On this day, 269 years ago, on August 24, 1756 (July 29, 1756 lunar calendar), Tang Ying, the founder of the brilliant craftsmanship of the Qing Dynasty, passed away. Photo: Tang Ying's 69-year-old statue Sotheby's Hong Kong in October 2014, a "Royal Sea Dragon: Qianlong Royal Pink Green Glaze Embossed Dragon Jar" was sold for 94.2 million. In various auction reports, in addition to focusing on the price and talking about its warm and even glaze color, the carver of Ghost Axe Tiancheng has a name that appears upside down. 🥰 Tang Ying. Coincidentally, China Guardian Hong Kong also sold a "Tang Ying Pink Green Glaze Garlic Bottle". In many national treasure-level collections, this name is often seen. For example, in the Shanghai Museum, there is a large flower goblet of "Qianlong Five Years", signed "Shenyang Tang Ying". In the National Museum, there is a large flower goblet of "Qianlong Six Years", signed also "Shenyang Tang Ying". Who is Tang Ying? In the 21st year of Qianlong (1756 AD), on July 29th, Tang Ying, the founder of the brilliant craftsmanship of the Qing Dynasty and the self-proclaimed envoy of pottery, died at Jiujiang Customs Department. He died at the age of seventy-five. His death heralded the end of the most exquisite years of this dynasty. Three hundred years after Tang Ying's works were startled by autumn auctions, this "Qianlong Imperial Pink Green Glaze Relief Dragon Jar" and a group of exquisite porcelain from the Yongzheng and Qianlong periods can still make people feel the prosperity and brilliance of this huge empire. This is a monochrome glazed porcelain. In terms of shape, it seems to be a traditional jar type, but the proportions are similar. Previously, it was only seen in very small shapes; in terms of craftsmanship, although it is still based on the "Cloud Dragon Sea Water" pattern as the theme, it is a novelty according to convention. The pair of dragon patterns was even more perfect in the Tang Ying period. Li Jia, director of Sotheby's China and South East Asia and a senior expert in Chinese Porcelain and Crafts, said: "The craftsmanship is unique, the dragon and cloud are both embossed, very layered, the glaze is thick and the color is full and round." "It's very rare, the glaze is not stacked at the connection of the relief, but is roughly uniform and round, but there are differences in depth and depth, very three-dimensional, you can see that the carving and burning work very well together. "China Guardian Hong Kong's just-concluded autumn auction presented a" Tang Ying Pink Green Glazed Garlic Bottle ", which is also a novel idea in the tradition. The shape is taken from the Qin and Han bronze ware and garlic bottle, faithfully copying the six-clove melon-rimmed garlic head shape to increase its elegance; a string pattern protrudes on the neck to increase its uprightness. Obviously, it is taken from the ancient artifacts collected in the inner government. It is loyal to the original, and it is completely different from the rough and heavy style of the Wan Dynasty. The bottom of the bottle is written with the word" pottery ", and all porcelain signed in the early Qianlong period must be related to Tang Ying. Wang Jing, business manager of China Guardian's porcelain handicrafts department, said: "From the late Yongzheng period to the early Qianlong period, a batch of very classic and high-quality porcelain we know is related to Tang Ying." "Although the Qing Dynasty had mature burning technology, it was firewood burning after all, and the temperature was difficult to control, so the personal experience of the pottery officer was particularly precious, and the pottery officer also had to figure out the sacred meaning, and cultural cultivation was also very important." So why did Tang Ying surpass other pottery officials and leave his name in history? He entered the palace with a cautious personality when he was young. Tang Ying was born on the fifth day of May in the 21st year of Kangxi (1682 AD). The Qing Dynasty manuscript records "Tang Ying, the word Jungong, the flag man of the Han army". At the age of seven, he entered a private school to study. In the thirty-sixth year of Kangxi (1697 AD), he was elected to the court. At the age of sixteen, he served the emperor in the Hall of Mental Cultivation. Then he managed the office of the Ministry of Internal Affairs. He once oversaw the design of painting samples in the office of the Office of Mental Cultivation. "The Files of the Construction Office of the Hall of Mental Cultivation" records that in the first year of Yongzheng (1723 AD), he managed the ministers of the office of Prince Yi and Prince Zhuang, and the management officials Lang Zhongbaode, Li