From the point of view of form, the blue and white porcelain painting breaks through the shackles of rice paper and other media, and takes the wonderful creation of nature on the smooth and curvature porcelain as the victory, although it increases the difficulty of creation, but also gives the blue and white porcelain a unique artistic charm, showing the aesthetic connotation of being smart and real. For example, many blue and white porcelain paintings deliberately imitate the brushwork of the "Four Yuan Families", "Ming Four Families", "Qing Four Kings" and other famous painters.

However, even if it is imitated, the ink painting on the blue and white porcelain is still remarkable, its brushwork is either vast and beautiful, or thick and clear, or majestic and far-reaching, the shade is appropriate, the staggered is caused, the painting method is fine, the color level is distinct, and the three-dimensional sense is strong, reaching the superb realm of "ink five colors", giving people a sparse and fresh, quiet and elegant artistic beauty, which makes people fascinated.

The characteristics of Pinghe blue and white porcelain are wide edges, and the mouths of plates and bowls are painted with grids and circular landscapes, figures, flowers, fruits, etc. Its production can be clearly divided into two periods: Wanli to the early Qing Dynasty and Kangxi, the former is the blue and white porcelain of Kaiguang, and the latter is thin.

Produced in the Ming Dynasty during the Wanli period of the peaceful blue and white plate using Zhejiang material painting, there are several shades of emerald blue, gray blue, light blue, the use of water separation techniques, the formation of three to four color levels, for the maturity of Kangxi blue and white laid the foundation.

The painters skillfully move the brush, no matter the hook, dot, dye are as they like, natural and free. All the circles are made of two brushstrokes, because this floral pattern has a typical European style of blue and white porcelain, which is deeply loved by European princes and nobles.

Pinghe blue and white porcelain is one of the most numerous porcelain exported from the Ming Dynasty, which has both European interest and retains the Chinese national style. The shape of Pinghe blue and white porcelain mainly includes plates, bowls, bottles, military holders, etc., with many plates and typical thin tires, with round mouths and sunflower mouths, slightly concave insole, slightly oblique to the feet, and more sand particles on the feet.

Its ornamental characteristics are mainly manifested in the decoration, the theme of the center is mostly flowers, flower baskets, birds and animal patterns, the inner wall of the plate is generally about eight fan-shaped (there are also oval) open light, open the light inside the painting miscellaneous treasure and other patterns, some of the plate wall also molded out the petals or the outline of the light.

The general collection of flat and blue and white porcelain porcelain plates, with round mouths and sunflower mouths, are all folded, shallow belly, flat bottom, short circle foot, circle foot sticky sand; The outer wall of the plate is a simple window, the inner wall of the plate is a lotus petal-shaped window, and the window interior is four auspicious and sunflowers, etc., and there are columns between them. column interior brocade and Yingluo, etc.; The inner area is a brocade edge eight-arc window, and the window is a pattern of Chinese paintings such as aquatic plants and birds.

Blue and white are also in conflict with the aesthetics of traditional literati. Ming Cao Zhao's "Gegu Yao": "In modern times, there are blue and white and five-color flowers, and they are very vulgar. "The literati preferred more modest porcelain. To make Tibetan friends, we should actively participate in the collection organization and participate in the study of the collection club, which is a shortcut to avoid detours.

Such as jade is the aesthetic pursuit of Chinese literati who go deep into the bone marrow. Confucian culture believes that "the husband is more virtuous than the gentleman." Gentle and moist, benevolent" ("Xunzi"). The many qualities of jade are in line with the virtues advocated by Confucianism - the so-called virtue of a gentleman is a gentle, subtle and restrained oriental personality. Appreciating jade, admiring jade and using jade is not only an aesthetic act, but also a way to cultivate temperament and cultivate morality. Jingdezhen porcelain was the first to receive attention, and was given the name of the town by Song Zhenzong, precisely because the Qingbai porcelain produced at that time was "white as jade, bright as a mirror, thin as paper, and sound like a chime".

However, the beauty of blue and white eventually integrated into the aesthetics of the literati and became the essence of Chinese culture, which was appreciated by both the elegant and the vulgar. After the Ming and Qing dynasties, blue and white was redefined as a verdant and elegant color. There are also some literati who interpret blue and white from the height of the Yi.

