SLATE, at this moment we think is also very important, we listened to also very touched, is almost every month is going to a trip in kiln, in the porcelain, including examining kiln site, the culture, the process of kiln and the historical context has a deep understanding.     Today, we have invited Ms.     Chen Lili to give you an overview of the inscription of the kiln.     Let's give a round of applause.    

Lili Chen: The host overrated me.     Today, I am very glad to have such an opportunity to come here at the invitation of the Ceramic Committee of the Chinese Collectors Association to discuss Ding Kiln with so many teachers and predecessors.     I think it is a special honor.     We still have a long way to go in terms of research, but we have experienced a lot in the past few years, and have made a lot of efforts.     I would like to give you a brief statement about the information we have collected during that period, as well as the situation of the inscriptions on the Ding kiln.    

Because this is yesterday evening just to drive out, here also left a "Chinese porcelain unearthed complete" this book.    

As far as the current inscriptions are concerned, I can roughly divide them into six categories.     The first is the official and royal inscriptions.     The second category is religious; The third category is auspiciousness and poetry; The fourth category is chronicle and record; The fifth category is merchants; Category VI names and others.    

The earliest archaeological excavations of official and new official copies were excavated in Hebei in 893 AD, and then appeared in various places, a large number of the tomb of Qian Kuan in Lin 'an, when 17 pieces of official and new official artifacts were unearthed.     Shui Qiu tomb unearthed 3 pieces of official, 11 pieces of official.     Thirty-three pieces of official style were unearthed from the Burning Bi Site in Chang 'an.     Seventeen official kilns and new officials were unearthed from Jingzhi Temple and Jingyuan Courtyard in Hebei Province.     The latest information I found is that Geng Yanyi and his wife were buried together, and 30 items with official characters were unearthed.    

At present, we have seen some characteristics of this ware.     In its early stage, from the official style and the new official style we see at present, it probably started from the Tang Dynasty to the end of the Song Dynasty.     The ware features: fine selection of materials, good combination of fetal glaze, white and firm fetal body, glazed color jade-like, white and green.     Most of them are imitation gold and silver products.     Tricuspid petal and pentaguspid petal dishes and bowls, bottles, jars, cups, POTS, cups, boxes, pillows, etc.     There are a variety of shapes.     They are mostly plain, mostly in the mouth, with gold and silver buckles on the feet, rare makeup soil, tear marks and bamboo brush marks.     In the later period, some coarse porcelain also appeared in official style, which should be imitated in the market and had nothing to do with officials.    

Style writing: located at the bottom of the implements, most of the official and new official writing for the engraving, glaze on glaze and under the engraving, in the later period there are ink calligraphy, font running script, cursive script, regular script and other fonts.    

(Photo display)

From the Tang and the Five Dynasties to the Song Dynasty, in addition to the official and the new official, there appeared seven characters successively: Yiding, Dingzhou Public Bureau, Dingzhou Public Bureau, Dingzhou Public Kitchen, Dingzhou Wine Bureau, Huaiji, Wuwangfu, Shang Food Bureau, Shang Drug Bureau, and Zheng Food Bureau.     Among them: Tang: Yi Ding.    

Five generations: Dingzhou public, Dingzhou public bureau, Dingzhou public kitchen, Dingzhou wine bureau, Hui ji.    

Song: Dingzhou public, Dingzhou public bureau, Dingzhou public kitchen, Dingzhou public wine bureau, five royal palace, food bureau, drug bureau, food official bureau is seven words, restoring ancient temple.    

In the Yuan Dynasty, there also appeared a public service of eight years to the Yuan Dynasty (1271).    

Characteristics of implements: the Tang, the Five Dynasties and the early Song Dynasty relatively fine selection of materials, the combination of glaze is good.     The glaze color is jade-like.     Most of the utensils are for daily use, most of which are dishes and bowls.     There are various types of utensils, such as water containers, boxes, cups, cups holder, POTS, jars and bottles.     The appearance of carved flower decoration implements.     From the early external carved Hua petal grain dish bowl, to the Song and Jin dragon pattern and flowers are there.     There are tear marks, nail marks and bamboo brush marks.     In the Jin Dynasty (Southern Song Dynasty), there were official inscriptions with great differences in the quality of the foetal glaze.    

So many of these pieces can be taken out separately, and I'm going to talk about the Drug Administration today.     When we were collecting samples, we found a lot of different types and sizes of pieces from the Department of Food and Drug Administration.     We also had a cabinet outside to show them.     The big boxes had dragon prints on them.     Why said still medicine bureau monk food bureau burning time is Chongning third year, "Song History" recorded, six is still bureau, where the total six bureau, still food.    .    .    .    .    .    It's all in there.    

At present, all the pieces we have seen are boxes with single shapes but different sizes.     The only whole piece we have seen in the Shang Drug Bureau is in Zhejiang Museum.     The body is cylinder shaped, flat top edge slightly drum, box upper and lower are double spiral lines, the mother mouth.     The cover and the body of the box near the mouth along the underglaze cross engraving "Shang Drug Bureau" three words.     Still medicine bureau fetus part fine white Jian Zhi, glazed jade-embellish, partial glaze light yellow, but the box cover is all carved Yunlong pattern, and exquisite and meticulous, using the underglaze engraved, inscription writing Fangshiyu font is roughly the same, there are certain standards.    

At present, only the Zhejiang Provincial Museum has the only complete device, the Far East Museum in Stockholm, Sweden has half, the Hebei Provincial Museum remains, the Hebei Provincial Institute of Culture and Research has recovered two pieces, the Quyang County Heritage Museum has.    

In particular, I would like to mention that there is one in the National Central Art Museum in South Korea which is exactly the same shape as ours.     It says "Shangyao Drug Bureau", but its firing method is different.     It is only fixed firing (sound).    

The second one is for religious purposes.     The one represented by it is excavated from two bases, and it is characterized by the Buddha's front offering.     This batch of things is of very good quality, and the carving is very meticulous.     It is written in the inner wall, the bottom, the edge and the body.    (See picture) This one says "offerings", and this one has double folds.     This is also a sarira bottle.     This is a monastic offering with a distinct style logo.    

Third, the third is auspicious words, because most of them appeared in the Jin Dynasty, the most representative of which is the longevity wine in the Shanghai Museum.     In the Jin Dynasty, a lot of new poems and articles pillows were created.    (Picture) Long live forever, the earthquake dangerous house.    

Its characteristics, because most of them are in modern times, so the combination of fetal glaze is relatively rough, the fetal quality is also relatively poor, especially like the poetry pillow.     At this time, there were a lot of colors, and in addition to the right top, right bottom, carving, ink writing, decorative color also appeared.    

Fourth, chronicle and record.     What I have listed at present are all modern molds, most of which are from foreign collections.     This is from the British Museum.    

5.     Merchants.     From the beginning of the Five Dynasties, merchant names began to appear: Xu Liu Shi Ji.    

Five generations: Dingsu -- Zao, Dingsu.    

Song Jin: Ding Su et al.     There are many other things produced during this period, and we are not quite sure what the meaning of some words is.     Therefore, I have listed some interesting things here to show you.     This is Qiao position, you can pay attention to it.    

VI.     Name and Others.     There are also some like dragons, flowers, plums, and after carving.     This is a pen, here to write the house thought, maybe home use.     Flower pressure is also a lot, it is also very representative in the definition of the kiln.     There are also numbers, like 2, 3 written here, and red 2.     Inside is the dragon pattern, outside is the dragon pattern.     Just like the double dragon pattern, both of them are black glaze.     Let's say it's starting to diversify.    

So that's all for today.     Thank you.    

Host: Well said, because many people are not very clear about the knowledge, did not spend so much time, just because of the time of teacher Chen said a lot of content, there will be another chance in the future, thank you again.     Morning according to the plan by the next teacher to speak a kiln glaze, the following applause to welcome Mr.     Xue.    

Mr Xue: Distinguished teachers, leaders, distinguished colleagues, friends, good morning.     I was nervous at first, because it was almost noon, so I tried to speak as fast as 220 miles.     My topic is fixed kiln glaze color analysis.    

I came to Ding Porcelain later, and there are more teachers and experts present.     Therefore, I would like to make a report to teachers about our institute's understanding of Ding Porcelain over the years, and I hope you can give me more support and correction.    

Strictly speaking, Ding Kiln should belong to Quyang Kiln before Song Dynasty.     In order to make the research work coherent, the academic community refers to Ding Kiln.     Ding Kiln has been created and fired since Song Dynasty, and it has gone through Tang Dynasty, Five Dynasties and Song Dynasty.    

The main reason is that after the change of Jingkang.    .    .    With the Song Dynasty to move south, coupled with the Ding kiln in the process of several hundred years of firing, but in Quyang County Linshan town,.    .    .    .    .    .    At that time, dozens of species were listed as the first in the world, including Ding Kiln.    

So Ding kiln is famous for its exquisite, Yuan Dynasty literati in.    .    .    Again proved that the kiln, so its production and sales and influence is quite large.    

A large number of products are for civilian use, and Yuanxiao overseas, both the government and the people, has become a major feature of Ding Kiln.    The center of the kiln is located in.    .    .    

