新浪博客
不断碰撞、交融的过程。
他还采用类型学的方法进行研究，将凡与之相似的十四世纪在景德镇生产的青花瓷都归作“至正型”青花瓷。青花瓷起源于唐代，发展至宋代几近停滞，直至元代才日臻成熟。
摘要：
目前国内外学者对元青花瓷的外销以及钴料来源的问题已作较多讨论，但有关器物造型以及图案纹饰论述较少。本文运用图像学与历史学的研究方法，展开相关论述，对个人收藏的元青花龙纹象耳瓶与伊、土所藏元青花瓷与中国出土元青花瓷的器形与纹饰进行比较和论证。在微观上对青料的结晶斑和气泡进行分析进一步验证这个龙纹象耳瓶的年代真实性。
关键词语：伊朗；土耳其；元青花瓷
基本尺寸：高95厘米，底口径26厘米，上口径26
Ø花纹赏析：
1.龙纹（一）
龙纹的图案多次在元代的官方记载被定义为皇家的主要装饰图案：具体的文献如下。
《通制条格》卷9《衣服·服色》记载：“大德元年三月十二日，中书省奏：街市卖的段子，似上位穿的御用大龙，则少壹个爪儿，肆个爪儿的织着卖有。奏呵，暗都刺右丞相、道兴尚书两个钦奉圣旨：胸背龙儿的段子织呵，不碍事，教织者。似咱每穿的段子织缠身大龙的，完泽根底说了，随处遍行文书禁约，休教织者。” 瓶体主要花纹是青花龙纹，主题纹饰是一条游龙，神龙出水、驭云而行的壮美景象，线条流畅，色泽艳丽，诗意盎然，带给人们以优雅明净的审美享受。其间绘八朵云纹，笔意深沉有力，青色艳丽之中又带古朴，风格生动豪放。内外用两种装饰方法所表现出的龙纹，都是张口，头部向上扬，龙发后披，头上生有两个分叉的长角，龙髭、髯、胡、髦俱全，细颈纤身，全身披鳞，背上的鳍排列整齐。蛟龙飞舞其上，四肢奋力舞动追赶一颗游动的火焰宝珠，俗称赶珠龙纹。龙纹，具有元代龙纹的典型特征，龙首小并微微上仰，张口吐舌，露出利齿。鼻似如意头，下颚飘扬一缕长髯，双角微微后翘有力的四肢伸着四爪，形象完美、生动。怒目穹张，炯炯有神，起到画龙点睛的艺术效果。龙颈曲折细长，一绺长鬃翻飞舞动。从此龙的形体和姿态看，显现了元代龙纹的特征。
2.牡丹纹（一）
1975年福州浮仓山南宋墓出土黄色牡丹纹罗纹样。从罗纹样和其线描图可以看出是向右倾斜折枝式的适合纹样，有大小两种花形，每种花冠的花瓣左右对称，花瓣重迭，花瓣之间和花瓣翻卷处空出边线，花冠轮廓清晰，形态丰满，叶为五出。元青花牡丹纹中盛开式花冠与罗纹样中的大花冠形态很相似。元青花牡丹纹花瓣染青料，瓣边缘留白（染淡青料色），应是直接或间接学习借鉴了南宋织物牡丹罗纹样的设计意匠。花冠的形态。典型而鲜明。花具有典型的代表性。左右、上下分别为怒放、盛开（正侧面的两式）、仰开、俯探（正、背面的两式）。正面式分三层， 内层小圆为紧包的两或三瓣，一般中层六瓣，外层八瓣。仰开的露花蕊，俯探的有五或六片花萼。瓶尊上的牡丹纹还点缀有花蕾。这四种典型的形态在各式主体纹样上只略作改变，反复出现，具有鲜明的时代特征。规范而活泼。花冠左右对称，但不像一般图案的紧结、板刻另一方面，同一式样的花冠出现在许多牡丹主体纹样上都是局部稍作变化，这些大同小异的细微变化体现了规范而活泼的特征。牡丹花冠外形呈圆形或近似圆形，而花瓣的瓣裂和瓣与瓣之间在大圆形中留有一定的空间，给人以丰满而雍容之美。花蕾的形态:花蕾均置于两花之间，大花冠旁出的分枝上着花蕾。侧面叶形状较小，为三出。叶芽多为两出，也有呈短刺状。叶片边缘圆弧状，较丰满。茎的形态:圆劲柔长。主茎都较粗壮，柔曲而劲健，弯曲的弧度大，支茎及抽出的长叶柄稍细，弯曲的弧度小。长叶柄从茎中抽出向左方则此叶片往往向右伸展，表现婀娜之姿，也是在整体纹样伸展大方向中的小变向变化。舒展流畅。主茎和连带的叶片呈波浪形的大趋势、大块状的舒展态势。支茎、叶柄和叶片之间多有交错、穿插，局部增加起伏变化，在主旋律中有变调，有修饰，显得丰满、繁盛。
3. 蕉叶
蕉叶纹来源于商周青铜器的纹样，饰于瓶颈部。叶的中茎画至叶尖，一笔画成或两笔画成后填色。叶的边沿用细线勾勒后填色。叶脉细线勾勒。前后双层两种画法。这种不同于明初蕉叶纹中茎用两条平细线画至叶尖，不填色，永乐起叶的中茎已不到叶尖。叶纹细密如鱼骨。叶边如锯齿般尖细，轮廓线用复笔加粗。一般为前后双层画法。
4. 微观鉴赏：
气泡介绍：