At the end of the Qing Dynasty, when the literati Gong Gong chanted the color of blue and white porcelain, he regarded blue and white as symbols of yin and yang: "When the white glaze blue and white are fired, the flowers are clearly spit out from the glaze." It can be used to create innate wonders, and Wuji is born from Taiji. "More people see blue and white as another expression of the beauty of ink painting, which is the subtlety of traditional Chinese art. This undoubtedly affirms the aesthetic height of blue and white.

Of course, in this process, the blue and white porcelain itself has also experienced a change in color from rich to elegant, and the pattern from complex and fine to freehand and ethereal. I believe that there are not only material reasons for this, but also cultural reasons.

Yuan blue and white porcelain from the grassland, and multicultural blending, evolution, the formation of elegant and beautiful, clear and simple, simple and natural blue and white porcelain style, and has been in the history of China's ceramics occupies a pivotal position, both quality and output are incomparable to other porcelain varieties.

Regardless of the historical popularity of blue and white porcelain, I prefer the expressiveness of blue and white porcelain, which is much stronger than the ceramic painting of other techniques.

The language of blue and white is like the relationship between black and white when I was learning to sketch. Blue and white are like blue sketches, with a variety of different shades such as thick head, concentrated water, fresh water, and drinking water. According to the needs of the picture, it can not only make the black, white and gray levels of the sketch, but also make the ink effect like a Chinese painting, and can also be combined with the glaze color to form a rich color.

When it comes to the creation of ceramic paintings, many teachers who come into contact with the teachers in school will choose the highly expressive blue and white. For example, the blue and white series of Mr. Luo Xiaocong's Hongcun series adopts his original technique of removing the green, and the expression of Hongcun's ink mountains and rivers is incisive and beautiful.

When I was at Tao University, because the tutor who took me preferred a formal and abstract style, I had more contact with modern blue and white.

But in fact, I still like the traditional blue and white in private, because many of the patterns commonly used in blue and white decoration have different meanings, with a mysterious beauty, and I have always felt that the Western entanglement painting and the blue and white entwined branch lotus, sea pattern and other patterns have a similar place.

Blue and white porcelain matured very quickly in the Yuan Dynasty, mainly because the internal painting technology was becoming more and more mature, and the external power came from the largest batch purchase.

It is forbidden to have art forms with living images, especially not to draw human figures, so the blue and white porcelain exported at this time is mainly based on abstract traditional patterns, combined with traditional patterns such as ancient bronzes, fabrics, and pottery, which can be said to be the culmination.

Twigs are generally vines of plants. It is divided into secondary pattern and main pattern. The auxiliary pattern is generally two-sided continuous (students who don't understand can raise their hands and ask me hehe), stretching left and right.

The main pattern generally adopts the quadripartite continuous technique, interspersed with lotus, peony, flat chrysanthemum, Baoxiang flower (the flower in Buddhism, Buddhism was introduced to China during the Wei and Jin dynasties, and had a great influence on the arts and crafts later), grape pattern, etc., which is difficult to distinguish.

Due to the use of the quadripartite continuous technique, as long as you paint according to a certain arrangement law, without considering the composition, you can paint the whole object, so many large pieces of blue and white with full lines have tried to use this technique and pattern.

The curly grass pattern began in the Han Dynasty, also known as the honeysuckle pattern (or because of the introduction of Buddhism), that is, honeysuckle, which is not withered in winter, and it is also an auspicious pattern. In fact, it is very similar to the tangled branches, but there are no flowers, and there are also dragons with dragons, which are called grass dragon patterns.

As the name suggests, the sea pattern is the shape of a wave, and when you think of waves, you probably think of Katsushika Hokusai's waves, and it is true that many of Hokusai's paintings were influenced by Chinese painting. However, in blue and white, the sea pattern is generally used as a secondary pattern. If it is the main part, there will be sea monsters, sea dragons, seahorses, bats and the like in the water.

Because the shape of the thunder pattern is very similar to the word "back", it is also called back pattern. The round one is called the cloud pattern, if it appears at the same time, it is the cloud and thunder pattern, and the cloud and thunder are the main decoration of bronze vessels in the Shang and Zhou dynasties, which is very meaningful.

The ruyi pattern is the cloud shoulder pattern with a round head. A kind of traditional Chinese auspicious pattern is a metaphor for "satisfactory heart" and "ruyi", and "bottle", "halberd", "pan", "peony" and other auspicious patterns widely used in Chinese folk such as "peace and happiness", "auspicious happiness" and "wealth and prosperity".