We first focus on the color on the earliest records, the earliest written by Su Dongpo "trial court Fried tea", in a red, red in China at present, we now include academic research under the people's understanding of the scarlet letter is different, don't exist on earth red, when emperor Qanlong is praise for the red set.     He has a lot of poems to praise the red Ding, such as burning Ding all white, never see other color.    .    .    .    .    .    ", these in the heart of the Qianlong Emperor also wanted to seek a.    We wrote a little poem, Ding Porcelain flower pottery is really.    .    .    Now let's take a look at the concept of flower porcelain.     Carbund carving.     Tea fighting was popular in the Song Dynasty.     The black glaze tea used in the tea fighting was found in each kiln site in the Song Dynasty.    

The red of the carved carbund.     let's talk about this red fixed, in the whole "Hear the Record", there is also a red glaze.     Considering the whole unearthed specimens, we have not seen the real red as we imagined.     For example, Chinese red is in Ding Porcelain, so what we see on the market now is not real red.     In the Song Dynasty, when red was really burned, when we really understood this kind of red, because from the Tang Tri-colored Color to the Song Dynasty white porcelain, to the Ding Kiln white win, what was the concept of red?  Whether we can form the red fix because of the deep red color formed by the paste glaze with the content of iron oxide or red iron at high temperature remains to be discussed, but I will give you the concept of the red fix.    

To the Ming Dynasty "Gegu Yaolun".    .    .    .    .    .    In addition to a large number of typical kilns of white, let's take a look at the eight pieces of black in the lower left corner.     Black glaze is not strange in the whole northern kiln.     In fact, burning black glaze, that is, sauce glaze, is very common in many kilns in Beijing.     But it is difficult to burn it into a black color such as paint, so it can be seen clearly.     In the natural conditions of the north, the accumulation of year-round accumulation, has formed this natural formula, so the black sauce glaze including kiln glaze system in our restoration process is basically presented by a single color glaze.    

This purple set, is to find the specimen of purple set, including the domestic recognition of purple set has always been a mystery of Wei.     Ding kiln is very rich in the whole firing history, because it has been burning for more than 800 years.     It is very common for so many kiln factories to produce so many works in such a long time.    

Now the academic circle or all aspects of the folk in Ding porcelain to study, are very vague about purple, said that this is purple, I do not know when the ancients described it is purple, the color described by the ancients is very true.     History has not found what we are talking about at present, if the sauce glaze is mistaken for purple, it is not very rigorous, still need to go to the deep excavation, discussion.    

This round, Mr.     Ye Zemin affirmed and described purple Ding porcelain in his book General Theory of Porcelain in the Sui, Tang and Song Dynasties.     Said purple such as grapes, certainly not the front to see this color, so we are now on the understanding of the purple set are to be discussed in common.    

Mr.     Ye described the unearthed purple Ding porcelain, which we have not seen in books until now.    

This is the first time I have published this picture of this discussion, this discussion is in secret, so many kiln enthusiasts, to truly understand the phenomenon of the kiln from a level, then you really have a good look at this purple, is the real purple, as Mr.     Ye said, jade, smooth, clear.     He will next invest 20 million to buy this purple from abroad to Hebei.     One day purple will certainly meet with the world real face to face.    

I divide the color of the kiln into nine color systems.     Let's see these nine colors.     The above is what we have learned in the past few years.     I would like to share with all the experts and teachers present here.     Next I ended in one sentence, I share with you today, because of the kiln is ceramic identify the science of analogy, condensation of purple also represents the highest civilization, luckily we captured this image, which makes enthusiasts and researchers to know the purple, and in the great age of the mixed culture today, they went to confirm the history of Chinese culture.     History is always discovering the original history, so when we recall the history, we are also creating history, thank you for listening.    

The host: Three teachers speak very well this morning.     The afternoon class is also very good, the core of the BBS is to uncover the real veil of the kiln, the entire starting from the sui, the continuation of history, until now set kiln all aspects from different angles, different flank, so this day today, time is very nervous.     In accordance with the original plan just completed the content of the morning, all at once to upstairs to have a meal, because today have friends all over the country, many guests, but can not drink, food is prepared for everyone is very good, we will continue to open in the afternoon, so cannot drink at noon, at night I can't say definitely, should be in the evening.    

Host: Let's start our afternoon forum now.     Because the original afternoon the first speaker is zhang Zhizhong teacher, he has not come now, on the way.     That is to the premise, Mr.     Zhang's topic is the shape of the fate.     Now let's ask Mr.     Meng to talk about the relationship between JingXing kiln and Dingjing Kiln.     Mr.     Meng is an old man, and he came to this meeting specially last night.     Teacher Meng is very clear about the historical development of this piece and the relationship between JingXing kiln and Dingjing Kiln.     Let's welcome Teacher Meng with warm applause.    

Miss Meng: This is the first time I have attended the meeting of the Ceramic Professional Committee of our Collectors Association.     First of all, I would like to thank the organizers and the organizers of this conference for such a good conference.     I also want to thank you for making so many new friends and for this meeting, which gives me such a good opportunity.     I had not prepared my speech at all, and I heard it later.     To the very hasty, in the absence of any preparation of the case I said or I said, said a little sorry everyone, did not take any information; I'm sorry to be here for nothing, so think of what I can say and I'll say it.    

The meeting gave me the topic of the origin relationship between JingXing kiln and DingXing kiln, which I think is a good topic.     Because this topic is also a problem that has troubled me half my life, what is the relationship, what is interlinked, what is common, whether it is fixed kiln system, this question has been in my mind for a long time, I have not answered the front.     Because I haven't quite figured it out myself yet, that's the focus.     What about this question?  My own is not entirely clear how to talk about it and don't have any information, so that I will delay you some time, would like to know the JingXing kiln, the first is how to burn, the second is that it and the performance of the kiln, from production to finish it finished products, including shape, decoration, mainly is the two big aspects, their similarities and differences.     The third is not JingXing kiln is the kiln system.    

JingXing kiln was discovered in 1989, and the time of discovery was very short, compared with Ding Kiln.     In our excavations, I mentioned the time when JingXing kiln was created and burned.     At the beginning, I said that JingXing kiln is one of the kiln lineages of JingXing kiln.     After 1993, I stopped recognizing it this way, because this question became more complicated.     In an excavation in 2004, the kiln layer of the Jin Dynasty was pressed on the kiln layer of the Tang Dynasty at the excavation site, and then the Sui Dynasty, and then the earlier ones, but dare not go down, that is the earliest road, there are porcelain of the Northern Dynasty, but very few were found, and the information is not complete, so there is no dare to determine the time of the Northern Dynasty.     There was no problem with the Sui Dynasty, but there was no problem with JingXing kiln.    

That is to say with the firing is very good, because it has both white porcelain and black porcelain, there are celadon, there are two-color glaze porcelain, and very mature, burning things are very mature and very good.     So I did not say, because found the Sui Dynasty kiln quality layer, from the Sui Dynasty began to find porcelain, and did not say that, I published the article can say, did not say that the Sui Dynasty began to burn.    

The first excavation of Ding porcelain was done in the early 1960s.     The time of the establishment and firing of Ding porcelain that they put forward began in the late Tang Dynasty.     In 1985, Mr.     Liu Shichu excavated Ding porcelain for three years, covering a large area of more than 2,000 square meters.    It can be said that all the phenomena and signs on the whole kiln from the front to the back were almost done, but it is a pity that he did not sort out the report in time.    From the few things we have seen published by him, as well as the stone tools at the site, which are very rich, he concludes that JingXing kiln dates from the middle of the Tang Dynasty.    We don't have any different opinions.     The so-called "over one million square meters" of the kiln in the central town of Beizhen is very large.     In the mid-1980s, there were still porcelain pieces, still a large area of white flowers.    

Later, after the reform and opening up, more and more people participated and cared about it, and different changes began to take place.    The first thing that changed was in our province.     A comrade named Mu Qing from the Ceramic Appraisal Group put forward his personal views on the staging of the kiln.    He believed that the earliest firing time of Ding Kiln was in the early Tang Dynasty, which was divided into four stages: early Tang Dynasty, high Tang Dynasty, middle Tang Dynasty and late Tang Dynasty.    That's a step forward.    

Later, some experts put forward that their understanding is still the creation of the kiln burning time of the early Tang Dynasty.    In recent years I heard we collect bound to love this, care about this, the comrade that studies this aspect question, put forward two, one says that is Sui dynasty to create burn, decide kiln is Sui dynasty to create burn.    For example, Comrade Xue just said that it was created and burned in the Sui Dynasty.    Another opinion is that the kiln was created and fired by the Northern Qi Dynasty, which is very specific.    The show I see there is a place just mentioned beiqi burn, we also think by Peking University and research cooperation, and put forward the new ideas to burn in no, when a man called Huang Xin , said you to check again, the expanded, not is 13 pieces of ceramics pile piece, have a good look around, the survey has found.    

Come back later take a thing to seek me, a see happy of no line, why?  Just in the Ding porcelain site, which is more than 200 meters away to the west of the village, we found things from the Sui Dynasty.     There are kiln furniture and porcelain pieces.     If we look at these two things, it should be Ding porcelain from the Sui Dynasty.    One is porcelain is celadon, but is not the Sui Dynasty or the time of the burning of the kiln?  That's not conclusive.    If it is the Sui Dynasty, as others say, the things of the early Tang Dynasty and the flourishing Tang Dynasty went where, it is not easy to say now.    If they do find something that predates the Sui Dynasty, it's not Sui Chuangyo.    So this issue is still being studied, little yellow is just in one place, I think I mentioned this point in an article, but I haven't actually come up with this thing yet, we are still encouraging them to continue to do it, two kilns to create firing time.    To sum up, how to make a conclusion about the site of a kiln and determine its age is actually a very complicated problem, which requires a lot of work and a lot of thinking, and it is not easy to come out of the mouth.    As for the Ding Kiln, it is not a big problem to find the kiln site and kiln furniture of the Sui Dynasty.     In this way, they should discuss the origin relationship between the two kilns.     This is what I know now.    