Chang, Haiwang, a foreigner, the treasurer Changbao, and the painting samples Tang Ying. And his artistic cultivation of painting is very high. At least he has been affirmed by the emperor many times. In the third year of Yongzheng (1725 AD), according to the Yuanmingyuan, "The style of the paintings by the decree is very good, you still? Tang Ying painted beauties, and his clothing patterns were the same as those painted first. "At a young age, he entered the court of" not a single step can be wrong ", and he was in charge of painting pattern design in the Ministry of Internal Affairs. It can be imagined that this may have two effects on Tang Ying's life after that. One is that he is cautious and conscientious; the other is that he should have a good foundation in painting. Both are smelting pottery that needs to figure out the best intentions and constantly introduce new ones, laying a good foundation. In the sixth year of Yongzheng (1728 AD), the then fifty-year-old Emperor Yongzheng had just finished cleaning up Nian Tongyao and imprisoned Roncodo for forty-two serious crimes. Sitting firmly on the throne. During the signing of the Treaty of Chaktu and the implementation of Mandarin, a seemingly insignificant imperial decree was issued: "Tang Ying? The title of a member of the Internal Affairs Office is to be stationed in Jingdezhen Royal Factory, to take care of pottery services, and to serve as an associate officer in the factory." Who recommended Tang Ying to Yongzheng? It was the appointment of the Minister of Prime Minister's Affairs to deal with the palace-sized Prince Yi. A pair of enamel goblets auctioned by Christie's in Hong Kong this spring were specially ordered by Yongzheng to pay tribute to Prince Yi Yunxiang. It can be seen that Yongzheng, who is mean and unkind, only cares for this younger brother. With the recommendation of the prince, Tang Ying was bound to take office. Tang Ying, who was 47 years old at the time, went to Jingdezhen Royal Factory to take care of pottery services. It was Nian Xiyao's elder brother who was in charge of the pottery at that time. Although Yongzheng punished his older brother, he did not punish his younger brother. Nian Xiyao did not drop but rose because of his conscientious work. And because Nian Xiyao managed customs affairs in Huai'an Pass for many years, it was difficult to directly manage pottery affairs. So Tang Ying took care of it. Although we now see this as a turning point in Tang Ying's life, for him, his thoughts may be more complicated. This is evident from Tang Ying's poem written in the eighth year of Yongzheng (1730 AD): "The heat and cool meridians are twice, and the distant guests are leisurely. The heat subsides with the morning rain, and the wind comes with a line of autumn. Traveling and thinking often make you sick, and good medicine does not cure you. The northern geese are hated, and the hometown books are cast every other year. "A big man in the north may not be used to the damp and cold autumn in the southern country. He recalls the autumn wind and sunshine in the northern country, the imperial city is golden and resplendent, and the geese can still fly south in the spring, but his stay is far away. What made him more uncomfortable, in addition to the water and soil in the south, was the unease caused by his unfamiliarity with pottery. He wrote in the" Preface to the Instructions on Porcelain Matters "about his mood at that time:" Pottery is fine, but it has never been seen in life, and the material heat and the five elements of Dan Gong are the same as their merits. At the same time, they imitate the past and the present, and they are extravagant and respectful. Tang Ying is a layman in pottery affairs. Generally, laymen manage experts, and they either use administrative power to suppress or "obey them in craftsmanship." Even those who are open-minded and shameless to ask questions, at most they learn some fur through layers of reports. However, Tang Ying, who is reliable in his work, soon shows his pragmatic style. He once said: "Du Men and Xie made friends, concentrated on his efforts, and worked hard to eat and rest with craftsmen for three years." He closed his door to thank guests for three years, ate and lived with craftsmen, and also rolled up his cuffs and trouser legs, scavenging mud, kneading mud, pulling billets, and holding billets, so he quickly changed from a layman to an expert. Therefore, in Tang Ying's later self-report, we can see such a confident statement: "In the ninth year of 1911, although I dare not say that I know everything about the principles of change in the heat of materials, it is quite possible to add flexibility. Those who