There is a jargon in the appreciation of ancient ceramics called "pivotal", which means that to identify the authenticity and age of porcelain, it is very important to look at the bottom of the object, and the so-called mention of its weight (metaphor for the authenticity and age of porcelain) is also. "If you don't look at the porcelain, it makes no sense to break the dynasty" means something similar. Indeed, the bottom foot of porcelain transmits a lot of information about the production of porcelain in different eras, and also transmits the time information of porcelain, circulation information, etc., and the bottom foot of porcelain is also the "soft underbelly" of fake production, which can be "like", and "god-like" is extremely difficult. Therefore, it is of great significance to observe the bottom foot of porcelain to identify the authenticity and age of porcelain.

The bottom foot of Yuan blue and white has all the commonality of ancient porcelain, and also has its own personality. That is, the bottom characteristics of the Yuan blue and white itself are not uniform. In the early years, I also got my hands on some domestic Yuan blue and white porcelain, and the time was in a hurry, and I was not particularly impressed, but it was not as real as the image data collected later.

Therefore, most of the observation and comprehension of the Yuan blue and white bottom feet are also obtained from image data, and then they are those who personally brought the bottom in the porcelain pieces collected in the soil layer of the Yuan Dynasty. The bottom of the Yuan blue and white porcelain discussed below is sufficient to be mainly positive. The selected picture materials are those that have been in the collection of domestic and foreign museums for an early time, have clear archival records or clear excavation locations, and those that have been collected in recent years without initial archives or clear excavation locations are not selected by national-level famous museums to ensure the authenticity and reliability of the discussion materials.

Characteristics of the bottom foot of Yuan blue and white porcelain:

The size of the lap foot: the large plate class is the large lap foot. Cans are also large hoop feet. Small plates and large bowls are small hoops. The bottle is moderately proportioned to the bottle. The size of the circle foot according to the type of vessel is: large plate, large can, bottle, small plate and large bowl. The former lap foot is greater than the latter.

The depth of digging feet: large bottles and jade pot spring bottles are deep circle feet. Small and medium-sized vials are shallowly lapped. Cans are all shallow lapped. The market is also shallow. On the contrary, there are deep circles in the small market.

The width of the foot wall: The large bottle is a narrow wall. Small and medium-sized vials are wide-footed walls. The cans are mostly wide, low-footed walls. The disc type is a narrow wall.

The shape of the foot end: the large bottle is a flat loach back (it is generally believed that the "loach back" began in the Qing Dynasty, which seems to be wrong). Most of the small and medium-sized vials are double-sided oblique (i.e., "two-sided slope"), and some are single-sided oblique (i.e., the outer wall is obliquely cut inward, and the inner wall is straight). The tanks are beveled on both sides, but the slope is small. Plates with small hoops and large bowls are flat-cut.

Tire color: Due to the different degrees of soil, cleaning and flint red, the "visibility" of tire color is also different. Obviously, the color of earth, flint red, rust, mildew and other attachments should not be considered "tire color". The so-called tire color should refer to the natural color of the porcelain carcass. Some porcelain parts are completely covered with kiln red (flint red), and some are covered with soil that has not been cleaned (or only slightly cleaned, and the soil color is still there), in which case it is meaningless to identify the "tire color", because it is impossible to identify. The best way to identify the color of the fetus is to observe the defects (even small bumps) in the utensils. The second is that there is neither kiln red nor soil, showing the "original appearance", and there are not many Yuan blue and white flowers in this state. The second is the one with a more thorough bottom cleaning. The foreign collection of Yuan blue and white is generally cleaned more thoroughly, and sometimes the flint red is also worn away to see the real tire color (this practice must be measured); Many domestic collectors basically do not do any cleaning, such as the Gao'an collection, and many have no way to observe the color of the fetus. There are four tire colors of Yuan blue and white: bright white (the best tire color, with a sense of moisture); Off-white (one of the most prevalent.) It is said that it is gray and white, which refers to a slight gray tone in the white, which is different from the "gray and white tire" of Song porcelain); off-white (often with inconspicuous light purple spots); Turmeric (fine and slightly loose).