On the second question, I would like to talk about JingXing kiln and Dingjing Kiln.     What we see now is why it is called Dingjing Kiln.    As you can see now, we collectors themselves have so much stuff, it's rich enough, and it's moving, it's amazing, it has the typical tiles, and we're all combining the public and the private in one, and it's really spectacular.    I think the reason why Ding porcelain became a party representative after Xing kiln is not so simple, there must be a lot of content, as everyone knows that, I will not say more.    What surprises us is that JingXing kiln also has fine white porcelain.     The fine white porcelain made by JingXing kiln could not be lower than that made by Xing kiln in the Tang Dynasty at least, and could not be completely lower than that made by Ding kiln in the Song Dynasty.    

The fine white porcelain of JingXing kiln can be said that if you just look at it with your eyes, you can hardly tell whether it is Ding kiln or Xing kiln.     In the past, there was one characteristic that was undeniable.     All good white and fine white porcelain, as long as it was made before the Tang Dynasty, belonged to Xing kiln and belonged to Xing kiln.    Song Dynasty and after the Song Dynasty, all belong to the Ding Kiln, mostly Ding Kiln.    There seems to be a general perception in the past that this is not the case.    So far, Ding porcelain has found a total of 12 kiln sites, none of which are together.    Through investigation and simple section making, we can see that fine white porcelain and fine white porcelain reach 60%, which is no different from that of fixed kiln.    The central kiln factory is 50 li away from the four kiln factories in the north.     Although they are all in the same county, there is a mining area between them, so this is not a very simple problem.    From this fine white porcelain they produced the same level, this is the first one.    

The second is that JingXing kiln has all these furnishings from Ding porcelain.    Including the mold and so on, the workshop, should be much the same, this basically also have.    I think now I can feel that the overburning method is from Ding porcelain, which may be the creation of Ding porcelain.     JingXing kiln learned the method of Ding porcelain, and JingXing kiln also has overburning, which is learned from Ding porcelain.    On the other hand, we know that the colored circle inside the bowl, the color circle, was invented in JingXing kiln earlier than that in DingXing kiln.     The color circle was burned in the early Five Dynasties in JingXing kiln, and it was produced in large quantities, as was the porcelain piece.     The output was very large at that time.    The reason why JingXing kiln learned the method of diXing kiln and the method of repeated burning is that at that time, JingXing kiln did not burn like that in terms of yield, and could not increase its yield.     A large amount of JingXing kiln was burned for civilian use.    The burning method is simpler than the burning method, but the color circle is not complete.    But the fixed kiln adopts the method of overburning, and the overburning mouth is also a circle, so the fixed kiln thought of another way, buckle.    JingXing kiln did not, but JingXing kiln painted gold, and painted gold at least in the Jin Dynasty or before the Jin Dynasty, which is really a creation in the history of Chinese porcelain, so I think each has its own strengths and weaknesses.    The circle of color is the part of JingXing kiln, and the part of Jingxing furnace is the part of JingXing kiln.     The two learn from each other.    

Plastic arts, I think the early Song Dynasty of the Ding kiln, the degree of beauty reached the crown of Chinese white porcelain, this is impeccable.    From 1969 to now, we still have to admit that Ding Kiln is great, because of what, because of the two towers, more than 300 cultural relics, others can not exceed the things, even the three times in the history of Ding Kiln excavation is no more than that amount.    Therefore, for white porcelain to reach the Song Dynasty, JingXing kiln had to be produced by JingXing kiln.     No matter how good it was produced and how complete its contents were, it would not be as good as JingXing kiln.    

Therefore, in the Song Dynasty, scholars, as well as the imperial palace and other aspects, there appeared a large number of themes about Dingkiln, or paintings, saying that it is good, this is understandable.    But JingXing kiln is not without records, JingXing kiln has literature records, but few people know it.    If you turn to the Twenty-Four History, the History of Jin, it only records one kiln, that is, Zhengding Kiln, which produced porcelain.     It does not say that Dingzhou porcelain produced, and Yaozhou porcelain is very good, and it does not mention that Zhengding kiln is the only one.    Let me give you another example of a scholar from the Jin Dynasty.     There was a gentleman named Jiang Qi who equated JingXing kiln with Longquan porcelain of the Qing Dynasty.     You may read the article on Pottery.    However, there is a problem that cannot be avoided here.     In the Yuan Dynasty, JingXing kilns, DingXing kilns or Xing kilns all had a small quantity.     They did not strengthen production like Ru Kilns.    One of the reasons for the decline of the Yuan Dynasty was at least an objective reason.     During the Yuan Dynasty, Jingdezhen porcelain was all over the world, so the three kilns competed for the production of fine white porcelain products.     Just think how many of them came out of the kiln.    

From this point of view, the things recorded in the book are from the Jin Dynasty.     Only in the Jin Dynasty did JingXing kiln's porcelain become famous, and it can be said that in the Jin Dynasty, JingXing kiln was more famous than Ding kiln.    In terms of shape, from the Song Dynasty, JingXing kiln could not catch up with the shape of JingXing kiln.     At least ten things I think JingXing kiln did not have.    As for the things outside you can see the photos, they include big clean bottles, small peaches, or turtles, etc.     Jingxing yao does not have, at least not yet found.    Of course, the excavation of JingXing kiln is limited, not to say that all of them have been excavated, we have only done less than 1/10 of them, a small part of them.    So the Song Dynasty of fixed kiln I admire, very admire.    Objectively speaking, JingXing kiln cannot be compared with DingXing kiln in this aspect.     Whether JingXing kiln is compared with DingXing kiln or other kilns are compared with Dingjing kiln, JingXing kiln is the best.     This JingXing kiln cannot be compared with JingXing kiln.    

The art of decoration, a common technique among these ancient ceramics, is mainly engraved grates in JingXing kiln.    All these techniques of JingXing kiln can be seen in JingXing kiln, although not all of them are the same, they can all be seen.    As a kiln index mouth, there should be an independent content, that is, its stamp printing, stamp painting, which is not fixed in the kiln.    

This so-called stamp color, say a picture of 160 square centimeters, there are many small stamps on it to form a large painting, are all stamp out, not individual.    This thing in the JingXing kiln I have not found, so I think JingXing kiln has its own content.    This from the Song and Jin Dynasties, until the entry of the Yuan Dynasty, after the Yuan did not have.    In addition, there are other JingXing kiln performance incisively and vividly things, I will not say more.    

To sum up, JingXing kiln and DingXing kiln had their merits in different stages of these six aspects.     In my opinion, the Northern Song Dynasty was the most brilliant stage of DingXing kiln, and the Jin Dynasty was the most brilliant stage of JingXing kiln.    The earlier period may have been in the late Tang Dynasty, when JingXing kilns and Dingjing Kilns were both under the control of governors, so they both had their own strengths and their production was similar, although they were also very prosperous.    

In the third aspect, I will discuss the origin of JingXing kiln.    I think they have similarities as well as personalities.     There are fine white porcelain clay (kaolin) in common.     Xing kiln, JingXing kiln and DingXing kiln all have kaolin, as well as the mountain of Taihang.    JingXing kilns are casually dug, so the places where there is a kiln site are all located in the direct production of raw materials, which is right beside the river.     This is convenient, and we found this in the investigation.     Therefore, they all pursue exquisite fine white porcelain to achieve this kind of effect.    

Second, we jointly produce high-grade white porcelain.     The red, green and black porcelains mentioned just now can also be produced.     In fact, their fetuses are all very white, which is made on this basis.    I have already talked a lot about JingXing kiln.     I'm going to talk about JingXing kiln.     I don't know much about it, because JingXing kiln has been buried for a long time, so people don't know much about it.    There is a record of stone carvings, deep in the mountains, the record of the time is the first year of god bless, the last year of the tang dynasty, is in a warp.    In the town of Qiantang, when he was the general commander of Chengde's army, he was in charge of Qiantang, but he was also in charge of Jingyao, which was clearly placed there.    There were also a series of officials, including those whose branches and leaves looked like jade, and full-time officers, from the highest in Qiantang town to those in charge of the army, to those in charge of the Courier stations, to the lowest officials who were in charge of the detaining officers, a complete system.    

This temple is called Huguo Temple, this is the emperor of the Tang Dynasty named the temple Huguo Temple, gave this temple two letters of praise, asked him to carve this suture, after the title, a lot of people, unlike the Ding porcelain, and Ding porcelain is the volunteer military kiln of the leaves and branches like jade, this person's name is Li.    He, too, had carved the jade on it, and he, too, had rushed there to take part in it.     Judging by the name, they were not leaders, neither of them belonged to the other, but they must have been quite close, and they all went to take part in it.    So we have this evidence, so JingXing kiln also has written records, but the research is still less.    

We know now in Hebei and found a kiln (xx), (xx) determines the north of the burn, in the time of tang dynasty, because of Xing kiln world general, is the white porcelain, this time in the production of white porcelain not just Xing kiln yourself, at least if set kiln production in the sui dynasty, the tang dynasty also can produce, kiln is some, not to mention the jingXing kiln.    They're all in production.    But no matter whose white porcelain was used, it was always said that it was made in Xing kiln.     That's how people around the world knew it at that time.     White porcelain came out of Hebei.    Not a kiln, recorded Xing kiln out, Xing kiln out of a.    The Song Dynasty is really the brilliant kiln.    