agree with the craftsmanship and the will of the craftsman can now make their intention to agree with the craftsman. Because of the soil, glaze, blank tire, and fire, research and discussion are often handy." In addition, in the process of eating and living with the craftsmen, Tang Ying also began to reform. The Qing Dynasty took over the Ming Dynasty imperial ware factory and changed its name to the imperial factory. It also changed the practice of sending porcelain and even sitting on the ground to the craftsmen in the Ming Dynasty, that is, removing the blackmail. The household's "craftsmen's books" were used in the system, and the materials used for firing porcelain were also bought according to the current price, but although the policy was set, many officials did not implement it. Tang Ying came to Jingdezhen to assist in the pottery business. When the royal family wanted to fire porcelain, in addition to paying the craftsmen on time, the materials required for firing porcelain were also paid at the market price. His approach was not only recognized by the potters, but also convenient for local officials. Tang Ying's contributions to porcelain were first antique and super ancient, and second, creative. Emperor Yongzheng and Qianlong both had a very high level of appreciation for porcelain, but they had a common feature, which was their admiration for the exquisite porcelain made in the previous dynasty. Therefore, he repeated the five famous porcelain in the Song Dynasty. And Ming Dynasty porcelain became an important task. Not long after Tang Ying took office, he sent his friend Wu Yaofu to Junzhou, Henan Province to investigate the method and materials of Jun? s burning, and imitate the shape and glaze color according to the genuine product. Tang Ying imitated the gold wire and iron line patterns of Song Ge?, the ice cracks of Song Guan?, and the crab claw patterns of Ru?, etc., and the opening is natural. Most of the antique porcelain is written in blue and white or engraved with Yongzheng Dynasty style. The Palace Museum in Beijing has a imitation Jun glazed rhombus flower pot holder, which is very similar to Song Jun? s porcelain. His imitations of Ming Yongle, Xuande bred white glaze, sweet white engraving, and printing ware reached the level of authenticity. For example, the relief dragon pattern jar sold by Sotheby's and the garlic bottle sold by Guardian Hong Kong in China are both glazed with pink and green. The glaze is as radiant as jade, and this kind of glaze was once seen in the porcelain of Longquan? in the Southern Song Dynasty. But later the skill was lost. It was not until the Yongzheng Dynasty of the Qing Dynasty that it reappeared on some exquisite porcelain. In terms of innovation, during the Tang Ying period, there were new breakthroughs in glaze color, underglaze color and color glaze. Under his supervision, Jingdezhen Guan? Chuang burned more than 70 kinds of color glazes, of which carmine and okra green were the most famous color glazes. I believe that many people are impressed by a pair of carmine glazed cups auctioned by China Guardian in 2011. In the "Tao Cheng Chronicle Monument", he called it "Western red utensils". Because the glaze contains one-thousandth and two-thousandth of gold, it is also known as "golden red". At the same time, the achievements of Du Tao are also related to Tang Ying's personal quality. He combined porcelain craftsmanship with poetry, books, paintings, and seals. In terms of innovation in the ceramic category, the later books "Jingdezhen Pottery Records", "The Examination of Bronze Porcelain" and other works have been greatly praised: "Factory? So far, it has been a complete success", saying that since Tang Yingdu Pottery created "since there was pottery, there has been no such beauty as today". By the 13th year of Yongzheng (1735 AD), the annual cost of firing porcelain reached tens of thousands, and no less than 30,000 or 400,000 pieces of porcelain were made, a huge number. Hero or artist? In order to cater to Qianlong's preference for novel porcelain, Tang Yingchuang burned a lot of novel varieties, such as a wide variety of turning heart bottles (such as the "Qianlong Pink and Green Glaze Gold and Empty Opening Pastel Lotus Boy Turning Heart Bottle" at the Capital Museum), and such as the Jiaotai bottle, which was often used by Qianlong to play with. According to the "Inscription of the Chronicle of Pottery", during the period of Tang Yingdu pottery, there were fifty-seven kinds of antique and innovative. During the period of overseeing pottery, Tang Ying's personal cultural and artistic cultivation was also widely praised, and his ceramic calligraphy was very smooth. This