老化气泡，是指古瓷经历相当长的存世期间，受到存世环境作用和影响，釉层中的气泡发生老化的现象。气泡老化的特征，综合起来主要有变色、变形、脱落三种状态。这三种状态，是气泡的连续的老化进程，与瓷器存世时间呈正相关，是瓷器存世时间的岁月留痕，是瓷器的“大年轮”。树木“年轮”是年纪，古瓷的“大年轮”约是百年纪。变色老化气泡，是指瓷器存世时间漫长，釉层中的部分气泡自然着色而失去正常的明朗通透特性，成为变色气泡。变色老化气泡的泡壁保持自然状态，没有发生形态上的变化。常见的变色老化气泡的颜色有白、黄、褐、黑等。白色老化气泡。老化气泡的颜色呈白，用150倍放大镜观察，见乳白色。
锡光斑
结论：
1.该龙纹象耳瓶的花纹，器型，工艺满足元代青花瓷器特色。
2.微观观察：气泡分析，光斑图像满足超过600年的瓷器特点。
3.尺寸和完整程度，品相都在外观上优于英国大维德基金会的那对元代青花象耳瓶的收藏。
《元青花》许明,《元青花瓷的条形流散和斑状流散 》
《元青花伊朗土耳其所藏探微》 俞芳洁,
《从元青花瓷龙凤纹谈起 》赵曼,
《元氏掖庭记》
《续百川学海》
《元史 》
Positive-type Yuan blue and white vases with elephant ears Appreciation papers
Around the fourteenth century blue and white porcelain, with its superb technology and world-renowned. Iran, Turkey, the possession of a huge amount exquisitely Yuan blue and white porcelain, the wisdom of the people of China and the Islamic. Study of blue and white porcelain Iraqi soil between the two countries, not only to understand China and Islamic countries was political, cultural, economic, and help to understand the constantly collision between Chinese and Western cultures, blending process.
In the the big Vader Foundation possession of blue and white porcelain, Englishman Huobuxun in 1929 and found a pair of 'positive eleven years' (1351) Ming paragraph Yunlong elephant ears bottle, and all the porcelain from the Ming Dynasty resolvedidentified as the Yuan Dynasty porcelain. 1952 American pop Dr. the Huobuxun based on contrast Topkapi Sarai Palace, Turkey and Iran Favorite blue and white porcelain, academic achievements published in the 1952 edition of the 'blue and white porcelain in the 14th century: the possession of a group of Chinese porcelain (Fourteen-Century Blue-and-White a Group of Chinese porcelains in Topkapu Sarayi Museum) and the 1956 edition of the 'Temple of Adelaide Bill collection Chinese porcelain' the (Chinese porcelains from Shrine of the Aedebil) and.