The new kiln first moved to JingXing kiln and JingXing kiln behind it, which were all given to the kiln to get out of the way, but not to develop.     It really developed and was recognized by the emperor and Lao Tzu.     No matter what was said in the literature, the emperor admitted it.    However, if the white porcelain produced in the Song Dynasty were all produced by Dingkilns in the tower or the imperial palace, I think the products of Dingkilns were not only produced by JingXing kilns, but also by Xing kilns.    The book making in Song Dynasty did not record the kiln, but only recorded the Xing kiln.    

At least it shows that these kiln sites are in production.     At that time, there were so many white porcelain kiln sites in production in the Song Dynasty.     It was taken to various places, all of which are represented by Ding Kiln.    To the Jin Dynasty, it is said that the production of porcelain Zhengding, Zhengding pipe JingXing kiln, JingXing kiln of the Jin Dynasty returned to Dingguan.    Is it not fixed kiln, Xing kiln production? Xing and Ding Kilns of the Jin Dynasty were both in production.     JingXing kiln seems to have advanced in some aspects.     Among the three, JingXing kiln advanced more.    

So Hebei white porcelain at various stages of the representation of the stages, but everyone in a joint production, are in progress, but at the end of the Yuan dynasty in decline, the reason of the decline, it is no longer a government pursue that white porcelain, the sort of white porcelain gave way to jingdezhen porcelain, this is I now know that.    

There are still a lot of problems that need to be re-defined or re-defined, and we can give our sincere opinions.     I am trying to do this, and I hope you will think more and think more about some problems, so that we can accomplish this task together.     That's all.    

Host: Just now, Mr.    Meng spoke very well.    History, origin and context have all made a very detailed explanation to you.    Let's welcome Mr.    Liu with warm applause to speak "my feelings of Ding porcelain".   

Miss Liu: First of all, when I say the topic here today, I have a feeling with Ding porcelain, why?  So you can start speak casually, Hebei is the home of white porcelain of China, this is due to ancient hominids made of porcelain, fire pottery is different, when they put the wood in the ground, south to ceramic cup directly on the stage, and then heap on wood, clay, wipe on the ignition and burn good also fallen down, pull out a pottery from the ashes.   Because the north is cold, we are the primitive humans of the Loess Plateau in the cold environment of the Loess Plateau, people are half a hole, so the ancient cave dwellings are all burned by digging out a hole in the loess.   It must first solve a problem, and that is the problem of risk.   Why is white porcelain white? Accidental, because when we do original ceramic technology, in the hole cut in a kiln, trying to put the chimney to go out, can let the carbon black ran out and it's influence on glaze, embryo is small, but due to the small heart increased, all of a sudden in the furnace cavity, celadon also add iron to the plant ash, when burning glaze become white.   So can the ceramic man grab something whiter? Finally, it was found that there was no smoke in the kiln cavity, and it became white porcelain after pure oxidation.    Therefore, the origin history of white porcelain in the north of China was that the south was green and the north was white, which was inevitable.    It was the geographical environment, and the inertia thinking of original human activities formed the differences in the methods of porcelain firing between the north and the south.   

Until the liberation of the People's Republic of China, the white porcelain burned in Jingdezhen was also pure white porcelain, called weak reducing salt, and celadon had to be burned with reducing salt.   Therefore, the flame atmosphere is a fundamental quality change of white porcelain.    White porcelain was formed in the north.    It should be said that there is a origin, and this origin is a principle of the color of firing.   

In China's ceramic manufacturing history, the white porcelain from gestation to the development of mature provinces have Hebei, Henan, Shanxi, Liaoning.   These identities are likely to produce the same style of white porcelain, the white porcelain of the kiln style.   Why do I say that there is a trace of feelings with Ding porcelain here? Because I want to know where my cosmetic white porcelain comes from, why it is called cosmetic white porcelain, and what is the relationship between it and Hebei Ding porcelain.    This is what I want to discuss, because I am a person who makes porcelain, and I want to find a way to make it the same as the ancient times, its methods, the final feel, the raw materials, and what are the methods to make it.   In this respect, it is necessary to enter the kiln site to go, because the book knowledge is too little, in my age, that stage of the book is pitifully few, Cizhou kiln two books, to the later period.   Then came the painting of Cizhou Kiln, the painting of fine photographs from all over the world, the painting of museum porcelain.   At that time, there was really a shortage of data.    If you wanted to copy, study, document, you couldn't.   At this time, Premier Zhou Enlai came out to restore the ancient folk kiln more than 50 years ago, and Cizhou kiln was also restored in that environment.   

At this stage, many people all went to the kiln site.    The recovery of Cizhou kiln was relatively early, because the handicraft industry was reformed in 1956.    At that stage, it was necessary to eliminate the handicraft process as a backward productive force.   By 1958 magnetic state kiln has realised that we have to save a bit of traditional manual operation, this time has been set up on the new earth, one of the earliest institute, the institute's aim is to restore the traditional, so the magnetic state kiln products after the first to recover to the Canton fair, the first change to the foreign exchange, the magnetic state kiln can get attention and support.   At the Canton Fair, there were also Dingkilns.    At that time, the ancient kilns in Hebei were also to be restored.    Xing kilns were restored only in the second wave.   In this case, the school teachers and many other people finally went to the Cizhou kiln to take graduate study, to contact the Cizhou kiln such a heritage, promote the Cizhou kiln can resume production at the earliest, which is why the Cizhou kiln still retains a group of such people's roots, this is a factor.   So when to also have to thank the policy at that time and the school selfless support and help.   

What is my relationship with Ding porcelain? Is the kiln to restore, then one of my teacher is wei, liu wei teacher at the time of the meeting I felt a little uncomfortable, finally I went to, meaning that a process, strong kiln of a friend, called lee boon Yang (sound), he's quite with my age, about now also in the 70 s, he was able to draw.   But when he wanted to paint at that stage, he paid much attention to the kiln site to look for materials and copied them.    I was very impressed.    I said, "Oh, you must have a bright future if you do this.   "Why?  Because you have to go deep.    You don't have to go deep.   So the two of us, he led me to the kiln site, this is the Cizhou kiln half knife clay way, I was the painting of porcelain.   Why not take a picture? Cameras are easy to zoom in and out, so if you paint it in the way of painting, with your eyes and scale, from perspective, it has a very large reference value.   So I collected all these things, because it's very hard for you to flip through the diskette, and it would be nice if you painted them all like this, so I got a little bit more leisure, and after I was 60, I didn't have to worry about eating anymore, so I took some time to draw some pictures by hand.   

The things of Ding porcelain are white, but it is also said in Gegu YaoLun that Cizhou Kiln is imitation Ding porcelain, so I tried to find it in the kiln site, so I brought several pieces with me today, one is imitation Ding of Cizhou Kiln, which is plain.   The relationship between the influence of Xing kiln and Ding Kiln, JingXing kiln and Cizhou Kiln is that everyone has achieved the best mass base of Xing kiln white porcelain.    The foundation of the civilian kiln has laid the foundation for the rise of the official kiln.    Without the huge production technology of the civilian kiln, the technology cannot be improved, and it is impossible to collect the best talent and technology.   When the best technology has been available, its popularization, its inheritance has been passed down it has produced a lot of different things, especially cosmetic white porcelain, because good white clay is very difficult to work with.   Then its black glaze system, someone called purple, just someone took a purple, I guess it may be a copper element to form the glaze, is also the use of glaze re-burning.   In the case of weak reduction, to restore, so I see the later I don't approve of xue said, said this one is purple, not, purple refers to a proud or a job, we jargon, wanted to burn black is black glaze, black youligong edge iron, after a long period of fire, all of a sudden reduction, smoke series, stuffy, sometimes people say.   What do you think is the matter?  You can really find red pigment in kiln site.    In our country, we should say simple and good red color, and use red in glaze.   These bottles have been proud in the high temperature stage, has been burning at high temperature, finally launched this bottle is red, the red is really red than the general red, so I think this red, purple set, red set, should strictly speak should be reduced, because it is fine porcelain white embryo, the application of black glaze of black glaze soil.   The black glaze is protected from so many harmful metals in the fine white porcelain.   

Does the average person follow the tradition of burning, keeping the vessel integrity of this kiln, and burning the adventurous fire for this one or two works? No, not often.   You know the principle of its color is enough to control it, so some people in the antique industry said that the current gas kiln is not as good as the original one, that is because he jail-cut materials.    The people who really burn good porcelain should spare no effort to burn it at their own cost, it must be better than the ancient one and the quality is good, this is inevitable.   