Fetal quality: most of them have used binary formula (porcelain stone + kaolin), which has the characteristics of modern porcelain. The fetal quality is firm and delicate, the porosity is very low, basically does not absorb water, and the knocking sound is thick and loud. Some of them are blue and white porcelain and egg white porcelain porcelain fetals. There are also some porcelain tires that are not dense enough and relatively soft, which may be related to the firing temperature. Many porcelain tires have rust spots on their surfaces. The rust spots are hard and not easy to remove, and the rust is extremely dark and black-brown. However, there are also those who have little rust spots. It shows that the fetal soil of Yuan blue and white porcelain still contains more impurities (mainly iron molecular substances), but if you use pads with high iron content, it is also possible that rust spots may appear on the bottom foot. The difference is mainly to observe whether the rust spots are caused by the precipitation of the carcass or by external adhesions. In the latter case, rust spots are generally distributed at the foot end (i.e., the contact surface with the gasket and cushion cake), and rarely in the center of the outsole; In the case of the former, the distribution is relatively irregular, and it is often visible in the center of the outsole. Another point is very useful for identification, that is, large rust spots often appear silvery with mica-like luster.

The blue and white phoenix head liu bian holding pot yuan height 18.4 cm, diameter 4 cm, foot diameter 8.2 cm, 1998 Xinjiang Ili Kazakh Autonomous Prefecture Huocheng County, Lucaogou Town, Xiningzhuang Village, Xinjiang Ili Kazakh Autonomous Prefecture Museum collection

Swirl: Most of the blanks have been repaired when they are repaired, and there is no whirlwind. There are also a few reservations, mostly sparse spacing swirls, and there is no dense swirl in the Ming and Qing dynasties. Start the knife like a comma, crisp and neat, or bring up a small nipple. The direction of the spiral is left-handed.

Kiln red: Most of the kiln red is not seen, but there are a few that do. Most of them are thick orange-red, and there is no "loquat yellow" that only later generations have.

Sand bottom and glaze bottom: The vast majority of Yuan blue and white porcelain is sand bottom, that is, the bottom is not glazed, but there are also glazed bottoms, such as the Yuan Dynasty blue and white lion play ball pattern eight-sided jade pot spring bottle in the Hebei Provincial Museum is the glaze bottom.

Glaze spots: There are glaze spots on the bottom of some sand-bottomed Yuan blue and white porcelain. The glaze spots are more or less, vary in size, irregular in shape, and generally have a bluish-white glaze color. Why do you add these unsightly glaze spots? After observation, I found that the distribution of these glaze spots has a certain pattern: that is, they are often distributed at the junction of the inner wall root and the edge of the outer sole, and in the center of the outsole. Isn't this where cracks often appear? Due to the problem of fetal mud (such as insufficient maturation), the problem of molding (such as uneven drawing), and the drying environment of porcelain blank (check the relevant information, there is no such thing as "drying pool" in the Yuan Dynasty), so the cracking phenomenon of green billet in the drying process is more common, and these glaze spots are used to fill the gaps in the porcelain blank. Observing that the glaze spots are very few round, and many of them are irregular and long, which confirms my suspicion. In addition, these glaze spots are very thick, which can also explain this reason. Some modern imitations of Yuan blue and white also imitate the glaze spots, but because the counterfeiters do not know the intention of the Yuan Dynasty people to add glaze spots to the bottom of the vessel, or arbitrarily sway, it is also random in the parts that cannot produce cracks, which is unreasonable. Or the distribution is neat and decorative, I don't know that the ancients only added glaze spots where they needed it (that is, where there are cracks), and there was no decorative intention, how could there be such a neat distribution?

"The white glaze blue and white is made into a fire, and the flowers are clear from the glaze", the patterns on these blue and white porcelain are actually interesting.

Bat, "bat" and "fu" have the same sound, meaning blessing. It is often matched with patterns such as "peach", "deer" and "copper coin".

Five bats are formed around the word longevity or peaches, meaning "five blessings and longevity"; More "bats" and more "longevity", meaning "longevity".

"Shu Hongfan" has an explanation: "Five blessings, one is blessing, two is longevity, three is Kangning, four is good virtue, and five is life." "Good virtue" means "good virtue", and "test life" is a good end.

Peach, meaning longevity. Han Dongfang Shuo's "Divine Strange Scripture" cloud: "There is a tree in the northeast, fifty zhang high, its leaves are eight feet long, four or five feet wide, and the name is peach." Its son is three feet two inches in diameter, small and narrow core, and the food is known to people. ”

Peach bat pattern, meaning "happiness and longevity".