He also uses a typology study where similar to the fourteenth century blue and white porcelain production in Jingdezhen thereto the property as a 'positive-type' blue and white porcelain. Blue and white porcelain originated in the Tang Dynasty, development to the Song almost stagnant until the Yuan Dynasty before maturity.
Yuan blue and white porcelain statistics ago Museum collection in about 100 domestic, foreign, more than 200 pieces, mainly located in Cairo, Tehran, Iran, Istanbul, Turkey, the United Kingdom, the United States, Japan, Egypt, a number of museums, art galleries. Collection of Iran and Turkey in terms of quantity and quality were rated the highest in the world's public and private collection: Yuan blue and white porcelain is the witness of the cultural exchange plays an important role in the history of Chinese ceramics. Iran, Turkey, the possession Yuan blue and white porcelain is not only fine workmanship and ornamentation harassment, and the number of AGF study Yuan blue and white porcelain kind of information indispensable.
Research to save China's blue and white porcelain to be with the excavated dated inscriptions handed down and major museum collections information. The past three decades, with the archaeological excavations in China continue to make new progress in Jiangxi, Jiangsu, Zhejiang, Hunan, Hubei, Shanxi, Hebei, Inner Mongolia, Xinjiang, Yunnan, Guangdong, Beijing and other places, unearthed a number of the Yuan Dynasty blue and white porcelain devices.
Pattern Appreciation:
1. dragon (a)
Dragon pattern is defined multiple times in the official records of the Yuan Dynasty royal decorative patterns: the following specific.
Of Tong 'Volume 9' clothes, clothing color, 'reads:' In the first year of March 12, Dade Zhongshushing outs: markets sell Duan, like upper wear the Queen's dragon, one less claw children, the wantonly of a Zhaoer of knitting sell outs uh, dark thorn right prime minister, the the Dows chancery Chin Feng edicts: Thoracodorsal Longer piece is woven Oh, out of the way to teach the organizers like we wear Duan woven ridden big dragon completely Ze foundation said, the clerical ban about anywhere over the line, Hugh taught woven. 'bottle pattern blue and white dragon theme ornamentation is a valley of death, Shenlong water, Yu-Cloud line the magnificent scene, flowing lines, beautiful color, poetic, bringing people to enjoy the elegant and bright and clean aesthetic. Painted eight meantime cloud pattern, deep and powerful document intended, and with being quaint colorful cyan, vivid, uninhibited style. Inside and outside with two decorative methods showed dragons are the mouth, head to rise, Longfa Phi, head of Health with two forked horned dragon mustache, beard, mane and taste, fine neck-fiber body, fully clothed with scales, fins back neatly. Dragon flying on limbs struggling to dance to catch up with a swimming Flame Orb, commonly known to catch beads dragon. Dragon, has the typical characteristics of the Yuan Dynasty dragon, the dragon is the first small and slightly on Yang Zhang vomit tongue, exposing teeth. Nose like wishful head, jaw fluttering wisp of beard, dual angle slightly stronger after Alice limbs outstretched, four claws, perfect image, vivid. The angry dome Zhang, bright, artistic effects play a finishing touch. Long tortuous and elongated neck, a long lock of mane rippling dancing. See from the dragon's body and posture, show the characteristics of the Yuan Dynasty dragon.