What else is a real work of art? Be lonely.    Be creative.   Investment collection, no one put this idea to the Chinese people, anyway, who sell money, who sell fool who.   In fact, only by hand can there be originality.    If it is made of molds and produced in large quantities, it is called industrial products.    When you regard this industrial product as a work of art, you are wearing good clothes.   The glaze good, call to material good, but I'm not exactly the same with other people, because it is not a porcelain porcelain pieces, the integrity of a ceramic not do painting on porcelain, but in the decorative ceramics, let this porcelain is more perfect, with the class material, according to his material you use is a raw material, have to get a photo up, how also is bad, because the photos posted this burst that burst.   Man is distorted.   Especially in the application of art theory, Cizhou kiln is at the forefront in the field of art.   Because Cizhou Yao talked about the principle, and he didn't tell me how to draw a certain stroke, my apprentice asked me, why don't you draw for me?  I said OK, you come here and draw for me again, I will draw for him again.   He said you this is not the same as you do, I said you don't know, every bit of magnetic state kiln is a placeholder, this place is a blank, I use a top student, this is the line, the gap in large tracts of is me, I the north even small, my radiation degree, people's association of the line is wireless, said so often just copy the length of a pen.   What is a large area and what is a small area? Compared, is the law of art contrast, the best application of Cizhou kiln.   Why is that? Because of fixed kiln inside, I say fixed kiln which is the best? Most worthy of our collection? It is directly carved with a knife, better than the mold, this is the first thing I said, because it is the soul, its agility is close in the author's heart and qi communication, we need such a craftsman, but do not need to support the craftsman, craftsman is to use theory to improve, can command themselves to do a good job of this porcelain.   

Later, when I looked at Jingdezhen's paintings, I was sometimes very angry when he added the porcelain corners.    People should look at them in this way (from the perspective of longing), not considering how to paint, but considering whether the painting is complete or not.    This is against the decorative law, but our painters did not know that.   In fact, the more concise line, writing brush people all know that one is difficult to write, two is easier than to write one, write three easier, so the more simplified things, the more superlative.   When it is simplified to the point of no further simplification, it is the artistic conception that Cizhou kiln should pursue.    This is the relationship between Cizhou kiln and Ding kiln.   

Now I would like to raise a small question.    In the process of restoration, Ding Kiln has received the support of the state and has been included in the formal restoration process.   I used to be an experienced person, and I felt uncomfortable after seeing a phenomenon, so I thought I should make some facts very clear.   This is a picture of the recovery group at the time.    This is the imitation clean bottle.   (picture)

Can explain us in Hebei province where is the white porcelain beauty, we do what are the advantages of decoration on porcelain is more beautiful, the problem no one write this piece, writing the history of ceramics found mostly, write history origin, these articles have, in reference to something when there are repeated, we now need to put the most beautiful thing, where is the beauty, why the United States.   This point we can not say, especially I this person can not say, because my cultural level is too low, not so high, so also can not say how the United States, their own worry, sometimes waiting light want to beat themselves, no use, well, I said this.   

    Host: Very good.   Next, let's invite Mr.   Han Jiarui.   In the years of the restoration of Ding porcelain, I am also the history and feelings of the restoration of Ding porcelain.   Welcome.   

Korean teacher: today, the topic of my report to the professionals and leaders, the years in kiln, kiln is one of the five ancient Jun of China, is also one of the earliest industries in white porcelain production in the world, because can't say it is the earliest, because there are Xing kiln, the south Yue kiln, so the kiln is one of it s all speak just now, I will not repeat.   

Since the Tang, Song and Five Dynasties, Ding Kiln has created brilliant achievements and made endless contributions to the human ceramic industry for hundreds of years.   Since the Yuan Dynasty, Dingkiln declined and stopped production.   From then on, people only know Ding porcelain and do not know where Ding kiln is.   Qianlong wrote more than 20 poems in praise of Ding porcelain, but the officials below him could not find it.   It was not until the beginning of the 20th century that Mr.   Ye visited Dingzhou for investigation and later went to Quyang that the kiln was determined to be in Quyang, which opened the prelude to the site of the kiln for nearly one thousand years.   

When I graduated from university in 1967, I was transferred to Gangbei Porcelain Factory.   Before the liberation of the factory, it was all handicraft industry, such as making bowls and basins.   Later, at the beginning of liberation, a ceramic cooperative was established, which later became the Port North Porcelain Factory, which belongs to the Baoding area.   After I arrived at the factory, I walked more than 20 li to the site of Ding porcelain.   We saw mountains of porcelain pieces, which were magnificent in scale and kept in good condition, which was rare in the world.   On that porcelain mountain, I remembered that more than a thousand years ago, tens of thousands of Ding porcelain kiln workers gathered materials and fired in this place, which produced tens of thousands of tons of porcelain pieces, the size of which was 13 tons.   When we went there, we had to climb 5 or 6 meters high to climb them, all of which were porcelain pieces.   

Many experts later said that the Ding porcelain site is now the world's largest preserved ceramic sites, there is also a South Korea.   As a silicate researcher, I felt deeply sorry for the loss of Ding Kiln.   Since then, I have devoted myself to restoring the study of Ding Kiln.   In 1971, our factory began to pay attention to the establishment of the experimental group of four people, I served as the group leader.   At that time, the steel porcelain factory only produced large VAT, and the technology was very low, so we started from the experiment of white porcelain.   After the success of the experiment of white porcelain, I thought that there was Tangshan in the north and Handan in the south.   How we could not compete with others, so I put forward that we would make fixed porcelain.   

Starting in April 1971, we set the experiment into porcelain research, the first step is to collect a large amount of ceramics, and ceramics glaze and porcelain body, has no advanced equipment at the time, only the manual peel glaze, only one hundred pieces of glaze, because of the porcelain body and glaze glue is very strong, I got two days off a gram, and later sent to Handan chemical test, after the results of tests.   I made a mixture of the black glaze recipe.   After several times of trial production, especially the glaze, because it is relatively high in iron content, and finally add the right amount of iron oxide, several times of nearly two or three months of time, basically to achieve the appearance of a look like fixed porcelain.   At that time we began from modeling, collecting a large amount of ceramics, find out its regularity from ceramics, its shape, the ceramic tile is very good search, there are a lot of very complete ceramics, some ceramics took out half can be amplified to the whole, is the bottom or an Angle according to it, the prototype is painted on the plate.   

And then began to carve flowers, is also groping according to the fixed kiln porcelain, imitation.   We found a rule at that time, fixed kiln porcelain, most of these porcelain are double lines, are two lines, a wide, a thin.   Today I would like to tell you a secret, which I have never told you before.   How to use these two parallel lines at first? Because the hand strength is different, this one is shallow and that one is deep, and they are not parallel.   I said let's think about something.   At that time, we took a triangle knife to file a mouth, file a wider knife, a smaller point, so that a stroke like.   Moreover, I did not expect that such a small reform played a significant role in the study of the restoration of Ding porcelain.   We have never mentioned this matter, and we will talk about it later.   

After more than a year's efforts, in 1972, we successfully copied more than a dozen kinds of things, which were trialed and successfully produced by the kiln workers of Ding porcelain more than a thousand years ago.   At that time, our local leaders, as well as the leaders of the county and city, were quite satisfied and thought it was a copy of the fixed porcelain.   From the production to the imitation of the recognition of porcelain, the first to be recognized by the society.   One of my classmates is a manager of a company in Handan.   One of his friends is Mr.   Ye.   I found him.   I said, Mr.   Ye, what do you think of my imitation of this production? He said it was good.   She said you go to Beijing first and get the approval of those experts.   Go to Beijing to find my brother.   So I found Mr.   Ye Zemin from the Academy of Arts and Crafts, so that the Academy of Arts and Crafts hooked up.   Mr.   Ye was very happy to see our imitation and started talking to some people at the Palace Museum right away.   They were all knocked down during the Cultural Revolution and just got up.   As soon as we heard of the resumption of Ding porcelain, because Ding porcelain is very close to Beijing, we immediately went to see.  

They were surprised to see it.   I didn't expect you to make fixed porcelain.   Those old gentlemen do have affection for the kiln sites in our country.   Especially Mr.   Feng Xianlin, we met in 1973.  They do not call it fixed porcelain, or fixed kiln, or fixed vessel.   He thinks the vessel you made really has its charm.   I said what do you think of this? He said that if you look at the two lines in the painting, one is thick and the other is absolutely parallel.   These two lines are very rare in other kiln sites in the country, and the two lines are the things of fixed kiln.   Mr.   Feng has done so much in the field of ancient ceramics that he knows it at a glance.   And then we stuck with that, and then the pastel technique, the pastel technique, was to extend the picture onto the leather.   There are some advantages after this method, as long as the people who know some basic art, it will not take ten days, you casually hook a pen is the taste of the kiln.   Double knives played a great role in its painting.   

"We suggest," he said, "that the Ministry of Qing Dynasty enlist the support of the public and the public opinion circles.   "I didn't go back to the factory after coming back from Beijing, so I went to Baoding immediately.   I reported to him, and he told me that you should write a design assignment as soon as possible, so I did, followed by the county industrial bureau, and then went to the province to set up a project.   It was basically completed in 1974, 1971, 1972, from April 1971 to 1973.   Then we began, in 1974 the provincial economic commission of the said 500000 yuan to build a ceramic workshop, which became kiln porcelain industry, when is the second ceramics factory QuYang, later changed to QuYang porcelain factory, I was appointed as the director, at that time, out of the forty kinds of our products, in addition to domestic sales, at that time, we are very difficult, to Beijing is on a commission basis, the Palace Museum.   At that time, people's living standard was not high, and the cost of this industry was too high.   At that time, I was a 52.   5 college graduate, so for the market, daily porcelain, plates and bowls were used to support the factory.   