is also unique in the history of ceramics. Tang Ying was the chief director of exquisite crafts in the Yongzheng and Qianlong dynasties, but for him personally, he left his family for 28 years, stayed away from his hometown in the imperial city, and never returned to his hometown in Shenyang. He regarded himself as a "potter", and this name may be his only gift. Twelve years after leaving Jingdezhen, he revisited his hometown, and the people of Jingdezhen welcomed him. Tang Ying wept deeply and wrote a poem: "When the green silk dyed the frost and returned to his hometown, the people of He Lao Town welcomed him. "It is worth pondering that when Tang Ying was seventy-five years old, Qianlong met him in the Yuanmingyuan and proposed to let his son take over his position. Tang Ying, who had been diligent and cautious all his life, refused to let his son take over, risking the risk of committing a crime. On the one hand, he accused the crime and" respectfully invited the emperor to choose another wise person to take over. "In addition to the literal words, the matter is big, and the son" has not read everything for a long time ". Is it also because of Yongzheng's voice and Qianlong's moodiness and great joy that he is too tired, how can he let his son follow in his footsteps and spend his life in fear? After Tang Ying's death, due to the different supervisors, Jingdezhen officials could no longer burn exquisite masterpieces like Qianlong's early days. In the mid-Qianlong period, there was a tendency to be complicated and complicated, and the quaint style was lost; at the end of the period, there was a pile of vulgarity. And further back, the decline was no longer the pottery school. Hearing the rumbling artillery fire of the Opium War, the exquisite porcelain jar of the Qing Dynasty smashed to the ground with a sound, and the rolling wheels of Ren Shi ran over. Today, when we are in auction houses and museums, looking at these porcelain carefully through glass frames, how did Tang Ying, the envious northern guest who returned to the goose, the northern man who rolled up his sleeves and smelted pottery with the craftsmen, hold these exquisite objects, they are just the playthings of Yongzheng and Qianlong, but all Tang Ying's efforts. For a moment, the author suddenly did not know how to comment on him, the hero or the artist?On this day, 269 years ago, on August 24, 1756 (July 29, 1756 lunar calendar), Tang Ying, the founder of the brilliant craftsmanship of the Qing Dynasty, passed away. Photo: Tang Ying's 69-year-old statue Sotheby's Hong Kong in October 2014, a "Royal Sea Dragon: Qianlong Royal Pink Green Glaze Embossed Dragon Jar" was sold for 94.2 million. In various auction reports, in addition to focusing on the price and talking about its warm and even glaze color, the carver of Ghost Axe Tiancheng has a name that appears upside down. 🥰 Tang Ying. Coincidentally, China Guardian Hong Kong also sold a "Tang Ying Pink Green Glaze Garlic Bottle". In many national treasure-level collections, this name is often seen. For example, in the Shanghai Museum, there is a large flower goblet of "Qianlong Five Years", signed "Shenyang Tang Ying". In the National Museum, there is a large flower goblet of "Qianlong Six Years", signed also "Shenyang Tang Ying". Who is Tang Ying? In the 21st year of Qianlong (1756 AD), on July 29th, Tang Ying, the founder of the brilliant craftsmanship of the Qing Dynasty and the self-proclaimed envoy of pottery, died at Jiujiang Customs Department. He died at the age of seventy-five. His death heralded the end of the most exquisite years of this dynasty. Three hundred years after Tang Ying's works were startled by autumn auctions, this "Qianlong Imperial Pink Green Glaze Relief Dragon Jar" and a group of exquisite porcelain from the Yongzheng and Qianlong periods can still make people feel the prosperity and brilliance of this huge empire. This is a monochrome glazed porcelain. In terms of shape, it seems to be a traditional jar type, but the proportions are similar. Previously, it was only seen in very small shapes; in terms of craftsmanship, although it is still based on the "Cloud Dragon Sea Water" pattern as the theme, it is a novelty according to convention. The pair of dragon patterns was even more perfect in the Tang Ying period. Li Jia, director of Sotheby's China and South East Asia and a senior expert in Chinese Porcelain and Crafts, said: "The craftsmanship is unique, the dragon and cloud are both embossed, very layered, the glaze is thick and the color is full and round." "It's very rare, the glaze is not stacked at the connection of the relief, but is roughly uniform and round, but there are differences in