What do the lyrics of Jay Chou's Blue and White Porcelain mean?

"Ma Weidou thinks the most fallacious sentence is' at the bottom of the bottle, Han Li imitates the elegance of the previous dynasty'. In this regard, Ma Weidou's explanation is that blue and white porcelain has quickly become the overlord of China porcelain since its birth, and no one has shaken it for 700 years. But Han Li was never written on the bottom of the bottle. Only during the Chongzhen period of the Ming Dynasty, some blue and white wares occasionally wrote official scripts. Obviously, the lyricist doesn't know much about porcelain. Another mistake is "I missed you when I copied Song Song". Ma Weidou said that the mistake of this lyric is that' Song Song's signature is only seen on the enamel porcelain of the dry three dynasties in Kang Yong, but not on the blue and white porcelain'. " (Beijing Morning Post: Jay Chou, a famous appraiser, made a low-level mistake in blue and white porcelain) It turns out that Mr. Ma asked the lyricist to write the lyrics like an academic paper, and not to use literary means such as fiction, imagination and exaggeration, otherwise it would be inevitable to make a "low-level mistake". This reminds me of a joke told by Su Dongpo, a litterateur in the Song Dynasty: Wang Qi, a poet in the Song Dynasty, wrote two poems on Zhuzhi, which he proudly recited in front of Su Dongpo. Dongpo was quite dissatisfied with this poem and said, "Good is really wonderful, but only in this way can ten bamboo poles have a bamboo leaf." Afterwards, he also told people that "it is easy to laugh in the world, but it is difficult to read Wang Qi's poems without laughing." (See Miscellanies of Song People, Volume 55, Tiaoxi Fishing and Concealing Conghua) Actually, it's not Wang Qi who should laugh, but Su Dongpo. As a great writer, we should not use arithmetic tools such as addition, subtraction, multiplication and division to criticize poetry. Literature thinks in images, and arithmetic thinks in logic. Can we confuse them? Yang Shengan in Ming Dynasty also made such jokes. He once criticized Du Mu's famous poem "Jiangnan Spring" and said: "A thousand miles of yingti green reflects red" should have been "a hundred miles of yingti green reflects red", but "this edition is mistaken for" a thousand miles ". If you follow the custom, you will hear birds singing thousands of miles away. Who will listen? Thousands of miles of green and red, who can see it? " (Yang Shen's "Temple Poetry Eight") For this pedantic view, Wang Fuzhi once cited the example of "attacking the shield with a spear" in Jiang Zhai's poems, saying that "the pedantic person is not only in what the poem sees, but in the source of the poem." Du Fu's poem' I want to sell wine, and I happen to have 300 coppers', so I think the price of wine in the Tang Dynasty. Cui's poem "Selling wine is no more than a thousand dollars". Selling wine in Duling Valley, and then selling it to Cui, won't you get thirty times the interest? Everyone who finds that place is ridiculous. "What Mr. Ma doesn't understand is precisely the mistake of' finding out where poetry is, restraining poetry as the source and studying things'. Therefore, as soon as it came out, it was immediately accused by the singer's fans as "picky". However, what surprises me even more is that after repeated thinking, the two "faults" in Mr. Ma's blue-and-white porcelain words, even from the pedantic "academic point of view" of "textual research", are nothing to brag about and ask for. In other words, the description of blue-and-white brushwork in blue-and-white porcelain lyrics completely conforms to the reality of ancient blue-and-white porcelain, and there is no "low-level mistake" and "fallacy" pointed out by Mr. Ma. Now we might as well analyze the two "hard injuries" picked out by Mr. Ma as follows: First, according to Mr. Ma, the most serious fallacy is the sentence "The bottom of the bottle imitates the elegance of the previous dynasty". Outside? Because blue-and-white porcelain "Han Li never wrote on the bottom of the bottle, only during the Chongzhen period of the Ming Dynasty, some blue-and-white porcelain occasionally wrote official script". In fact, there were a large number of official script styles in the late Ming and early Qing dynasties (academically called "transitional period"), which is an important feature of blue and white porcelain in the transitional period. Although most of them are found in the body and mouth of porcelain, those at the bottom of porcelain are by no means invisible, but relatively few. For example, the Palace Museum has a blue-and-white baby play pot stove with blue-and-white official script at the bottom. Quanzhou Jinjiang Museum also has a blue-and-white unicorn-patterned elephant ear reed in the late Ming Dynasty, with a blue-and-white official script "Treasure of Hetai" at the bottom. In the autumn of 2006, Hangzhou art auction even appeared a six-character three-line official script made in Qianlong year of Qing Dynasty, a big bottle, and blue and white eight treasures wrapped in branches (batch number 13 17). It shows that the practice of