Feng is the protection of the imagination of people in ancient societies. It is described by the people as "the head of a golden pheasant, like a dragonfly, the wings of Dapeng, the legs of a crane, the mouth of a parrot, and the tail of a peacock." Phoenix ranks first among the birds and symbolizes beauty and peace.
"Feng", also known as "Phoenix", is one of the kings of birds and four spirits in ancient Chinese mythology. Usually people call the male a "fung" and the female a "phoenix" (in ancient times "the emperor"). There is also a legend in the legend of “鸾â€. Because it is a male phoenix, it is known as “鸾凤â€.
Porcelain phoenix decoration has experienced two different stages of development. From the primitive society to the Six Dynasties, it was the gestation and generation period of the phoenix pattern. The Tang Dynasty to the Qing Dynasty was the development period of the phoenix pattern. At the earliest in Neolithic pottery there was a simple bird image.
During the Qin and Han dynasties, there were many Suzaku lines on the terracotta tiles used in construction. The image of Feng began to become clear from then on. Porcelain phoenix decoration appeared in the Tang Dynasty. At this time, the phoenix pattern has a fixed pattern and more and more beautiful morphological changes. The image of the Tang Dynasty phoenix and the peacock of the tall and long tail were established.
In the Song Dynasty, the phoenix was matched with peony to form phoenix peony and phoenix peony. During the Tang and Song Dynasties, the decoration of the phoenix pattern was mostly carved and printed. During the Yuan, Ming and Qing Dynasties, colored porcelain became the mainstream of Chinese porcelain firing. The decoration of the phoenix pattern changed from engraving and printing to painting. A large number of beautiful phoenix patterns appeared in these three generations of porcelain.
Similar to the dragon pattern, the image of the phoenix pattern embodies the cultural and artistic characteristics of different periods and fully expresses people's ideals, pursuits and wishes. During the Shang and Zhou dynasties, the phoenix was seen as a kind of bird. At this time, the phoenixes were almost all corolla-like. Full-fledged wings and long tail feathers and large and powerful claws showed the hierarchical structure of the slavery society, the dignified atmosphere and the aesthetic taste at that time.
During the Qin and Han dynasties, besides depicting the image of Phoenix, there were various birds such as Suzaku, ostrich, red bird, long-living, and Peng. Their images were similar to each other, and they were all variants and alienations of phoenix birds. They were rich and colorful forms of phoenixes. .
During the period of the Wei, Jin and Southern and Northern Dynasties, the formal features of the phoenix pattern were further developed on the basis of the Han Dynasty. As the prevalence of Buddhism at that time, the bird image was infused with a new spiritual concept. The theme of decoration has been expanded, and floral patterns have been widely used. Phoenix uses images that fly in a fresh floral pattern.
The phoenix pattern of the Tang Dynasty is even more “bird-bodyâ€, and it is often seen as a pair of “Feng Fengâ€, and the Ming Zhuo is a symbol of happy happiness. This is closely related to the material and cultural life of Sheng Tang. In the Song and Yuan Dynasties, a large number of phoenixes appeared in the porcelain, such as the Song Dynasty Jiangxi Jizhou kiln phoenix chrysanthemum porcelain pillows, the Yuan dynasty blue and white porphyry cans, and the phoenix first pot.
In the Ming Dynasty, the phoenix has become a specific form. Regardless of whether it is in a circle, a square, or any other shape of a device, each pattern has its own internal form, and the common pattern of the phoenix pattern is further standardized.
Porcelain decorated with phoenix patterns in the Qing dynasty increased compared with the Ming Dynasty, and the styles of paintings differed from each other. According to the composition of the patterns, they were divided into Shuangfeng, Tuanfeng, Xiaofeng, Phoenix peony pattern, dragon and phoenix pattern, etc. At this time, the phoenix pattern basically penetrated the entire area. Porcelain production in the era, and more appeared in the official kiln products. Its representative significance has also undergone great changes, becoming a symbol of imperial power.
"Feng", also known as "Phoenix", is one of the kings of birds and four spirits in ancient Chinese mythology. Usually people call the male a "fung" and the female a "phoenix" (in ancient times "the emperor"). There is also a legend in the legend of “鸾â€. Because it is a male phoenix, it is known as “鸾凤â€.
Porcelain phoenix decoration has experienced two different stages of development. From the primitive society to the Six Dynasties, it was the gestation and generation period of the phoenix pattern. The Tang Dynasty to the Qing Dynasty was the development period of the phoenix pattern. At the earliest in Neolithic pottery there was a simple bird image.
During the Qin and Han dynasties, there were many Suzaku lines on the terracotta tiles used in construction. The image of Feng began to become clear from then on. Porcelain phoenix decoration appeared in the Tang Dynasty. At this time, the phoenix pattern has a fixed pattern and more and more beautiful morphological changes. The image of the Tang Dynasty phoenix and the peacock of the tall and long tail were established.
In the Song Dynasty, the phoenix was matched with peony to form phoenix peony and phoenix peony. During the Tang and Song Dynasties, the decoration of the phoenix pattern was mostly carved and printed. During the Yuan, Ming and Qing Dynasties, colored porcelain became the mainstream of Chinese porcelain firing. The decoration of the phoenix pattern changed from engraving and printing to painting. A large number of beautiful phoenix patterns appeared in these three generations of porcelain.
Similar to the dragon pattern, the image of the phoenix pattern embodies the cultural and artistic characteristics of different periods and fully expresses people's ideals, pursuits and wishes. During the Shang and Zhou dynasties, the phoenix was seen as a kind of bird. At this time, the phoenixes were almost all corolla-like. Full-fledged wings and long tail feathers and large and powerful claws showed the hierarchical structure of the slavery society, the dignified atmosphere and the aesthetic taste at that time.
During the Qin and Han dynasties, besides depicting the image of Phoenix, there were various birds such as Suzaku, ostrich, red bird, long-living, and Peng. Their images were similar to each other, and they were all variants and alienations of phoenix birds. They were rich and colorful forms of phoenixes. .
During the period of the Wei, Jin and Southern and Northern Dynasties, the formal features of the phoenix pattern were further developed on the basis of the Han Dynasty. As the prevalence of Buddhism at that time, the bird image was infused with a new spiritual concept. The theme of decoration has been expanded, and floral patterns have been widely used. Phoenix uses images that fly in a fresh floral pattern.
The phoenix pattern of the Tang Dynasty is even more “bird-bodyâ€, and it is often seen as a pair of “Feng Fengâ€, and the Ming Zhuo is a symbol of happy happiness. This is closely related to the material and cultural life of Sheng Tang. In the Song and Yuan Dynasties, a large number of phoenixes appeared in the porcelain, such as the Song Dynasty Jiangxi Jizhou kiln phoenix chrysanthemum porcelain pillows, the Yuan dynasty blue and white porphyry cans, and the phoenix first pot.
In the Ming Dynasty, the phoenix has become a specific form. Regardless of whether it is in a circle, a square, or any other shape of a device, each pattern has its own internal form, and the common pattern of the phoenix pattern is further standardized.
Porcelain decorated with phoenix patterns in the Qing dynasty increased compared with the Ming Dynasty, and the styles of paintings differed from each other. According to the composition of the patterns, they were divided into Shuangfeng, Tuanfeng, Xiaofeng, Phoenix peony pattern, dragon and phoenix pattern, etc. At this time, the phoenix pattern basically penetrated the entire area. Porcelain production in the era, and more appeared in the official kiln products. Its representative significance has also undergone great changes, becoming a symbol of imperial power.
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