Then what was the level of development of Dingkiln? I can give you an example.   After the establishment of the research group of our factory, a friend of mine from the Dingzhou Museum called me and said, "Please turn on the TV and watch it.   It's really nice to see that a man from the south sent dozens of pieces of Dingzhou porcelain to the Suzhou Museum, which shocked the Suzhou Museum.   One is a boy, I have a look that's not the only thing in our factory, at that time in the central broadcast ten, a lot of cultural relics departments are saying is true, finally find our county a ceramic experts, he is saying is true, this is in addition to the Forbidden City and Taipei, this is a important discoveries, eventually a experimental tests, washed-up, false, because there are zinc oxide underglaze red.   Because our factory is using zinc oxide.   It shows that at that time our factory's fixed porcelain development level has reached a certain level.   Dingzhou Museum has no protective measures, are our factory to the imitation, after the imitation of the real goods put away, with our factory's products on the generation of exhibition.   

In Beijing in 1980 under the support of technology academy, I quite appreciate technological academy, and Mr.   Peng has paid great attention to the kiln, hosted the kiln kiln factory will, condensed the national ceramics, archaeology, fine arts and many experts, also send people to participate in People's Daily, CCTV, I made at the meeting report on kiln recovery work.   The report was broadcast on China Central Television, which was a program at 9 o 'clock in the evening, and it was broadcast in the cultural window.   Later in the provincial economic commission for funding, expand the kiln production, this time two Qing bureau of Baoding area of a manager in the summer to find me, I was to the expansion of the need for money, he said that I give you for money, said two Qing department had money, I said you run is also ok, I give him a dozen samples, the results he take go to, less than a month called me that you come here.   You write a plan task book for me and bring several samples, which was called design task book at that time.   As a result, I wrote in Baoding what equipment and how the process flow were needed to build the factory.   After finishing, he took this and went to the Second Clearing Department.   

As a result, the Second Qing Department allocated hundreds of thousands of yuan, and our Second Qing Bureau in Baoding area set up an art porcelain factory in Quyang.   Later, the technician of our factory was finally transferred to the art porcelain factory and served as deputy director there.   From then on, the technology of fiXing kiln was transferred to Quyang, and there were two fixing porcelain production companies in Quyang.   

Later, we decided the route, the purpose and the collocation of the research personnel in our plan and task sheet in Shijiazhuang.   Later, I went to the Provincial Science and Technology Commission and listed this project as the Restoration Research Group of Ding porcelain in Hebei Province.   I was the leader of the craft group and Liu Jiashi was the leader of the fine arts group.   Our two families work together.   

In the beginning of 1981, the process group carried out chemical analysis, various indexes and lithofacies analysis on the fixed porcelain, which may not be well understood by those who are engaged in collection and art.   Because the ceramic body is very large, a very small piece is burned, because it contains merlite (sound).   Therefore, it is necessary to observe how much merlite is produced in the porcelain body of the Ding kiln.   According to the test results, we adjusted the original formula, and soon reached the standards of fixed porcelain.   Meanwhile, we studied various processing methods, kiln tools and kilns of the ancient Ding Kiln, developed the imitation kiln by using modern technology, and collected photos from the museum of Ding Kiln.   Summarized the rule of DingKiln in different history and different times, according to the model made in the drawings, we developed more than 20 kinds of antique porcelain in two years, which has been supported by many aspects.   The imitation was successful.   The project won the first prize of the Science Progress Award of Hebei Provincial Committee in 1983 and the third prize of the Science Progress Award of the Qing Palace Ministry in the same year.   The recovery of Ding Kiln cannot be separated from the support of leaders at all levels and the help of relevant departments.   It is also the crystallization of the hard work of many technicians.   I would like to express my gratitude to them again.   

I published this article in the March 2013 issue.   In addition, I would like to talk about two things.   One is that we started our research and development work in 1971, and in 1973 we had already made the preliminary textile porcelain.   Since the establishment of diplomatic relations between China and the United States, Kissinger visited China in 1972, so with regard to the care of the premier, I think it was in a meeting that I studied the Ding Kiln at that time, and I was a member of Chinese ancient ceramics.   At that time, Japan forced people to dig porcelain, it was said that Tanaka Kakuei was in Dingzhou, so the next day, a person published an article at the meeting, published a paper, said, Tanaka Kakuei asked the prime minister whether Ding porcelain is still there? That's all.   After the meeting I asked him, I said how do you know, he said he heard.   Later I went to the Qing Palace Department, asked the director, he said we had not heard of.   In my opinion, history is history and seeking truth from facts.   Just now, we have told it on the spot.   Later, many people have made an issue of his article, especially the leak of secrets.   Because when we did it, when he Kakuei Tanaka visited us, we had already done it.   So I would like to state here that I have never mentioned the prime minister in my articles.   Of course, the prime minister is great, but this thing is there, there is no, there is no.   

In addition, today I feel gratifying, today at this meeting, we have a license, engaged in art, Ding kiln, the scale of the kiln is quite magnificent, tens of thousands of tons, piled into a mountain.   At that time, hundreds of thousands of kiln around, or its accumulation is not so big of residual ceramics, kiln has a temple at the time, with the rulers, to produce porcelain, directly from the river into the grand canal, I'd like to painting, make ceramic artist, manage, and to get a win like Qingming scroll kiln, the pictures come out later, kiln could improve a lot of appeal for us.   I shall be very happy to see this painting when I die.   

Host: The old gentleman finally spoke his heart out, and I'm sure some of us will achieve this goal in the future.   Let's have two teachers to talk about, the following is the teacher Yue about the ancient porcelain raw material investigation.  

Mr.   Yue: Hello, experts and teachers.   Today I am very happy to attend the Ding porcelain Culture Forum.   However, I have left the ceramic industry for 30 years, and many things may not be very accurate in my memory.  

Ding kiln, the Song Dynasty for the imperial porcelain, exquisite craftsmanship.   Ding Kiln is also the early origin of ceramics in northern China.   The site of fixed kiln, located in Quyang County, Hebei Province, is a precious cultural heritage in China.   Enjoys a high reputation both at home and abroad, the founding of the people by the national related departments at all levels of attention, kiln kiln in hebei province in 1981 by the research team, in order to restore the song dynasty when the production of the set porcelain glaze batch take where the history of the state, the local has a kiln porcelain factory, a few years ago I went to the time, more than an hour of driving.   Ding Porcelain Factory could not be found.   Finally, a courtyard was abandoned.   I was really uncomfortable at that time.  

During my investigation for more than a year, I found the living conditions were very difficult and it was very difficult to carry out investigation work in the late 1970s and early 1980s.   Without any means of transportation, I had been running around the old kiln site of Ding porcelain, covering hundreds of miles in all directions, with only two legs.   In the morning, I drank a pot of water and used the military kettle.   One of me went up the mountain with a stick and brought some steamed bread and one yuan of vegetables.   In the evening, I came back with samples on my back.  

Now let me tell you about the mining area where I worked.   Ding porcelain Porcelain Factory is very familiar to you.   It is near the ancient Ding porcelain site, 110 kilometers away from Baoding City and 60 kilometers away from Dingzhou.  The mining area I run is centered on two old kiln sites, with an area of about three or four construction sites.   There are more coal mines in the mining area, which are mined by local people at that time.   That place is a sedimentary rock area, at that time I ran in Quyang County Tang County around a circle of 100 kilometers have run over, he is a large range of clay in the mining area, the first layer is red earth, the second layer is gray white block clay, the third layer is black brown, the fourth layer is purple yellow.   At that time, we tested and tested the success of the ancient Ding kiln, the batch of clay is the third layer, black brown, why is this soil called hard clay rock? It is in the coal measure strata, the coal inside the dry stone is black, but after burning a carbon volatilization will be white, so we use this batch.   I found that there were many strips of magma.  

There is also glaze.   Through a large number of experimental analysis and repeated analysis and research on the technological formula of fixed porcelain raw materials, we have confirmed that the raw materials are all from local sources, that is, about 20 kilometers around.   During my visit, I had to go up the mountain every day, and there was a little joke.   In 1982, there was a national academic meeting on ceramic raw materials, and I also heard from local people who decided why the kiln had stopped in the Song Dynasty.   In two versions, the local people were all 100 years old.   One was that the kiln owners had to take their families and run away because of the fighting between the Jin soldiers.   The other is that in the Northern Song Dynasty, the kiln owner would buy a boy and a girl to burn with each time he fired the kiln, just for the good luck of porcelain.   Later, when the monk knew about this, he would come down and arrest him, and he went to the present Jingdezhen in Jiangxi Province.   The experts in Jingdezhen of Jiangxi were very unhappy.   You said that if you go to Jiangxi, the porcelain from Jiangxi is from Hebei? It doesn't matter, they are all descendants of the Yellow Dynasty.  

I in that for more than a year, now I know, so far has been done no descendants to geological department, because I only do there's census, there was no exploration, we test this stuff, I think just a little, that place according to our work, its glaze, including red, green, blue.   These things must also have been in, at that time in the ancient vehicles did not have, could not have traveled hundreds of kilometers to places to dye.  

Here I also suggest that the relevant departments of the state to further investigate the distribution of raw material resources, reserves and geological exploration in the Ding porcelain area, which is also very important.   I'm not prepared.   That's all.   Thank you.  

Host: Just now, several teachers have talked about the process and raw materials of the kiln from several different aspects.   Next, let's ask Mr.   Bi Boy to talk about the great beauty of the kiln.   Mr.   Bi is very clear about the restoration of the kiln, as well as the glaze material and the process.  

Mr.   Bi: Dear leaders, experts and teachers, I am very glad to participate in the activities held by China Collectors Association, Quyang Ding porcelain Research Institute and Ceramic Art Museum of Junior High School.  Thirty-four years ago, I came to Ding porcelain Research Institute.   In more than one year, I organized some research work on Ding porcelain Porcelain Factory together with relevant staff.  Now I would like to report to you.  