Ancient money, the hole is round, borrowing the hole as the eye, "money" and "before" have the same sound. Matched with the bat pattern, it means "blessing in front of you" and "blessing in front of you".

The shape of the moire is like wish, indicating that it is continuous, and it is often matched with "dragon", "phoenix", "crane" and "bat".

Liuyun Baifu, that is, the meaning of Baifu continuously.

The lion pattern is also a common pattern in China's porcelain decoration. The ancients believed that lions could not only ward off evil spirits and guard tombs, but also predict floods and show power.

In the ancient official system of our country, there were Taishi, Shaoshi, Taifu, and Shaobao, and the officials were the best. Therefore, a big lion and a small lion are often used to form "Taishi Shaoshi" or "Taishi Taibao", which means that he hopes that his son will become a dragon and his official fortune will be prosperous.

At the same time, "lion" and "thing" are homophonic, and the double lion means that everything goes well.

In addition, the combination of lions and lotus lanterns is the "Liandeng Taishi"; The lion is accompanied by a ribbon, indicating that there are many happy events and auspicious celebrations; The lion stepping on the hydrangea means "unifying the universe".

Elephant, Rui beast, thick and steady, can carry the treasure bottle, so there is "Taiping has an elephant", "happy elephant shengping" said, implying that the world is peaceful, the five grains are abundant.

There are three halberds inserted on the bottle, which is also called "Pingsheng Level 3", which means that the official fortune is prosperous.

The rooster stands on the stone, and the homonym is "the room is auspicious", which means that the house is healthy, the life is rich, and the fortune is good.

In addition, there is a pattern of a rooster with five chicks, which means "five sons Dengke" or "teaching five sons".

The mandarin duck has always been regarded as a symbol of loyalty to feelings and marriage; Lotus and lotus seeds, meaning "even the birth of a noble son". The two patterns are often put together, implying that the husband and wife are in love and have a noble son early.

Egret, homonym "road". Lotus, homonym "Lian". In the old imperial examinations, the continuous examination was called "Lianke". "All the way to the course", which means that the test is connected, fast, and the career is smooth.

In addition, there is also a combination of "reed" and "lotus" patterns. In addition to the homophony, but also because of the growth of reeds, often connected by trees, take the meaning of "Lianke".

Magpies, reeds, and lotus flowers are collocated, meaning "Xidelenke".

Yipin, for the ancient imperial court. Qinglian, homophonic "incorruptible", and has the image of "out of the mud without staining". Therefore, the people use a lotus flower to symbolize "a product of integrity", hoping that politicians will be honest and upright.

People mostly use "magpie" as a metaphor for festive things; "Mei" is homophonic to "eyebrow". Magpie Dengmei, meaning "happy eyebrows", describes the appearance of people with a happy face.

Magpies, red plums, and firecrackers are combined for "early spring annunciation" and "good spring retribution", implying the arrival of spring and the advent of happy events.

Pine, the length of a hundred trees, is evergreen and immortal, and is a symbol of longevity and ambition.

Crane, for the longevity of the bird, legend has it that during the Jin Dynasty, Ding Lingwei of Liaodong turned into a crane immortal after learning the Tao.

Therefore, there are auspicious meanings of "pine age crane longevity", "pine crane Changchun", and "pine crane prolongation".

Juelu marquis, that is, to be named marquis, and to get a higher salary. The pattern is often homophonic, composed of magpies, deer, bees and monkeys to show the meaning.

"Deer" takes the sound of "land"; "Crane" takes the sound of "together"; Liuhe refers to the four directions of heaven and earth (heaven and earth, southeast, northwest), and also refers to the world in general.

Patterns such as flowers, pine trees, and tsubaki trees imply "spring".

The crane and deer are in the same spring, that is, the "six contract spring", which means that the world is spring, and all things are thriving.

The unicorn, the auspicious beast, only appears in the peaceful and prosperous times. The unicorn is an auspicious benevolent beast in ancient Chinese legends, the unicorn is the male and the unicorn is the female; The shape is the body of a deer, the tail of an ox, the hooves of a horse, a horn on the head and meat, and it is equipped with weapons but not used, so it is called "benevolent pet".

