The wind of drinking tea prevailed in Song Dynasty, and tea lamps became typical drinking utensils in Song Dynasty. Lanterns in the Tang Dynasty are mostly made of purple and gold, white jade, crystal and glass. "In the Song Dynasty, porcelain lanterns were the best tool for fighting tea" (Zhu Yan's Tao Shuo). Its shape is novel, exquisite and elegant, and its shape, glaze color and decorative pattern all reflect a kind of moist, implicit, concise and simple beauty.

1. Beautiful and straight shape

The shape of Song porcelain teacups is beautiful and generous, which embodies the artistic concept of advocating nature and elegance and the aesthetic implication of advocating charm in Song Dynasty, and embodies infinite charm in limited shape.

The vivid beauty of nature. Song porcelain teacups select the most vivid and beautiful parts from the natural animal and plant forms, and blend with the inherent abstract geometric forms. It is not a simple imitation of natural form, but has a deeper meaning. The Chinese nation is good at pictographic thinking, and advocates that the metaphysical "Tao" can be embodied by simulation, analogy and symbol of natural things. The image of flowers is very common in Song porcelain teacups. Song people used arcs to divide round or oval cups into several equal parts, including four, five, six or even more than ten. The arc extending from the petal mouth to the bottom of the bowl makes the belly of the cup zigzag, shaped like a flower, very round and full of rhythm.

Beauty of elegance and simplicity. Song porcelain is famous for its simplicity, Taoist aesthetic style and elegant charm. Song porcelain teacups are characterized by big mouths, deep bellies and small feet. They are different from other vessels in their simple shapes. Curves and straight lines are combined into beautiful shapes, showing a simple and natural charm. Song porcelain teacups, with simple and practical shapes and smooth lines, have a rare simplicity. For example, the blue and white glaze support of Jingdezhen kiln in Jiangxi Provincial Museum is novel in design, simple and elegant, and reflects the rational spirit of elegance and simplicity in simplicity.

The modeling of Song porcelain teacups embodies the spiritual charm of Song people advocating simplicity, simplicity and clarity, and achieves an elegant and implicit aesthetic artistic conception.

2. Elegant and natural glaze color beauty

Tea cups in Song Dynasty were black, blue, blue-white, white and so on. Their colors are subtle and bright, and the decorative effect is mainly reflected in the rich and delicate change effect of the transparent glaze layer itself and the texture color change brought by kiln change.

The meaning of "respecting jade" people associate jade with human virtues, and jade is regarded as a symbol of the ideal beauty of purity, cleanliness and kindness. Song porcelain teacups are dominated by the aesthetic view of jade and pursue the color texture of jade. Jingdezhen celadon is jade in color and has the reputation of "Rao Yu". Song people realized the ideal pursuit of advocating "jade virtue" in the change of enamel color.

Celadon has a long history. Cyan is the color of plants, and also symbolizes the sky, spring, water and so on. Usually people feel simple, clear, pure, elegant and mysterious, and traditional culture gives cyan a unique meaning. This "youth worship" mentality is closely related to "jade worship". In the view of scholars in Song Dynasty, celadon, celadon and white porcelain are the most suitable tea sets for tea tasting. Shi Huihong said in a poem: "Look at the floating breasts when you buckle deeply, and you will be forgiven when you order tea." Zan is a white porcelain tea set. These historical data prove that light-colored teacups such as blue and white are widely used by scholars.

"The color is expensive, blue and black." In the Song Dynasty, the black glazed lamp represented by Jianzhan was popular. "More than one-third of the discovered Song porcelain kiln sites have seen black porcelain, which is produced in the north and south." The rise of black glazed teacups was directly related to the tea fighting fashion in the upper class at that time. Cai Xiang said in "Tea Story" that "the brown color is white, and it should be black", which means that the glaze color is bright and black as paint, so that it is convenient to check the brown color and water marks when fighting tea. In addition, China advocated black in ancient times. From the Neolithic black pottery, to Taoism advocating black color, and then to ink instead of five colors, advocating ink and wash, this is enough to illustrate this point.