2.Peony (a)
1975 Southern Song Dynasty tomb unearthed in Fuzhou Cangshan floating the yellow peony rib-like. From the rib-like line drawings can be seen to the right tilt broken branches fit patterns, the size of two flower-shaped, symmetrical about each corolla petals overlapping petals, petals and between the the petals rolled Department vacated sideline, Corolla a clear outline, shape and fullness, leaves for the five. Yuan blue and white peony in full bloom corolla with large rib-like corolla morphology is very similar. Yuan blue and white peony petals dyed green material, the flap margin blank the (dye TANSEI material color), should be, directly or indirectly, to learn from the Southern Song fabric peony design of the rib-like artistic conception. Corolla morphology. Typical and distinctive. The flower has a typical representative. Left and right, up and down, were in full bloom, full bloom (positive side of the two equations), Yang opened, explores the movements (positive on the back of two equations). Positive divided into three layers, the inner layer of small round tight package two or three general middle six, outer layer of eight. Lu Yang opened flower, the company explores the calyx of five or six. Bottles respect peony is also dotted with buds. The four typical morphology kinds of main patterns only slightly changed, recurring, with distinctive characteristics of the times. Norms and lively. Corolla symmetrical, but unlike the general pattern of tight end plate engraved on the other hand, the same style of Corolla local minor changes appear in the many peony main patterns on all these similar subtle change reflects the norms lively feature. Peony corolla shape, circular or nearly circular, leave some space in the large circular petal valved between the flap and the flap gives fullness and grace of the United States. Bud morphology: buds are placed between two flowers, Pang Chu Corolla branching on the bud. Side of the leaf shape small for three. Two buds, there were short spiny. Leaves the edge of the arc-shaped, fuller. Stem shape: round fresh soft long. Than thick main stem, flexing Sturdy, curved arc, long petiole branched stems and extracted a little thin, curved arc. Long petiole is extracted from the stem to the left side this blade is often right stretch, the performance of the graceful postures, also in the the overall patterns extend the general direction of the small change to change. Stretch smoothly. The trend of the main stem and the associated blade wavy, massive stretch posture. Branched stems, petioles and leaves more staggered, interspersed with local increase their ups and downs, the main theme in tone change, modification, it is plump, prosperous
3 Banana Leaf
Banana Leaf pattern comes from the Shang and Zhou bronze patterns, ornaments the bottleneck Ministry. The leaf stems paintings to the tip, a stroke, or two strokes into coloring. Leaf edge with thin lines sketched coloring. Veins thin line outline. Before and after the two-storey painting. This is different from the banana leaf pattern in the early Ming stems with two flat thin line drawn from the tip, no coloring, Yongle from the leaf stem has less than a tip. The leaf patterns meticulous such as fish bones. As jagged leaf edges taper, bold contour Complex pen. Usually bilayer before and after painting.
4. Microscopic Appreciation:
Bubble description:
The aging bubble, Porcelains of experiencing long survive in the world during the subject to survive in the world environment, the role and influence of the bubbles in the glaze layer aging phenomenon. Bubble aging characteristics combined major discoloration, deformation, shedding the three states. These three states is a continuous process of aging of the bubble, was positively correlated with porcelain survive in the world of time, porcelain survive in the world of time Suiyueliuhen porcelain rings. The trees 'growth rings' age, the Porcelains of 'rings' about a hundred young. Discoloration aging bubbles porcelain survive in the world a long time, part of the bubble in the glaze layer natural coloring and lose uncertain permeability characteristics normal to become discolored bubbles. Discoloration aging bubble bubble wall is left in its natural state, no morphological changes occurred. Common colors such as white, yellow, brown, black discoloration aging bubble. White aging bubbles. The aging bubble color was white, with 150 times magnification observation, see milky white.
Scholars Yuan blue and white porcelain for export as well as cobalt sources for more discussion, but less related artifacts shape and pattern ornamentation discusses. In this paper the iconography and history method, expand exposition and unearthed the personal collection of blue and white vases with elephant ears with Iraq, soil hid Yuan blue and white porcelain and Chinese Yuan blue and white porcelain shapes with ornamentation and demonstration. Microscopic analysis of the the crystalline spots and bubbles of the green material further validation of this era vases with elephant ears authenticity
Tin spot
Conclusion:
The pattern of the vases with elephant ears, device type, process to meet the characteristics of the Yuan Dynasty blue and white porcelain.
2 microscopic observation: the bubble spot image to meet more than 600 years of porcelain characteristics.
Size and completeness of the product phase better than the great British Verde Foundation in appearance that the Yuan Dynasty blue and white elephant vase collection.