The ancients believed that wherever the unicorn haunts, there must be auspiciousness. It is sometimes used as a metaphor for people with outstanding talents and both ability and integrity.

The pattern of "unicorn sending children" is mostly seen in the folk, but rarely in court supplies.

The pattern shows a boy holding a lotus flower and wishful thinking, riding on a unicorn. It means that in the world of Shengming, the boy sent by the unicorn will grow up to be a good material in the world and a virtuous minister of the auxiliary country.

Chinese folk generally believe that worshipping the unicorn can give birth to children, and it is often called "unicorn" and "liner". Legend has it that on the eve of Confucius's death, there was a unicorn spitting jade book in his home, on which it was written "the son of the water spirit, the king of the declining Zhou Dynasty", which means that he has the virtue of the emperor but does not occupy his position. This is the basis of "Qilin sending children", which can be found in Jin Wangjia's "Collecting Memories".

"Champion and first" symbolizes fame and high-ranking officials, and the pattern is a crowned boy holding Ruyi, riding on the dragon.

Crown, the same as "official". The boy wears a crown, and the elders expect the child to grow up to be promising, successful in the imperial examination, and the champion in high school. Riding a dragon is like a carp jumping over the dragon gate and getting ahead.

There are also decorations composed of three children, the eldest child in the middle holds a crown helmet, indicating that he has won the champion, and the second child next to him holds Ruyi and good news to celebrate.

Yutang is rich, the pattern is magnolia, begonia, peony, take the homonym of the first two flowers, take the meaning of peony "wealth", there is a high position, rich and noble.

The imperial palace of the Han Dynasty had "Yutang Courtyard", and later generations used "Jade Hall" to refer to Hanlin Academy. "Lijinmen, Shangyutang has a day", which means that the ascension is just around the corner.

"Sanyang Kaitai" is from the Book of Changes.

Sanyang, the homonym of "three sheep", means that yang energy gradually surpasses yin energy, winter goes to spring, and everything recovers.

"Kaitai" means auspicious and prosperous, and it means that good luck is coming.

The pattern is composed of peach blossoms, phoenix chicks and so on.

Du Fu's poems: "Five nights of leakage to urge the dawn of the arrow, nine spring drunken peaches", this pattern means that the spring is infinitely good, and it will stay in the world for a long time.

Four children (the sea) lifted a bottle, indicating that "the four seas are leveling", which means that the world is peaceful, and Tang Zhang said "Ode to the Tang Dynasty Feng Zen".

In ancient times, the three gods of Fu Lu Shou were called three stars, and the legend is that the Lucky Star Division is a blessing and a curse, a Luxing Division is rich and poor, and the Birthday Star Division is born and dead.

A three-star photo symbolizes happiness, wealth, and longevity.

Similar to the three-star Gaozhao, the folk also often use the birthday star, deer, and bat as the pattern, taking its homonym, meaning "Fu Lu Shou".

Magu, a fairy in ancient mythological stories. Ge Hong's "Legend of the Immortals" said that she cultivated Guyu Mountain in the southeast of Muzhou. Emperor Huan of the Eastern Han Dynasty was called by Wang Fangping and descended to Cai Jing's house, at the age of eighteen or nineteen, and could throw rice into beads. He said that he had seen the East China Sea turn into a mulberry field three times.

Legend has it that on March 3, the birthday of the Queen Mother of the West, she made wine with Ganoderma lucidum on the bank of the Jiangzhu River to celebrate the birthday of the Queen Mother. Therefore, in the old days, those who wished women to celebrate their birthdays mostly took the utensils painted with the pattern of Magu's birthday as gifts.

The pattern shows the two immortals of harmony opening the round box, and there are bats flying out of it, implying a happy marriage.

The two immortals of harmony are the gods of Chinese folklore, and are often painted as two unkempt, smiling, barefoot children, one holding a blooming lotus flower, and the other holding a round box with a lid; Or a wishful wish, a jewel. Harmony, take the homonym of "lotus" and "box".

Bang Hai plays the golden toad, is a Chinese folk legend story, the pattern is a boy or a scholar, with copper coins as bait, frolicking a three-legged golden toad, implying that the wealth is abundant and inexhaustible.