depth and depth, very three-dimensional, you can see that the carving and burning work very well together. "China Guardian Hong Kong's just-concluded autumn auction presented a" Tang Ying Pink Green Glazed Garlic Bottle ", which is also a novel idea in the tradition. The shape is taken from the Qin and Han bronze ware and garlic bottle, faithfully copying the six-clove melon-rimmed garlic head shape to increase its elegance; a string pattern protrudes on the neck to increase its uprightness. Obviously, it is taken from the ancient artifacts collected in the inner government. It is loyal to the original, and it is completely different from the rough and heavy style of the Wan Dynasty. The bottom of the bottle is written with the word" pottery ", and all porcelain signed in the early Qianlong period must be related to Tang Ying. Wang Jing, business manager of China Guardian's porcelain handicrafts department, said: "From the late Yongzheng period to the early Qianlong period, a batch of very classic and high-quality porcelain we know is related to Tang Ying." "Although the Qing Dynasty had mature burning technology, it was firewood burning after all, and the temperature was difficult to control, so the personal experience of the pottery officer was particularly precious, and the pottery officer also had to figure out the sacred meaning, and cultural cultivation was also very important." So why did Tang Ying surpass other pottery officials and leave his name in history? He entered the palace with a cautious personality when he was young. Tang Ying was born on the fifth day of May in the 21st year of Kangxi (1682 AD). The Qing Dynasty manuscript records "Tang Ying, the word Jungong, the flag man of the Han army". At the age of seven, he entered a private school to study. In the thirty-sixth year of Kangxi (1697 AD), he was elected to the court. At the age of sixteen, he served the emperor in the Hall of Mental Cultivation. Then he managed the office of the Ministry of Internal Affairs. He once oversaw the design of painting samples in the office of the Office of Mental Cultivation. "The Files of the Construction Office of the Hall of Mental Cultivation" records that in the first year of Yongzheng (1723 AD), he managed the ministers of the office of Prince Yi and Prince Zhuang, and the management officials Lang Zhongbaode, Li Chang, Haiwang, a foreigner, the treasurer Changbao, and the painting samples Tang Ying. And his artistic cultivation of painting is very high. At least he has been affirmed by the emperor many times. In the third year of Yongzheng (1725 AD), according to the Yuanmingyuan, "The style of the paintings by the decree is very good, you still? Tang Ying painted beauties, and his clothing patterns were the same as those painted first. "At a young age, he entered the court of" not a single step can be wrong ", and he was in charge of painting pattern design in the Ministry of Internal Affairs. It can be imagined that this may have two effects on Tang Ying's life after that. One is that he is cautious and conscientious; the other is that he should have a good foundation in painting. Both are smelting pottery that needs to figure out the best intentions and constantly introduce new ones, laying a good foundation. In the sixth year of Yongzheng (1728 AD), the then fifty-year-old Emperor Yongzheng had just finished cleaning up Nian Tongyao and imprisoned Roncodo for forty-two serious crimes. Sitting firmly on the throne. During the signing of the Treaty of Chaktu and the implementation of Mandarin, a seemingly insignificant imperial decree was issued: "Tang Ying? The title of a member of the Internal Affairs Office is to be stationed in Jingdezhen Royal Factory, to take care of pottery services, and to serve as an associate officer in the factory." Who recommended Tang Ying to Yongzheng? It was the appointment of the Minister of Prime Minister's Affairs to deal with the palace-sized Prince Yi. A pair of enamel goblets auctioned by Christie's in Hong Kong this spring were specially ordered by Yongzheng to pay tribute to Prince Yi Yunxiang. It can be seen that Yongzheng, who is mean and unkind, only cares for this younger brother. With the recommendation of the prince, Tang Ying was bound to take office. Tang Ying, who was 47 years old at the time, went to Jingdezhen Royal Factory to take care of pottery services. It was Nian Xiyao's elder brother who was in charge of the pottery at that time. Although Yongzheng punished his older brother, he did not punish his younger brother. Nian Xiyao did not drop but rose because of his conscientious work. And because Nian Xiyao managed customs affairs in Huai'an Pass for many years, it was