Xu Ming, Yuan blue and white, 'Yuan blue and white strip diaspora, and porphyritic diaspora' Shi Aiping,
'Blue and white Yuan Iran and Turkey Tibet Exploration' Yufang Jie
'Yuan blue and white porcelain dragon and phoenix pattern about Zhao Man
'The Yuanshi Yeting mind' Tao Zongyi
Continued Baichuan Xuehai '(Ming) Ng Wing
'Genshi' 1976 Lian
他还采用类型学的方法进行研究，将凡与之相似的十四世纪在景德镇生产的青花瓷都归作“至正型”青花瓷。青花瓷起源于唐代，发展至宋代几近停滞，直至元代才日臻成熟。
摘要：
目前国内外学者对元青花瓷的外销以及钴料来源的问题已作较多讨论，但有关器物造型以及图案纹饰论述较少。本文运用图像学与历史学的研究方法，展开相关论述，对个人收藏的元青花龙纹象耳瓶与伊、土所藏元青花瓷与中国出土元青花瓷的器形与纹饰进行比较和论证。在微观上对青料的结晶斑和气泡进行分析进一步验证这个龙纹象耳瓶的年代真实性。
关键词语：伊朗；土耳其；元青花瓷
基本尺寸：高95厘米，底口径26厘米，上口径26
Ø花纹赏析：
1.龙纹（一）
龙纹的图案多次在元代的官方记载被定义为皇家的主要装饰图案：具体的文献如下。
《通制条格》卷9《衣服·服色》记载：“大德元年三月十二日，中书省奏：街市卖的段子，似上位穿的御用大龙，则少壹个爪儿，肆个爪儿的织着卖有。奏呵，暗都刺右丞相、道兴尚书两个钦奉圣旨：胸背龙儿的段子织呵，不碍事，教织者。似咱每穿的段子织缠身大龙的，完泽根底说了，随处遍行文书禁约，休教织者。” 瓶体主要花纹是青花龙纹，主题纹饰是一条游龙，神龙出水、驭云而行的壮美景象，线条流畅，色泽艳丽，诗意盎然，带给人们以优雅明净的审美享受。其间绘八朵云纹，笔意深沉有力，青色艳丽之中又带古朴，风格生动豪放。内外用两种装饰方法所表现出的龙纹，都是张口，头部向上扬，龙发后披，头上生有两个分叉的长角，龙髭、髯、胡、髦俱全，细颈纤身，全身披鳞，背上的鳍排列整齐。蛟龙飞舞其上，四肢奋力舞动追赶一颗游动的火焰宝珠，俗称赶珠龙纹。龙纹，具有元代龙纹的典型特征，龙首小并微微上仰，张口吐舌，露出利齿。鼻似如意头，下颚飘扬一缕长髯，双角微微后翘有力的四肢伸着四爪，形象完美、生动。怒目穹张，炯炯有神，起到画龙点睛的艺术效果。龙颈曲折细长，一绺长鬃翻飞舞动。从此龙的形体和姿态看，显现了元代龙纹的特征。
2.牡丹纹（一）
1975年福州浮仓山南宋墓出土黄色牡丹纹罗纹样。从罗纹样和其线描图可以看出是向右倾斜折枝式的适合纹样，有大小两种花形，每种花冠的花瓣左右对称，花瓣重迭，花瓣之间和花瓣翻卷处空出边线，花冠轮廓清晰，形态丰满，叶为五出。元青花牡丹纹中盛开式花冠与罗纹样中的大花冠形态很相似。元青花牡丹纹花瓣染青料，瓣边缘留白（染淡青料色），应是直接或间接学习借鉴了南宋织物牡丹罗纹样的设计意匠。花冠的形态。典型而鲜明。花具有典型的代表性。左右、上下分别为怒放、盛开（正侧面的两式）、仰开、俯探（正、背面的两式）。正面式分三层， 内层小圆为紧包的两或三瓣，一般中层六瓣，外层八瓣。仰开的露花蕊，俯探的有五或六片花萼。瓶尊上的牡丹纹还点缀有花蕾。这四种典型的形态在各式主体纹样上只略作改变，反复出现，具有鲜明的时代特征。规范而活泼。花冠左右对称，但不像一般图案的紧结、板刻另一方面，同一式样的花冠出现在许多牡丹主体纹样上都是局部稍作变化，这些大同小异的细微变化体现了规范而活泼的特征。牡丹花冠外形呈圆形或近似圆形，而花瓣的瓣裂和瓣与瓣之间在大圆形中留有一定的空间，给人以丰满而雍容之美。花蕾的形态:花蕾均置于两花之间，大花冠旁出的分枝上着花蕾。侧面叶形状较小，为三出。叶芽多为两出，也有呈短刺状。叶片边缘圆弧状，较丰满。茎的形态:圆劲柔长。主茎都较粗壮，柔曲而劲健，弯曲的弧度大，支茎及抽出的长叶柄稍细，弯曲的弧度小。长叶柄从茎中抽出向左方则此叶片往往向右伸展，表现婀娜之姿，也是在整体纹样伸展大方向中的小变向变化。舒展流畅。主茎和连带的叶片呈波浪形的大趋势、大块状的舒展态势。支茎、叶柄和叶片之间多有交错、穿插，局部增加起伏变化，在主旋律中有变调，有修饰，显得丰满、繁盛。
3. 蕉叶