Dingkiln is a wonderful flower in the world of ceramic art.   Painted flowers and carved flowers produced by Dingkiln created the first mass production of white porcelain in China, and Dingkiln is the peak of ceramic technology.  Dingkiln was the only white porcelain with decorative patterns among the five famous kilns in the Song Dynasty.   The firing technology of Dingkiln made a deliberate attempt to harmonize the development of royal and folk use at that time.  

The exquisite craftsmanship of Ding kiln has made it widely inherited and widely used in Hebei, Henan, Shaanxi and other regions.  Ding kiln for today's white porcelain production laid a solid foundation.  

As for the discovery of Ding porcelain, I will not go into details about its research process, because you have just talked about it.   Now I will mainly talk about some important research activities that I have participated in in the past few years.  I have some profound memories in Ding porcelain, which were not adapted to the tough life at that time.   What I remember most and can't forget until now are two things: one is jujube wine, and the other is a small train.  Ding porcelain produces jujube wine.   Ding porcelain's mellow artistic style and gorgeous decoration are the embodiment of Ding porcelain's village style.  And when we enter is to take a small train, and from time to time to stop the characteristics, often there are some rabbits, pheasant running, the more difficult life at that time diluted.  

I, for example, our research team from the site was also a little bit far, probably more than 20 li, cannot grasp the first-hand information, we can try to find some imitation specimen, I once in investigation, all of a sudden high winds and heavy rains cats and dogs, because at that time by bicycle to the person of hometown, at that time there is a big gap, the rain was over.  I held on to the bike with one hand and the young tree with the other to keep it from being washed away.  Coincidentally, as I was climbing up, I came across a small piece of porcelain, which I understood to be from the Tang Dynasty, and I was amazed at that moment.  

There was another time when we went to visit together.   We used the cucumbers and tomatoes we ate and the local children to exchange the tiles.   Sometimes one or two cucumbers could exchange several tiles, which was not bad.  But then all of a sudden a kid came up with a tile and said can I get anything for this? As soon as I saw the inscription on it, it was quite comprehensive.   I have illustrations here (I can't read them today), and all my articles will be illustrated when they appear in books in the future.  The child to see us more surprise that cucumber cannot be changed, get the money, we gather together for a dollar, a child said, I say that have to submit an expense account, we have to go back to the account, what do you write a, children said I won't write, Zhang Tongzhi wrote an article, kids will cover a chapter, this is the second thing still can't forget.  

Third thing at that time, although is supported by a lot of cultural relics departments, or have discipline of the departments of cultural relics relics' management center was ask them to help, you can see, but I can't take photos, can't draw, but we are imitations are in urgent need of these simulation specimens, too difficult we can copy, saw a number of cans, we should be able to do.  But also do not let the drawing also do not let the photograph, I use my arm, thumb to measure the bottom, height and so on, and then hurriedly go, outside the drawing a picture, after coming back in the unit of imitation of this.  It was a special coincidence that we saw the pot on the Jin Dynasty photo later.   The height of the pot was one centimeter different from that of the pot, but its approximate shape did not change, so it was also a very deep memory for me.  

As a member who once participated in the study of fixed kiln, I have some suggestions for the study of fixed kiln up to now.  Since companies set porcelain printing products basically still use gypsum mold, ancient POTS used printing, I think this is a great pity in the research of kiln, so I have a wishful thinking, we develop kiln, make traditional kiln process, must be one hundred percent from easy to difficult traditional skill integration of the kiln site down.  Gesso molds can have some printing effects, but they cannot truly reflect the artistic achievements of the printing of Ding porcelain in the Song Dynasty, which are unsurpassed and unsurpassed.   As the restoration of Ding porcelain in New China, we want to carry forward and improve the ceramic printing technology.  

I see that some enterprises are imitating and making innovations, especially some enterprises are making modern daily porcelain.   I think that many considerable achievements, such as the vast and vast exquisite decoration of the kiln, have not been applied to these innovative crafts.   I think this is a key field.  Actually printed and engraved designs and not using this technique, can put these organizations are properly, the use of modern technology, you can use the methods of modern printing, one color or two colors, or light gray, light green, with a bit of gold and silver, is China's traditional kiln rich with quite a shock, perfect decoration art, displayed in this way.  Don't go a way to black, that is to print to engrave, that is OK, but after all, it is a more complex process.  If its pattern is sorted out and concluded, it will be produced in large quantities by means of printed paper, and the art will be given to thousands of families.  

The following is a brief introduction to my cognition of the art and culture of Ding porcelain.  Because we had collected material is less, the late tang dynasty and a lot of samples, because at that time, did not dare to dig, the protection of cultural relics, now the local comrades found the plant specimens, the sui dynasty's kiln began SuiSheng in song dynasty, gradually submerged in the jin, yuan, but in general this kind of its artistic achievement, fine white TaiZhi, tall and handsome modelling.   In terms of scale and huge artistic achievements, Ding Kiln is the first among the installations of ancient ceramics known at present, that is for sure.  

We study the artistic style of fixed porcelain mainly for its shape and decoration, because the degree of precision of modern ceramics has developed to the extreme, which are white, delicate and jade-like, which is beyond any ancient ceramics.  We should open our minds in the innovation of the kiln, and more modern ceramic industry technology talent combination, to find an innovative way of thinking.  

The following is our confirmation of the decoration style of the kiln.  The decorative style of the kiln is related to its decorative methods.   The decorative methods of the utensils of the kiln have their own characteristics, such as dot color painting and carved color painting of white porcelain.   There are various kinds of colored glaze and carved flowers, and the layout is dense and rank.  The carving of Ding porcelain is really like flowing water, which is not a generation can do, Ding porcelain craftsmen, in the long-term use of carving art honed really reached the superb, so this aspect as antique porcelain and artistic ceramics can be achieved, but it is a little difficult to exceed.  

Treasure printing process from the tang dynasty, is a creative kiln revolutionary results, printing, the printing has just started to use several sets of mould printing, did it very fine, is sealed off finish now, in the set off of transparent glaze, its degree of jade-like stone embellish, foreigners say such as ice jade, but throughout the whole Chinese ceramics is a must.  

The printing technology of Ding porcelain can be produced in large quantities, which creatively overturns the previous pattern of ceramics.   The effect of clay turning into platinum gives us a certain place for those utensils made with precious materials.  

The determination of the cultural connotation of Ding porcelain and the Song Dynasty in which Ding porcelain belonged eliminated the division and estrangement of feudalism and maintained a relatively stable situation of society.   The commerce and handicraft industry developed rapidly and prospered gradually.  The Song Dynasty was not without wars, but also had displacement from place to place, but on the whole, the cultural and artistic inheritance of the Song Dynasty should be said to be a relatively stable period in the whole history of China, just like the plump, rich and developed era of the Tang Dynasty.  

In the Song Dynasty where Ding kiln was located, the development of Ding porcelain in the Song Dynasty was not accidental.   It was the cultural spirit represented by poetry, calligraphy and painting in the Song Dynasty that infused rich cultural connotation for Ding porcelain and made the shape of Ding kiln full of vitality.  Because now I also try to write some poems, I am very worship Song Dynasty poems.  Poems of the Song Dynasty are very beautiful.   There is also calligraphy of the Song Dynasty.   Famous calligraphers are everywhere, such as Su Shi, Huang Tingjian and Mi Fu.  

Sui become beautiful gorgeous wonderful work, become a bridge of ancient up to now, we are so proud, we had set kiln jade-like stone embellish, in front of us the kiln culture art protection so profound, so precious, we should spare no effort to steady kiln of cultural inheritance, make descendants read kiln, kiln into homes, abroad, from generation.  All generations will flow.  

I'll end my speech with a song.  .  .  .  Thank you very much.  

Host: The following is Mr.  Zhang Zhizhong's explanation of Xing kiln, Xing Ding's fate.  Mr.  Zhang is the current director of the Xing porcelain Research Institute.

Zhang Zhizhong: I'm very sorry for being late.  I had something urgent to deal with at home. Talking about Ding porcelain, I can not speak well, because I mainly do work in Xing kiln. Secretary-general gave me the task is more difficult. We are now discuss Xing kiln unearthed the earliest porcelain, has been doing this work, we also accept the task, I don't have time to do the PPT, short talk to you my Xing kiln and kiln some own views and understanding, to report to you about.

Kiln site, should be found early, can be traced back to the war of resistance, Xing kiln site was very late, and there are many stories, the discovery of the site should be in the early eighty s, when the light industry bureau also said can't find in the process of restoration of Xing kiln site, in the eighty s after the discovery of Xing kiln in succession, to our understanding of Xing kiln before. It plays a role of updating, because the original Xing kiln is known briefly from the collection or the Imperial Palace, or from the excavated sites, but there is no way to distinguish the early Ding Kiln from Xing kiln.

At that time, I remember going to the Palace Museum to see an exhibition in the early 1980s.  At that time, there was no kiln for the white porcelain of the Tang Dynasty, but the white porcelain of the North. At that time, because the site of Xing kiln was discovered very late, the understanding of Xing kiln, including the relationship between the early Ding Kiln and Xing kiln, has always been an unsolved mystery. After the discovery of Xing kiln Site, through six excavations, early and late, especially one in 2003 and two in 2012, it was found that the earliest porcelain in Xing kiln was made in the Northern Dynasty, of course, if it was celadon.