calligraphy at the bottom of Qing bottle not only existed in the transitional period, but also lasted until the middle of Qing Dynasty. Generally speaking, the official script at the bottom of the blue-and-white kitchen knife (including stoves, bottles, flower beds, etc. Most of them are Tang numbers, but there are also a few praises and year numbers. Secondly, Teacher Ma picked out another mistake, that is, "I was thinking of you when I copied the signature of Song Dynasty". Outside? Because "the inscription in the Song Dynasty only saw Kang Yong dry three generations of enamel porcelain, but never saw blue and white porcelain." It must be pointed out here that Mr. Ma's understanding of what is a Song-style figure is still vague, or incorrect, incomplete and not in-depth. The blue and red materials on the enamel porcelain of Kang Yonggan's three generations are one of the characters in the Song Dynasty, which is called "Song". The word "Song Style" is not a formal term in the publishing industry. It is the common name of a Song-style figure in Ming Dynasty in traditional antique circles. It first appeared in Jo Yeo-jeong's Antique Guide. In fact, Song-style figures have many faces, and there are two main types: imitation Song-style (called Song-style in Japan) and Song-style (called Ming-style in Japan and Song-style in antique circles). These two kinds of Song styles are evolved from the regular script of the brush, which is a printing font formed by the application of regular script to seal cutting. However, because the imitation of Song Dynasty was formed earlier, more calligraphy features were retained. Due to the late formation of the Song Dynasty, there are many characteristics of knife carving. In fact, it is not difficult to distinguish the two styles of the Song Dynasty: that is, the horizontal and vertical paintings of "Imitation of the Song Dynasty" are the same in thickness, and there is not much difference, and the style is close to calligraphy; "Song Style" is thin and thick horizontally, with great difference between horizontal and vertical, and its style is close to that of knife carving (see Figure 3). For a long time, many people in the field of antiques have a misunderstanding, that is, they regard the so-called "Song-style inscription" (that is, the thin and vertical Song-style characters formed in the Ming Dynasty) as the only style of Song-style characters, and call the imitation Song-style characters that appear in a large number of porcelain "regular script". In fact, from the style of blue-and-white porcelain itself, it is not difficult to find the actual situation of blue-and-white porcelain: from Yongle Xuande in the Ming Dynasty to the end of the Qing Dynasty, song styles (mostly "imitation song styles" with calligraphy styles) on blue-and-white porcelain abound. Not only the year number of the Song Dynasty, but also the hall number of the Song Dynasty, the Kyrgyz number, Zanqian and so on. However, it is not surprising that many people in the antique circle turn a blind eye to the large number of Songti characters appearing on blue and white porcelain, because on the one hand, they mistakenly think that "Songti" is the only Songti character, on the other hand, they confuse a large number of "imitation Songti" with regular script. It should be further pointed out that there are not only "Song-like" but also "Song-like" blue-and-white porcelain, not "only seen on three generations of dry enamel porcelain in Kang Yong", but the number of blue-and-white porcelain is not as much as that of Song-like porcelain. Therefore, Mr. Ma said, "The inscription in the Song Dynasty is only found in the enamel porcelain of the Dry Three Dynasties, but not in the blue and white porcelain. "Not in conformity with the facts. By the way, correct another mistake made by Teacher Ma, that is, the so-called "fake" stage background. Mr. Ma said: "When singing in front of Jay Chou, several pieces of porcelain appeared in the background, one of which was imitation of the late Qing Dynasty, and in today's words, it was a' fake'. "Everyone in the industry knows that the identification of so-called' fake goods' is time-relative. For example, the porcelain that Kangxi imitated Xuande in the Ming Dynasty can be called a "fake" in the eyes of people in the Kangxi era, but if this porcelain spreads to Guangxu, it is already an "antique" in the eyes of people in Guangxu era. By the same token, if a porcelain imitation of the late Qing Dynasty and the former Dynasty is already a very qualified antique in today's 2 1 century, how can it be called a "fake"? Does Mr. Ma consider himself a "late Qing Dynasty man"? Therefore, the accusation that the stage background is so-called "false" is not established. However, at the end of Sina's blog, Ma Weidou commented on this song, perhaps expressing his meaning: In any case, Blue and White is a popular lover in China's traditional culture, and Jay Chou has made great contributions to attracting the attention of this 700-year-old popular lover, re-dressing, and pushing it to the front desk of the Spring Festival Evening. I hope you can win the debate!