蕉叶纹来源于商周青铜器的纹样，饰于瓶颈部。叶的中茎画至叶尖，一笔画成或两笔画成后填色。叶的边沿用细线勾勒后填色。叶脉细线勾勒。前后双层两种画法。这种不同于明初蕉叶纹中茎用两条平细线画至叶尖，不填色，永乐起叶的中茎已不到叶尖。叶纹细密如鱼骨。叶边如锯齿般尖细，轮廓线用复笔加粗。一般为前后双层画法。
4. 微观鉴赏：
气泡介绍：
老化气泡，是指古瓷经历相当长的存世期间，受到存世环境作用和影响，釉层中的气泡发生老化的现象。气泡老化的特征，综合起来主要有变色、变形、脱落三种状态。这三种状态，是气泡的连续的老化进程，与瓷器存世时间呈正相关，是瓷器存世时间的岁月留痕，是瓷器的“大年轮”。树木“年轮”是年纪，古瓷的“大年轮”约是百年纪。变色老化气泡，是指瓷器存世时间漫长，釉层中的部分气泡自然着色而失去正常的明朗通透特性，成为变色气泡。变色老化气泡的泡壁保持自然状态，没有发生形态上的变化。常见的变色老化气泡的颜色有白、黄、褐、黑等。白色老化气泡。老化气泡的颜色呈白，用150倍放大镜观察，见乳白色。
锡光斑
结论：
1.该龙纹象耳瓶的花纹，器型，工艺满足元代青花瓷器特色。
2.微观观察：气泡分析，光斑图像满足超过600年的瓷器特点。
3.尺寸和完整程度，品相都在外观上优于英国大维德基金会的那对元代青花象耳瓶的收藏。
《元青花》许明,《元青花瓷的条形流散和斑状流散 》
《元青花伊朗土耳其所藏探微》 俞芳洁,
《从元青花瓷龙凤纹谈起 》赵曼,
《元氏掖庭记》
《续百川学海》
《元史 》
Positive-type Yuan blue and white vases with elephant ears Appreciation papers
Around the fourteenth century blue and white porcelain, with its superb technology and world-renowned. Iran, Turkey, the possession of a huge amount exquisitely Yuan blue and white porcelain, the wisdom of the people of China and the Islamic. Study of blue and white porcelain Iraqi soil between the two countries, not only to understand China and Islamic countries was political, cultural, economic, and help to understand the constantly collision between Chinese and Western cultures, blending process.
In the the big Vader Foundation possession of blue and white porcelain, Englishman Huobuxun in 1929 and found a pair of 'positive eleven years' (1351) Ming paragraph Yunlong elephant ears bottle, and all the porcelain from the Ming Dynasty resolvedidentified as the Yuan Dynasty porcelain. 1952 American pop Dr. the Huobuxun based on contrast Topkapi Sarai Palace, Turkey and Iran Favorite blue and white porcelain, academic achievements published in the 1952 edition of the 'blue and white porcelain in the 14th century: the possession of a group of Chinese porcelain (Fourteen-Century Blue-and-White a Group of Chinese porcelains in Topkapu Sarayi Museum) and the 1956 edition of the 'Temple of Adelaide Bill collection Chinese porcelain' the (Chinese porcelains from Shrine of the Aedebil) and.