difficult to directly manage pottery affairs. So Tang Ying took care of it. Although we now see this as a turning point in Tang Ying's life, for him, his thoughts may be more complicated. This is evident from Tang Ying's poem written in the eighth year of Yongzheng (1730 AD): "The heat and cool meridians are twice, and the distant guests are leisurely. The heat subsides with the morning rain, and the wind comes with a line of autumn. Traveling and thinking often make you sick, and good medicine does not cure you. The northern geese are hated, and the hometown books are cast every other year. "A big man in the north may not be used to the damp and cold autumn in the southern country. He recalls the autumn wind and sunshine in the northern country, the imperial city is golden and resplendent, and the geese can still fly south in the spring, but his stay is far away. What made him more uncomfortable, in addition to the water and soil in the south, was the unease caused by his unfamiliarity with pottery. He wrote in the" Preface to the Instructions on Porcelain Matters "about his mood at that time:" Pottery is fine, but it has never been seen in life, and the material heat and the five elements of Dan Gong are the same as their merits. At the same time, they imitate the past and the present, and they are extravagant and respectful. Tang Ying is a layman in pottery affairs. Generally, laymen manage experts, and they either use administrative power to suppress or "obey them in craftsmanship." Even those who are open-minded and shameless to ask questions, at most they learn some fur through layers of reports. However, Tang Ying, who is reliable in his work, soon shows his pragmatic style. He once said: "Du Men and Xie made friends, concentrated on his efforts, and worked hard to eat and rest with craftsmen for three years." He closed his door to thank guests for three years, ate and lived with craftsmen, and also rolled up his cuffs and trouser legs, scavenging mud, kneading mud, pulling billets, and holding billets, so he quickly changed from a layman to an expert. Therefore, in Tang Ying's later self-report, we can see such a confident statement: "In the ninth year of 1911, although I dare not say that I know everything about the principles of change in the heat of materials, it is quite possible to add flexibility. Those who agree with the craftsmanship and the will of the craftsman can now make their intention to agree with the craftsman. Because of the soil, glaze, blank tire, and fire, research and discussion are often handy." In addition, in the process of eating and living with the craftsmen, Tang Ying also began to reform. The Qing Dynasty took over the Ming Dynasty imperial ware factory and changed its name to the imperial factory. It also changed the practice of sending porcelain and even sitting on the ground to the craftsmen in the Ming Dynasty, that is, removing the blackmail. The household's "craftsmen's books" were used in the system, and the materials used for firing porcelain were also bought according to the current price, but although the policy was set, many officials did not implement it. Tang Ying came to Jingdezhen to assist in the pottery business. When the royal family wanted to fire porcelain, in addition to paying the craftsmen on time, the materials required for firing porcelain were also paid at the market price. His approach was not only recognized by the potters, but also convenient for local officials. Tang Ying's contributions to porcelain were first antique and super ancient, and second, creative. Emperor Yongzheng and Qianlong both had a very high level of appreciation for porcelain, but they had a common feature, which was their admiration for the exquisite porcelain made in the previous dynasty. Therefore, he repeated the five famous porcelain in the Song Dynasty. And Ming Dynasty porcelain became an important task. Not long after Tang Ying took office, he sent his friend Wu Yaofu to Junzhou, Henan Province to investigate the method and materials of Jun? s burning, and imitate the shape and glaze color according to the genuine product. Tang Ying imitated the gold wire and iron line patterns of Song Ge?, the ice cracks of Song Guan?, and the crab claw patterns of Ru?, etc., and the opening is natural. Most of the antique porcelain is written in blue and white or engraved with Yongzheng Dynasty style. The Palace Museum in Beijing has a imitation Jun glazed rhombus flower pot holder, which is very similar to Song Jun? s porcelain. His imitations of Ming Yongle, Xuande bred white glaze, sweet white engraving, and printing ware reached the level of authenticity. For example, the relief dragon pattern jar sold by