Later, after investigation, there were about five or six kiln sites of Xing kiln in the Northern Dynasty, including two in Xingtai, two or three in Inner Hill, and one in Lincheng.  Thus, the line of Xing kiln was pushed to the Northern Dynasty. So these things in the Northern Dynasty, we now see is mainly celadon, mostly celadon. Of course there are also some individual specimens, we also saw, white porcelain in the direction of change gradually from celadon, then to the sui dynasty the Xing kiln porcelain not only scale is large, and produced has pervious to light, there are some questions the earliest, by xi 'an is out of a 2009 with pervious to light the Xing kiln, with a memorial tomb confirmed that so north Chong Xing kiln to burn. The technology of white porcelain reached its peak in the Sui Dynasty.

White porcelain consists of coarse, thin and transparent white porcelain.  In this period, white porcelain has basically become the mainstream of Xing kiln.  The Ding Kiln I knew before, its origin should be in the Tang Dynasty or the late Tang Dynasty, which is the previous view. So later, near the kiln site, central district, they found a site, early, but that has not yet published, watching ceramics should be in the late sui dynasty or tang dynasty, but because the site without formal mining, so it remains to be appeared in archaeological research in the future a forward update on it.

The porcelain was transformed from green to white, but it is still identified as celadon, because the piece is very broken, no complete vessel can be seen, but this may be the earliest evidence of the Ding Kiln, so it had such direct use in Sui or early Tang Dynasty.

From some things unearthed from Xing kiln, we can see that Xing kiln was created in the Northern Dynasty.  Its technology reached its peak in the Sui Dynasty, and then it reached its peak in the Tang Dynasty.  Of course, the Tang Dynasty porcelain was very rich, not only white porcelain, but also tri-colored glazed pottery of the Tang Dynasty. Four kilns in Hebei Province, it seems that their initial firing period is not very late, this is the initial firing is not very late. So Xing kiln, because its size is very big in the tang dynasty, the sui dynasty laid the foundation of its technology, and so is as offerings in tang Xing kiln on the one hand, on the one hand, the public goods supply, he said to the Xing kiln all gm, said Xing kiln size is very big, then you can talk with Yue kiln along the size of the size is very big, very good quality too, of course. I'm not going to go into the rest of it because of time.

Later kiln, it should be the five dynasties late tang dynasty, had the first peak, this time there's a lot of China is close to, because it was made of raw material is not too much, fire technology are similar, because is used to burn, this period is the color of white, green, so it's this kind of style, including porcelain, it has a lot of them. As we are now engaged in the collection, some of the early things to Ding porcelain Xing kiln, in fact, there is a certain difference. It happened to be in the late Tang Dynasty and the Five Dynasties, especially in the late Tang Dynasty, Xing kiln went downhill, especially from the Five Dynasties to the Northern Song Dynasty.  Although Xing kiln used to supply porcelain in modern times in history, there were kiln sites as well.

But in the Song Dynasty, Xing kiln was no longer the main kiln, and Xing kiln gradually declined. During this period, Ding Kiln emerged, with good quality, printing and carving.  It inherited the white porcelain technology of Xing kiln at that time, so it was more bold and innovative in decoration, and this was Ding Kiln. I think it is to absorb certain Xing kiln white porcelain, including some decorative techniques, and carried forward it. Especially the Jin, but Jin Xing kiln, kiln, jingXing kiln, goodness your kiln, our kiln mouth of Hebei province is a peak, and this period have a lot of product decoration style and close, our site in the city has a gold late after the song dynasty to the Jin this period a large number of printing engraved designs, including later to gold to yuan in this period, Xing kiln have a lot of white with black flower products again. The style is very close.

I went to see it a couple of days ago, and I also saw that the Ding kiln also had the style of white background and black flower of the Yuan Dynasty.  That is to say, during the Jin and Yuan Dynasties, our several kilns in Hebei were firing the same kind of porcelain, including the techniques and methods of firing, which were very similar. However, there are differences in quality.  In this period, the white supply of Xing kiln is not as good as that of Xing kiln, which is a little bit thicker, but its decoration is still excellent. I feel that we from the tang dynasty, north don these kiln mouth, its a kiln, technology, communicate with each other and so formed some adornment style is very close, we used the porcelain, burial said today (Monday) is yes, no Xing kiln, if put them into a piece of I think is not easy to see, this is that it is a mutual influence communication results.

It is because of the early creation and firing of white porcelain in these kilns in Hebei that the technology of white porcelain was pushed to the peak, and the products of flower porcelain or Cizhou kiln with white background and black flower were formed, which also laid a position in the history of Chinese ceramics in Hebei. Well, that's all.  Thank you.

Host: Today's forum should be said to be very successful, just now too coincidentally, Mr.  Zhang just came here, originally was the first to speak, became the last one. He set the Xing kiln and kiln, the relationship between the context basically made an overview of the development, after the meeting we also separate interviews, every teacher speak today, morning time is very short, so we will deepen into solid culture, history and technology of the kiln, kiln of the relevant knowledge to do a very detailed very professional collection, call kiln album.

Our Ceramic Collection Committee has done a lot of work in recent years and launched several brands of our own.  The first brand is the Ceramic Collection Culture Summit Forum, which has been open for several years, but we have not publicized it enough.  Now many of us still don't know the organization of the Ceramic Collection Committee. The next step is to strengthen the publicity.  Our website is about two months at the latest, and will be launched in about one and a half months.  The website name is Ceramic China. In addition, this time, there is also a magazine, through these two major media and other relevant people, some of our activities complete, accurate, systematic, timely, objective and fair reports.

In addition, the Ceramic Collection Committee also held many special lectures.  I think some of our teachers did not fully explain what they said today because of the time limit.  In the future, we will arrange opportunities for special lectures, and we can hold a series of lectures, because many people like to listen to these lectures now. Especially BBS including today, let's arrange the content and emphasis of the teacher speak are very concerned about, especially since morning von teacher speak of palace inside the kiln, including the inscriptions Chen Lili teacher speak, so to speak of glaze, in the afternoon about XingDingZhi edge, the relationship between the JingXing kiln and kiln, and address. And then there's the recovery period and the work that we old-timers do.

All these things should be connected together to form a complete book, we leave something to modern people and later generations. So far, we have received calls from the circle of friends and various parties, and this forum has already gone out in the circle of the whole country today, which should be said to be full of praise. This shows a problem, it shows that the future must increase the positive energy, especially in the process of ceramic collection, there are a lot of people really hard work, fake, a lot of collection.

I have also written a book, which will be published around the end of this year, called "Rational Collecting".  There are two sentences in it.  If you want to become rich, you should collect. The second is that if you want to turn wealth into rubbish, you should collect. In fact, collection is a dialectical, which has a high threshold.  The threshold is not money, but knowledge. So there a lot of knowledge, to make collection, can really receive the real thing, can take a thing in a few seconds, can see the real fake to one or two minutes, or make it clear, this is to rely on many years of accumulation of solid, including have a deep knowledge of the theory of language, and a large number of rich practical experience, so much to learn.

This time our forum is based on such guiding ideology, please ask the teacher in the front line, speak out to you, and then speak clearly and clearly about the fixed porcelain, so that you want to learn about the fixed porcelain collectors, collectors, collectors or collection institutions can have a correct understanding. So activities like this will be held more often in the future.

I have a message for you: Ceramic collection commission this year with an annual plan, to November, held the second session of ancient ceramics collection peak BBS, last year were the first to here, maybe mid to late November this year, to hold a second collection of ancient ceramics peak BBS, the BBS after an annual one, the second peak in the BBS BBS is divided into eight points. The topic lines in each sub-forum have already been published, and we plan to send out the notice next week, around the end of this month. Notice inside these academic papers in the eight sub-forum topics are all published, from all over the country collectors, collectors, according to their own collection of objects, to choose their own topics.

These topics are very academic, so that once a year, everyone gathered in Beijing, according to their different collection objects, talk about their own collection views to form a complete set of collection theory system, so that people who do not know or buy two things think that experts, gradually truly know what is collection. This is the task and goal for our next step.

Today's forum has been a great success.  On behalf of the host, I would like to extend my heartfelt thanks and welcome to all the delegates attending today's forum. Second, I would like to thank all the distinguished guests with a big round of applause.  I would like to thank them for bringing you knowledge, experience and classic ideas accumulated over the years. Now we have left the speeches of these teachers, and the PPT documents are still being copied.  We need to make propaganda things.  Now the media of propaganda is very fast and fast. In the next step, the Ceramic Collection Committee shall unite the volunteers with enthusiasm, good character and courage to contribute to expand the team, and establish several platforms that are more conducive to public collection, provide positive energy and truly provide knowledge.

We have made a plan for the next step, and now we are implementing it step by step.  I think the overall success is very good today.  Thank you very much. On behalf of the host unit, I hereby announce to you that the first Song Dynasty Ding porcelain Culture Summit Forum has come to a successful end. And also is commemorates the Chinese collector association to establish the 20th anniversary series activity to conclude successfully, next time pottery committee makes any activity to think of a way to be able to inform everybody, see this way how to think, each person is not to leave us a, build a WeChat group, everybody wants to unite, share everybody's knowledge together. On behalf of the organizers, and also on behalf of everyone, I would like to express my warm and loyal thanks to Mr.  Zhao, Mr. Feng and Mr. Zheng. All right, I declare the meeting closed successfully.