He also uses a typology study where similar to the fourteenth century blue and white porcelain production in Jingdezhen thereto the property as a 'positive-type' blue and white porcelain. Blue and white porcelain originated in the Tang Dynasty, development to the Song almost stagnant until the Yuan Dynasty before maturity.
Yuan blue and white porcelain statistics ago Museum collection in about 100 domestic, foreign, more than 200 pieces, mainly located in Cairo, Tehran, Iran, Istanbul, Turkey, the United Kingdom, the United States, Japan, Egypt, a number of museums, art galleries. Collection of Iran and Turkey in terms of quantity and quality were rated the highest in the world's public and private collection: Yuan blue and white porcelain is the witness of the cultural exchange plays an important role in the history of Chinese ceramics. Iran, Turkey, the possession Yuan blue and white porcelain is not only fine workmanship and ornamentation harassment, and the number of AGF study Yuan blue and white porcelain kind of information indispensable.
Research to save China's blue and white porcelain to be with the excavated dated inscriptions handed down and major museum collections information. The past three decades, with the archaeological excavations in China continue to make new progress in Jiangxi, Jiangsu, Zhejiang, Hunan, Hubei, Shanxi, Hebei, Inner Mongolia, Xinjiang, Yunnan, Guangdong, Beijing and other places, unearthed a number of the Yuan Dynasty blue and white porcelain devices.
Pattern Appreciation:
1. dragon (a)
Dragon pattern is defined multiple times in the official records of the Yuan Dynasty royal decorative patterns: the following specific.
Of Tong 'Volume 9' clothes, clothing color, 'reads:' In the first year of March 12, Dade Zhongshushing outs: markets sell Duan, like upper wear the Queen's dragon, one less claw children, the wantonly of a Zhaoer of knitting sell outs uh, dark thorn right prime minister, the the Dows chancery Chin Feng edicts: Thoracodorsal Longer piece is woven Oh, out of the way to teach the organizers like we wear Duan woven ridden big dragon completely Ze foundation said, the clerical ban about anywhere over the line, Hugh taught woven. 'bottle pattern blue and white dragon theme ornamentation is a valley of death, Shenlong water, Yu-Cloud line the magnificent scene, flowing lines, beautiful color, poetic, bringing people to enjoy the elegant and bright and clean aesthetic. Painted eight meantime cloud pattern, deep and powerful document intended, and with being quaint colorful cyan, vivid, uninhibited style. Inside and outside with two decorative methods showed dragons are the mouth, head to rise, Longfa Phi, head of Health with two forked horned dragon mustache, beard, mane and taste, fine neck-fiber body, fully clothed with scales, fins back neatly. Dragon flying on limbs struggling to dance to catch up with a swimming Flame Orb, commonly known to catch beads dragon. Dragon, has the typical characteristics of the Yuan Dynasty dragon, the dragon is the first small and slightly on Yang Zhang vomit tongue, exposing teeth. Nose like wishful head, jaw fluttering wisp of beard, dual angle slightly stronger after Alice limbs outstretched, four claws, perfect image, vivid. The angry dome Zhang, bright, artistic effects play a finishing touch. Long tortuous and elongated neck, a long lock of mane rippling dancing. See from the dragon's body and posture, show the characteristics of the Yuan Dynasty dragon.