Sotheby's and the garlic bottle sold by Guardian Hong Kong in China are both glazed with pink and green. The glaze is as radiant as jade, and this kind of glaze was once seen in the porcelain of Longquan? in the Southern Song Dynasty. But later the skill was lost. It was not until the Yongzheng Dynasty of the Qing Dynasty that it reappeared on some exquisite porcelain. In terms of innovation, during the Tang Ying period, there were new breakthroughs in glaze color, underglaze color and color glaze. Under his supervision, Jingdezhen Guan? Chuang burned more than 70 kinds of color glazes, of which carmine and okra green were the most famous color glazes. I believe that many people are impressed by a pair of carmine glazed cups auctioned by China Guardian in 2011. In the "Tao Cheng Chronicle Monument", he called it "Western red utensils". Because the glaze contains one-thousandth and two-thousandth of gold, it is also known as "golden red". At the same time, the achievements of Du Tao are also related to Tang Ying's personal quality. He combined porcelain craftsmanship with poetry, books, paintings, and seals. In terms of innovation in the ceramic category, the later books "Jingdezhen Pottery Records", "The Examination of Bronze Porcelain" and other works have been greatly praised: "Factory? So far, it has been a complete success", saying that since Tang Yingdu Pottery created "since there was pottery, there has been no such beauty as today". By the 13th year of Yongzheng (1735 AD), the annual cost of firing porcelain reached tens of thousands, and no less than 30,000 or 400,000 pieces of porcelain were made, a huge number. Hero or artist? In order to cater to Qianlong's preference for novel porcelain, Tang Yingchuang burned a lot of novel varieties, such as a wide variety of turning heart bottles (such as the "Qianlong Pink and Green Glaze Gold and Empty Opening Pastel Lotus Boy Turning Heart Bottle" at the Capital Museum), and such as the Jiaotai bottle, which was often used by Qianlong to play with. According to the "Inscription of the Chronicle of Pottery", during the period of Tang Yingdu pottery, there were fifty-seven kinds of antique and innovative. During the period of overseeing pottery, Tang Ying's personal cultural and artistic cultivation was also widely praised, and his ceramic calligraphy was very smooth. This is also unique in the history of ceramics. Tang Ying was the chief director of exquisite crafts in the Yongzheng and Qianlong dynasties, but for him personally, he left his family for 28 years, stayed away from his hometown in the imperial city, and never returned to his hometown in Shenyang. He regarded himself as a "potter", and this name may be his only gift. Twelve years after leaving Jingdezhen, he revisited his hometown, and the people of Jingdezhen welcomed him. Tang Ying wept deeply and wrote a poem: "When the green silk dyed the frost and returned to his hometown, the people of He Lao Town welcomed him. "It is worth pondering that when Tang Ying was seventy-five years old, Qianlong met him in the Yuanmingyuan and proposed to let his son take over his position. Tang Ying, who had been diligent and cautious all his life, refused to let his son take over, risking the risk of committing a crime. On the one hand, he accused the crime and" respectfully invited the emperor to choose another wise person to take over. "In addition to the literal words, the matter is big, and the son" has not read everything for a long time ". Is it also because of Yongzheng's voice and Qianlong's moodiness and great joy that he is too tired, how can he let his son follow in his footsteps and spend his life in fear? After Tang Ying's death, due to the different supervisors, Jingdezhen officials could no longer burn exquisite masterpieces like Qianlong's early days. In the mid-Qianlong period, there was a tendency to be complicated and complicated, and the quaint style was lost; at the end of the period, there was a pile of vulgarity. And further back, the decline was no longer the pottery school. Hearing the rumbling artillery fire of the Opium War, the exquisite porcelain jar of the Qing Dynasty smashed to the ground with a sound, and the rolling wheels of Ren Shi ran over. Today, when we are in auction houses and museums, looking at these porcelain carefully through glass frames, how did Tang Ying, the envious northern guest who returned to the goose, the northern man who rolled up his sleeves and smelted pottery with the craftsmen, hold these exquisite objects, they are just the playthings of Yongzheng and Qianlong, but all Tang Ying's efforts. For a moment, the author suddenly did not know how to comment on him, the hero or the artist?