Dehua, one of the three major porcelain capitals in China, began firing mutton-fat jade porcelain for the court as early as the Tang Dynasty, and it has been passed down to this day. Nowadays, the mutton-fat jade porcelain fired in Dehua has been innovated on the ancient firing method and has a more perfect craftsmanship. It inherits the tradition of ancient craftsmanship and promotes the innovation of modern craftsmanship. It has unique shape and superb craftsmanship.

Suet-fat jade porcelain is a kind of porcelain that flourished in the Tang Dynasty. At that time, Wu Zetian believed that the sheen of ordinary white porcelain was an ominous sign, so Yu Dehua developed this kind of matte porcelain. After the porcelain was made, people found that this matte porcelain was not only beautiful, but also very smooth, just like Hotan's jade name

Muet-fat jade porcelain. This kind of porcelain has been fired in Dehua since ancient times. The so-called skills have specializations, Jingdezhen is good at underglaze color, Liling is good at overglaze color, and Dehua is good at this kind of matte porcelain and some Western porcelain

The body glaze of Dehua kiln Qing Dynasty blue and white porcelain Characteristics

In the late Ming and early Qing dynasties, Dehua porcelain, due to changes in the kiln structure, formula raw materials and firing atmosphere, evolved from milky white to light cyan white glaze. This tone was very similar to the white glaze in Jingdezhen at that time. The glaze is more dazzling than Jingdezhen white glaze, so it is also known as "white filling" or "sweet white". The porcelain clay of fetal bones is not as finely washed as Jianbai porcelain. In addition, the composition has changed, and the color has changed from "glutinous rice tire" to ordinary white or off-white, and the texture is very solid.

The characteristics of the white glaze texture and blue and white color of Dehua blue and white porcelain generally have the following development trends; in the early stage, the white glaze texture is white with a light aqua color, and the blue and white color is relatively rich and moist, with purple in the blue. The color is rich and bright, with rust spots in the thick places; in the later period, the white glaze texture is white to gray, the blue and white color is thin and bright, and the blue is gray, the color is elegant, and the glaze shrinkage often shows cracks. Decorative patterns are the part that best reflects the characteristics of blue and white porcelain. The decorative patterns of Dehua blue and white porcelain, from fishermen, woodcutter and cultivators that express social activities, to landscapes, woods and stones that describe the natural scenery, from auspicious dragons and auspicious phoenixes full of magical and romantic colors to common flowers, fruits, fish and birds, are all made by ceramic craftsmen. The subject matter covered in the writing. Although the composition of the picture was influenced by the standardization of the official kilns in Jingdezhen, it has greatly broken through the cumbersome fetters. It does not have the richness and craftsmanship of the imperial porcelain of the official kilns. The brushwork is simple and rough, the composition is simple and stretched, and it is full of interest, liveliness and liveliness. The flavor of Han folk life.

Dehua's blue and white landscape figures are generally relatively broad, dotted with houses, boats, and flying birds. There is movement in the stillness, and stillness in the movement. Most of them represent coastal scenery. Among them, the rocks are painted in the "axe-cut" painting method, in which the rocks are split into flakes, inheriting the style of the Southern Song Dynasty School of Painting; there is also the "hemp-crusted" painting method, in which the rocks are irregular and narrow at the top and wide at the bottom. The round shape imitates the techniques of the Fourth and Fifth Schools of the Yuan Dynasty. Some water paintings have successfully used green materials of different shades to consciously create different shades of tones, forming different feelings of color. They vividly display the appearance of beautiful mirrors in distant mountains and near water. The artistic effect is of course beyond A general pattern.

The figures in blue and white generally use different brushes. They often walk alone, or fish alone by the stream, or hold the harp and scream, or drive forward. Most of them express a kind of indifferent and tranquil detachment. artistic conception. The "student reading in class" pattern is one of the popular themes in Dehua blue and white porcelain. Under the ancient Qiu tree, next to the curved fence, a young student sat on the ground next to a table. There were thick stacks of books in front of him, and cigarettes were lingering on the table. With a few strokes, he painted a picture of an infatuated and naive scholar studying hard in a cold window. This type of works were mostly seen in the Qianjia period when "blessings and borrowings were flourishing and scholarship was flourishing". They reflected the social customs of the official career, economic and cultural life at that time, and the writing style was gentle even in the remote mountainous area of ??Dehua. The author once saw a lantern-style blue vase in a farmer's home in Shangyong Township, Dehua. It shows a scholar reading a few lessons under a mountain tree. The inscription on the bottom is "Made in the 4th and 1st Years of Qianlong", which is combined with the academic atmosphere of the Qianjia Era. Therefore, there should be no doubt that the Dehua kiln blue and white porcelain with this type of pattern is dated to the Qianjia period. In the past, when reading about Dehua porcelain, it was generally called "Baijian", which is actually a partial view. In terms of production scale and product quantity, Qing Dynasty blue and white porcelain greatly exceeded Jianbai porcelain.

In the Qing Dynasty, blue and white porcelain not only supplied the daily needs of the people in various places, but also supplied to the imperial court, and was even shipped in large quantities to the Nanyang Islands and the East African coast. This can be proved by unearthed objects (Xu Zhang Zhang, Ye Wencheng, etc. : "A Brief Discussion on the Ancient Export Porcelain of Dehua Kiln", "Archaeology", Issue 2, 1979, pp. 151-152; see also Xu Zhangzhang and Ye Wencheng; "Re-discussing the Ancient Export Porcelain of Dehua Kiln", "Ancient Ceramics" Research", 1982 first series, page 97). The sale of porcelain improves and beautifies people's lives and promotes friendly economic and cultural exchanges between China and foreign countries. Therefore, the role of Dehua blue and white porcelain cannot be ignored, and it should also occupy a place in the history of ceramic craftsmanship.