2.Peony (a)
1975 Southern Song Dynasty tomb unearthed in Fuzhou Cangshan floating the yellow peony rib-like. From the rib-like line drawings can be seen to the right tilt broken branches fit patterns, the size of two flower-shaped, symmetrical about each corolla petals overlapping petals, petals and between the the petals rolled Department vacated sideline, Corolla a clear outline, shape and fullness, leaves for the five. Yuan blue and white peony in full bloom corolla with large rib-like corolla morphology is very similar. Yuan blue and white peony petals dyed green material, the flap margin blank the (dye TANSEI material color), should be, directly or indirectly, to learn from the Southern Song fabric peony design of the rib-like artistic conception. Corolla morphology. Typical and distinctive. The flower has a typical representative. Left and right, up and down, were in full bloom, full bloom (positive side of the two equations), Yang opened, explores the movements (positive on the back of two equations). Positive divided into three layers, the inner layer of small round tight package two or three general middle six, outer layer of eight. Lu Yang opened flower, the company explores the calyx of five or six. Bottles respect peony is also dotted with buds. The four typical morphology kinds of main patterns only slightly changed, recurring, with distinctive characteristics of the times. Norms and lively. Corolla symmetrical, but unlike the general pattern of tight end plate engraved on the other hand, the same style of Corolla local minor changes appear in the many peony main patterns on all these similar subtle change reflects the norms lively feature. Peony corolla shape, circular or nearly circular, leave some space in the large circular petal valved between the flap and the flap gives fullness and grace of the United States. Bud morphology: buds are placed between two flowers, Pang Chu Corolla branching on the bud. Side of the leaf shape small for three. Two buds, there were short spiny. Leaves the edge of the arc-shaped, fuller. Stem shape: round fresh soft long. Than thick main stem, flexing Sturdy, curved arc, long petiole branched stems and extracted a little thin, curved arc. Long petiole is extracted from the stem to the left side this blade is often right stretch, the performance of the graceful postures, also in the the overall patterns extend the general direction of the small change to change. Stretch smoothly. The trend of the main stem and the associated blade wavy, massive stretch posture. Branched stems, petioles and leaves more staggered, interspersed with local increase their ups and downs, the main theme in tone change, modification, it is plump, prosperous
3 Banana Leaf
Banana Leaf pattern comes from the Shang and Zhou bronze patterns, ornaments the bottleneck Ministry. The leaf stems paintings to the tip, a stroke, or two strokes into coloring. Leaf edge with thin lines sketched coloring. Veins thin line outline. Before and after the two-storey painting. This is different from the banana leaf pattern in the early Ming stems with two flat thin line drawn from the tip, no coloring, Yongle from the leaf stem has less than a tip. The leaf patterns meticulous such as fish bones. As jagged leaf edges taper, bold contour Complex pen. Usually bilayer before and after painting.
4. Microscopic Appreciation:
Bubble description:
The aging bubble, Porcelains of experiencing long survive in the world during the subject to survive in the world environment, the role and influence of the bubbles in the glaze layer aging phenomenon. Bubble aging characteristics combined major discoloration, deformation, shedding the three states. These three states is a continuous process of aging of the bubble, was positively correlated with porcelain survive in the world of time, porcelain survive in the world of time Suiyueliuhen porcelain rings. The trees 'growth rings' age, the Porcelains of 'rings' about a hundred young. Discoloration aging bubbles porcelain survive in the world a long time, part of the bubble in the glaze layer natural coloring and lose uncertain permeability characteristics normal to become discolored bubbles. Discoloration aging bubble bubble wall is left in its natural state, no morphological changes occurred. Common colors such as white, yellow, brown, black discoloration aging bubble. White aging bubbles. The aging bubble color was white, with 150 times magnification observation, see milky white.
Scholars Yuan blue and white porcelain for export as well as cobalt sources for more discussion, but less related artifacts shape and pattern ornamentation discusses. In this paper the iconography and history method, expand exposition and unearthed the personal collection of blue and white vases with elephant ears with Iraq, soil hid Yuan blue and white porcelain and Chinese Yuan blue and white porcelain shapes with ornamentation and demonstration. Microscopic analysis of the the crystalline spots and bubbles of the green material further validation of this era vases with elephant ears authenticity
Tin spot
Conclusion:
The pattern of the vases with elephant ears, device type, process to meet the characteristics of the Yuan Dynasty blue and white porcelain.
2 microscopic observation: the bubble spot image to meet more than 600 years of porcelain characteristics.
Size and completeness of the product phase better than the great British Verde Foundation in appearance that the Yuan Dynasty blue and white elephant vase collection.
Xu Ming, Yuan blue and white, 'Yuan blue and white strip diaspora, and porphyritic diaspora' Shi Aiping,
'Blue and white Yuan Iran and Turkey Tibet Exploration' Yufang Jie
'Yuan blue and white porcelain dragon and phoenix pattern about Zhao Man
'The Yuanshi Yeting mind' Tao Zongyi
Continued Baichuan Xuehai '(Ming) Ng Wing
'Genshi' 1976 Lian