The appearance of blue and white porcelain can be traced back to the Tang Dynasty. Academics call it "blue and white in Tang Dynasty" and "blue and white in Song Dynasty", but it is not a climate in terms of quality or quantity. However, in the Yuan Dynasty, blue and white suddenly led the ceramic manufacturing industry with a brand-new and mature look, bringing China ceramics from plain porcelain into the era of colored porcelain, which was of epoch-making significance, a milestone in the development history of China ceramics, and even had a certain impact on the firing of ceramics in the world. To investigate the reasons behind this phenomenon, the law of the development of ceramic art itself can not be ignored, and the influence of Mongolian people, the ruler of Mongolian Yuan Dynasty, is its fundamental driving force.

Although the Mongolian Yuan Dynasty experienced a hundred years, it was a very special historical period in the history of China. First of all, its rulers are nomadic people who have lived on the grasslands in northern China for a long time. Nomadic life has made the Mongolian people form an aesthetic concept centered on "harmony", which has dynamic characteristics in aesthetic connotation, aesthetic form and aesthetic way. The aesthetic concept of rationality, sublimity, tragic, rough and magnificent has deeply dominated the creation and development of blue and white porcelain.

Furthermore, the Yuan Dynasty of Mongolia was the most active period of communication between China and foreign countries in the history of China, which was closely related to the fact that the Mongolian people were good at managing, absorbing and encouraging exchanges, and integrating Mongolian, Islamic, Han and Korean nationalities. Buddhism, Taoism, Christianity, Islam and other religious cultures coexist, influence each other, communicate with each other and blend with each other. It is another colorful and open dynasty after the Tang Dynasty. This will inevitably provide an excellent opportunity for Yuan Qinghua to absorb multi-ethnic cultures and become a work of art with rich cultural elements.

Based on the comprehensive use of historical, archaeological, artistic, folk-custom, religious and other materials, this paper takes the blue-and-white porcelain in Yuan Dynasty as the research object, trying to explore the reasons for the creation and development of blue-and-white porcelain in Yuan Dynasty under the influence of Mongolian aesthetic concepts from an artistic point of view, and put the blue-and-white porcelain art in Yuan Dynasty under the specific nomadic cultural background.

The first part of the paper is to analyze the reasons for the formation of Mongolian aesthetic concept. Combined with Yuan Qinghua, this paper discusses the formation and development of Mongolian aesthetics from three aspects: natural factors, historical factors and religious factors.

The second part combs and analyzes the concrete embodiment of Mongolian aesthetic concept in the modeling, decoration and color of Yuan blue and white flowers. The third part is the influence of political, economic and cultural policies on the firing and development of blue and white porcelain in Yuan Dynasty.