The prototype of the story is the Taoist real Liu Haichan, which originally told the legend of his feathering and ascending to immortals. However, later generations dismantled its name into bangs and golden toad, and gave full play to the "golden toad" that symbolizes "money", deriving the saying that "bangs play golden toad, and fish for money step by step". As a result, "Bangs Play Golden Toad" also has the implication of wealth and prosperity.

The allusion of Dongfang Shuo stealing peaches originates from the legend: on the birthday of Emperor Wu of the Han Dynasty, a blackbird fell from the sky in front of the palace, and Emperor Wu did not know its name. Dongfang Shuo replied: "This is the mount of the Queen Mother of the West 'Qingluan', and the Queen Mother is about to come to celebrate the emperor's birthday." Sure enough, in an instant, the Queen Mother of the West came with 7 immortal peaches. In addition to the two immortal peaches kept by the Queen Mother of the West, the remaining five were dedicated to Emperor Wu. After eating, the emperor wants to stay in the core for planting. The Queen Mother of the West said: "This peach has been fruitful for 3,000 years, and the Central Plains is thin, and it is not planted." He also pointed to Dongfang Shuo and said: "He has stolen my immortal peach three times." According to this, there was a saying that Dongfang Shuo stole peaches. Dongfang Shuo is also regarded as a birthday star for a long life of more than 18,000 years.

On the birthday of the emperor in later generations, it is often used to celebrate the peach picture of the Oriental Shuo.

The pattern is the scene of all the immortals gathering on the pine and cypress platform, looking up at the clouds, and praising the words, implying the life of the unbridled.

In the picture, there are often scenery such as pine and cypress longevity stones, fairy birds and peaches, auspicious clouds and clouds, etc., all of which have the meaning of celebrating longevity.

Some add a painting of a white ape offering peaches. The folk drum lyrics "White Ape Stealing Peach" song narrates that the mother of the white ape is sick and needs a peach, and the white ape asks Sun Zhenren (Bin ) who guards the fairy peach orchard, and Sun Zhenren pities his filial piety and gives him a peach. The mother recovered from her illness, and the white ape gave Sun Zhenren a book of the Book of Heaven, which is Sun Tzu's Art of War.

"Fisherman's profit" originally referred to the third party taking advantage of the danger of the two sides to make a profit, and in the traditional pattern, it has the implication of obtaining an unexpected harvest.

The pattern is Tianzhu, narcissus, Ganoderma lucidum and longevity stone, which means "Tianxian wishes longevity".

Sanduo, the traditional Chinese auspicious pattern, comes from the "Huafeng three blessings, longevity, and sons", often with Buddha's hand harmony, with peach harmony, with pomegranate metaphor for many sons.

In addition, there are also patterns of lychee, longan, walnut three fruits, or a single painting of three longan, because they are all round, meaning "three yuan and first".

Persimmon, homonym "thing".

The persimmon tree has seven virtues: first, longevity, second, more shade, third, no bird's nest, fourth, no insect erosion, fifth, red leaves can be enjoyed, sixth, the fruit is delicious, seventh, the deciduous hypertrophy can be in the book.

The pattern is often two persimmons, or with a wish, to take auspiciousness.

Qing Dynasty official kiln porcelain decorative theme. The picture depicts nine kinds of autumn flowers and plants such as osmanthus, chrysanthemum, okra, cockscomb, hibiscus, begonia, etc., which means that autumn is the season of celebrating the harvest year, because of the name "Nine Autumn Pictures" or "Nine Autumn Celebrations".

Loose, "through the four times without changing Ke Yiye"; Bamboo, clear and knotted; Mei, not afraid of the wind and snow and the cold. Songzhumei is known as the three friends of the cold year, which means that people must have moral character and ambition.

The pattern of the eight treasures of the Qing Dynasty is a wheel, a snail, an umbrella, a cover, a flower, a jar, a fish, and a intestine, symbolizing auspiciousness, happiness, and perfection.

In traditional Chinese concepts, dragons and phoenixes are the embodiment of auspiciousness, symbolizing good luck. The phoenix, together with the sun sycamore, means the phoenix and the rising sun.

The common patterns in blue and white porcelain include phoenix wearing peony, dragon and phoenix wearing flowers, cloud dragon, cloud phoenix and so on.

The fish dragon is a traditional Chinese allegorical pattern, and the title of the gold list is Yujinbang. The pattern is commonly found in the dragon head and fish body, or the fish jumping over the dragon gate.