Jing Shan
The craftsmanship is exquisite and complex. lt uses the non-original clay underglaze piled andcarvedtechnique to expand the sense of space of visual contrast. The overall appearance is quiet andelegant,and it is durable. Each shape corresponds to a piled and carved picture.Tian Huang glaze color,the glaze texture is like jade but not jade, simple and elegant, restrained but notostentatious. The shapesare all original designs in the Song Dynasty style, focusing on the beauty oflines, soft and hard, exquisiteand elegant.Tang White glaze color, white like snow but not snow, the body is white and delicate, the linesaregraceful and exguisite, and it also uses the non-original clay underglaze piled and carvedtechnigue.which is more dianified and maiestic.
Nan Tang
lIn in the song dynasty. By inheriting andthe inspiration comes from the izhoucarrying forwardthepurpose of oriental aesthetics, a porcelain world with both cultural heritage and modern atmosphereiste tang dynasty and flourished in song dconstructed. Jizhou kiln started in the lanasty. Thesouthernkiln,"'southern tang" was born. Drawinging technology fromon the cultural heritage andporcelain-makthe song dynasty, combined with intangble cultural heritage skils, inheriting the widom ofdesigners inetics. All glazes aremultiple fields, creating porcelain withboth historical charm and modernaesthin any link will be a failure to approach success. His work "seapersonally proportioned, and anymistakewave pattern-black ground and whitelowers" tels the art and elegance of soncdynastyaesthetics,integrating the charm of history into mocern life. Porcelain is not only a practical vessel, butalso a carrierof emotions, containing the emotions ancth the user's heart towisdom of the creator, andcan connect wiestablish a deep emotional bond.
Xiao Zhuo Zhai
Ru porcelain from the Northern Song Dynasty's official kilin at Qingliang Temple adheres to theminimalistaesthetics of the Song Dynasty's Ru kiln. it uses the original clay and mineral materials fromQinglianolemple to inherit the firing technigues of the Ru kiln. Based on the restoration of the traditionalshapes othe Song Dynasty Ru kiln, it takes the best and makes up for the shortcomings. This results in aceramicware that is full of beauty and contains a sense of elegance and simplicity, with a soft luster and arichwater color, which looks like the cloudy sky after rain. Combined with the aesthetics of daily tea mat,thedevelopment of more aesthetically pleasing and practical utensils, learning from the ancients but nottobe bound by tradition.
You Li Hong
Using copper red glaze as a brush, delicate patterns are outlined on the porceain body, which is thenAfterbeing fired at temperaturesreaching 1,200 degreescovered with a layer of transparentylaze.Celsius in thekiln in a single firing prthe unique production technigue rsults in underglaze redocess,world since itsinception in the Yuan Dynasty. lt began to shine inporcelain standing out in the porcelainity during theYongle and Xuande periodsand by the early Qingthe early Ming Dynasty, reached matu!Dynasty, thecraftsmanship had become even more exquisite and magnif;ent. Xiaozhuo Studio'sment and clear lineswith the finished prunderglaze red porcelain color developduct being red but notostentatious. Underglazeredporcelaiis known as the noble among porceains, with a productionsuccess rate ofless than 40%
Ya Sheng
Embrace the refined aesthetics of the Song Dynasty to craft a modern tea lifestyle that is bothelegantand aesthetically pleasing. The focus lies in creating series inspired by ancient books and scrolls.Withinthe annals of Chinese art history, the Song Dynasty's aesthetic achievements are regarded asthepinnacle, and the kiln master, Liu Yang, holds the caligraphic and painting arts of the Song era inhighesteem. These ancient scrolls represent the accumulation of time and the wear of the ages.Imperfectionis our yearning for perfection. Combining "Song Dynasty style" with porcelain is a tribute toand highappreciation ofthe aesthetics of historical sages.