The beauty of natural texture. The natural beauty of glaze color is one of the style characteristics of Song porcelain teacups, which is the result of advocating elegance and the integration of heaven and man. "Chen Shiji" contains: "Porcelain is the same in quality, so it is heterogeneous; The same color becomes different colors. This is called kiln change. Among dozens of kilns, thousands of products meet once. " It can be seen that the appearance of kiln change is accidental, and its natural and unpredictable effect is incomparable to the artificial decoration that is deliberately pursued. What it shows is the ultimate charm of implicit elegance conveyed by an artistic conception. For example, Song Jun Kiln's Moon White Glaze Purple-spotted Lotus Bowl has ten petals, and the moon white glaze is dotted with irregular purple spots, which is like floating clouds in the air, looming, giving people infinite reverie.

In the Song Dynasty, the beauty of opening the film was also beautiful, which was naturally presented through glaze technology, which was in line with the pursuit of natural beauty and true beauty in China traditional culture. Cracking is a natural and interesting decoration, which is caused by the different shrinkage rates of tires and glazes during cooling.

Kiln change and film opening are natural and ever-changing. These glazed decorations deepen the aesthetic taste of harmony between nature and man and nature, and fully show the charm of limited scenery and infinite meaning.

3. Fresh and simple decorative beauty

Porcelain artists in Song Dynasty created and developed many exquisite decorative techniques and patterns in time under the condition of fully considering the applicability of the teacup itself and according to people's aesthetic taste and social fashion at that time.

Decorative techniques are diverse. In Song Dynasty, tea cups were decorated by carving, painting and printing, with smooth lines and different shades. The combination of jade glaze color with engraving, painting and printing reflects the elegant aesthetic mood.

Printing is a printing tool made of patterned ceramic materials, which prints patterns under the condition that ceramic tires are not completely dry, or prints flowers with patterned molds.

Pattern, then glazed, fired in the kiln, with the effect of bas-relief. For example, Ru kiln powder blue glaze printed lamp holder, disk center raised, printed lotus petals. This subtle decoration and elegant colors complement each other, further adding a faint charm and showing the subtle beauty of "everything should be romantic".

Painting is also one of the decorative techniques of Song porcelain teacups, including over-glaze gold painting, over-glaze red-green painting and under-glaze painting. Zhou Mi said in "Gui Xin Miscellaneous Knowledge": "The golden flower bowl is coated with garlic juice, mixed with gold, and then fired in a kiln, which can never be taken off." We're talking about overglaze gold paint. On-glaze red and green colors use red and green colors to sketch decorative patterns on white glaze, which is vivid and vivid. This method of painting on glaze has a great influence on later generations. Under-glaze color painting is to cover the blank with a layer of bottom glaze, then decorate it with various colored glazes, plus a layer of transparent glaze. Its picture is black and white, the theme is prominent, and it has a simple and natural artistic effect.

Decorative patterns are rich in patterns. Decoration is the main content of decoration, which not only has decorative function, but also reflects people's ideology and aesthetic orientation at that time. The decorative themes of tea cups in Song Dynasty are extremely rich, mainly flowers. Flowers include peony, lotus, lotus leaf, chrysanthemum and plum blossom. Animals include dragons, phoenixes, peacocks, cranes, mandarin ducks, magpies, chickens, butterflies, fish, seahorses and snails. There are also baby play pictures and paper-cut decals with strong folk flavor.

The use of lotus decorative patterns in Song Dynasty greatly exceeded that of the previous generation. Lotus is a common pattern in Buddhist art, symbolizing Buddha's radiant and auspicious. With the secularization of Buddhism, lotus has become a symbol of purity, integrity and noble morality. Zhou Dunyi's Love Lotus has made people's love for lotus flowers reach an unprecedented height, and almost all famous porcelain have lotus shapes. The celadon lotus-shaped lamp holder of Shangyu Cultural Relics Management Office is shaped like a blooming lotus, with a hole at the bottom and a lotus petal opening in the middle. The lotus has a straight opening with a lotus petal pattern inside. The lower part of the lamp holder is engraved with lotus petals for a week, which is a treasure of Yueyao art.

Among the flower patterns of Song porcelain, the peony with beautiful national colors came from behind and began to surpass the lotus flower as the theme decoration.

The decoration of Song porcelain teacups is simple, beautiful, light, elegant and subtle, which reflects the social aesthetic taste of advocating simplicity, simplicity, delicacy and nature in Song Dynasty. They are highly artistic in object modeling, decoration and ornamentation, and are models for future generations to learn.

Song porcelain teacups are the product of the combination of Song porcelain-making technology and social environment. The teacup is not only a container for storing things, but also reflects the taste and quality of life, which integrates the cultural connotation of people's aesthetics and values and provides a material carrier for studying the social, economic and cultural of the Song Dynasty.