What are the ups and downs of throwing pots after Tang and Song Dynasties?

7 15, in the third year of Emperor Taizong's reign, Li Shimin proclaimed himself emperor. One day, Weichi Gong, Duke of Hubei, was late for the morning court. Weichi Gong, whose name is Jingde, was a famous soldier in the Tang Dynasty and one of the twenty-four outstanding figures in Lingyange. Weichi Gong's face is like black charcoal. When he was young, he had to work while the iron was hot. At the end of Sui Dynasty, Weichi Gong joined the army. He is famous for his bravery. He used to be a general. Later, Li Shimin, the king of the Tang Dynasty, surrendered Weichi Gong in the war with Weichi Gong. But Li Shimin was kind-hearted and said to Weichi Gong, "If you like, stay and help me!" ! If you don't want to, then I can also give you some money to leave. Weichi Gong's mother was at home, so he asked Li Shimin to let him go home.

Li Shimin gave Weichi Gong a sum of money to go home to support his mother. Later, not long after, Li Shimin was trapped in a tight encirclement on the battlefield. When Weichi Gong learned about it, he rushed to the rescue. He risked his life to escape and saved Li Shimin's life.

Li Shimin was very moved and spoke highly of Weichi Gong. From then on, he became Li Shimin's right-hand man.

Later, Li Shimin became emperor, known as "Emperor Taizong" in history. Weichi Gong was named lord protector, Hubei, and Weichi Gong was appointed viceroy. But Weichi Gong saved himself, took the credit for himself, and had a bad relationship with ministers, so he didn't take being late in the morning seriously.

Everyone knows such a thing. Being late in the morning was a crime of deceiving the monarch in the Tang Dynasty and was punished according to law. Li Shimin, Emperor Taizong, was also very angry. His ministers were very angry and feared God, but Weichi Gong didn't care.

Anger returns to anger. Although he really wants to punish Weichi Gong, he still can't let go of that year. Weichi Gong sent himself into a tight encirclement and saved his business, so he wanted Weichi Gong to go. But the ministers were very angry, and they demanded that Weichi Gong be severely punished.

Dare not go against people's wishes, but I still want to let Weichi Gong go. He was in a dilemma when he suddenly had a brainwave. He remembered that Wei Chi Gongyun liked to play the game of throwing pots. He also knows that Weichi Gong has been on the battlefield for many years, and he is skilled in archery, and he was born with a pot. It is normal for him to hit every ball.

So Li Shimin wants to use the shabu-shabu as a cover to give Weichi Gong a step down; Secondly, it can make people stop blaming Weichi Gong.

Thinking of this, he kindly asked Weichi Gong, "Why is Ai Qing late? Are you practicing throwing pots again? " He said, winking at Weichi Gong, let Weichi Gong follow his own meaning.

Seeing that ministers unanimously demanded severe punishment, Weichi Gong knew that he had made a big mistake this time, and seeing that Taizong was winking while talking about throwing pots, he knelt down and replied, "I was really fascinated when I was playing throwing pots this morning, and I forgot the time, so that I missed the morning and committed a felony. Please forgive me. "

Li Shimin said, "I love you. It doesn't matter if you throw a pot. It's a big mistake to miss the early morning. However, I also like the game of throwing pots. I can see that Ai Qing and I are like-minded, so I will give you a chance to test Ai Qing's throwing pot technique and see if Ai Qing has lost track of time when playing throwing pot! "

Li Shimin told the guards to get pots, chips and arrows, so that the musicians could get ready to play.

Li Shimin said, "This time I'll give you a chance to show your pot throwing skills in the temple. If you can hit all the shots of 10, I believe you have missed the time by playing the pot. If you miss a shot, I will not spare you! "

Weichi Gong got up and took the arrow. Accompanied by musicians, he easily hit 10 times.

Li Shimin said with a smile: "Ai Qing is really good! I keep my promise, and I will spare you once this time. Don't miss the early morning! "

Weichi Gong quickly agreed. He vowed that he would not miss the morning because he was playing with the pot again. Ministers are still angry, but after all, what Emperor Taizong said is a warning, and they can't say anything more.

After the first dynasty, I called Weichi Gong to the patio and asked him to play with me.

While playing with the pot, Li Shimin said to him earnestly, "Love Qing! State affairs are reflected in rewards and punishments. Merit should be rewarded, and mistakes should be punished. Today, I remember that you saved my life once and helped you stop this punishment, but you must not be proud in the future, and be good at self-cultivation, otherwise it will be too late to regret it next time. "

Weichi Gong was very grateful. He agreed with Winona. Since then, he has never taken the credit for himself.

Pan-throwing is a favorite game of literati in Tang and Song Dynasties. It's a simplification of the shooting ceremony, but it's still a little complicated. Therefore, even if it wants to withdraw from the historical stage, the cultural connotation it carries is extremely powerful.

Of course, there are pottery, bronze, iron and porcelain. In archaeological data, there were many pot-throwing devices in Ming and Qing Dynasties, and there were also pot-throwing devices in Song and Yuan Dynasties.

In fact, in the Sui and Tang Dynasties, pot throwing was very popular, and the demand for special ear-piercing bottles for pot throwing increased greatly. During this period, ceramic technology developed rapidly, such as Yue kiln celadon, Xing kiln white porcelain, Lushan kiln glazed porcelain, Gong county kiln white porcelain and Tang Sancai, Qiong kiln colored porcelain and Changsha kiln colored porcelain. All these have played a vital role in the development of pot throwing.

Ceramic ear-piercing bottle, as a kind of pot-throwing device and exquisite works of art, was favored by the court, dignitaries, literati and celebrities in Sui and Tang Dynasties. Later, in Chang 'an, an ear-piercing bottle with peony pattern was unearthed in Qiong Yao's freehand brushwork in Tang Dynasty. The height of this bottle is 0.44 meters, which is basically consistent with the "two feet high" in the "Throwing the Pot Fu" by Han Danchun, a writer in the Han Dynasty. There are two freehand brushwork peony paintings on it, which also means that the freehand brushwork flower-and-bird paintings created in the Tang Dynasty were first applied to water tanks.

This freehand peony vase was used to throw pots more than 1000 years ago. It provides a physical basis for the study of pot throwing in Tang Dynasty.

Also, a tri-color ear-piercing bottle from the Tang Dynasty was unearthed in Chang 'an. This kind of ear-piercing bottle has a strange shape, because the ear is low and the bottle mouth is turned out, which is not convenient to "pierce the ear". From this point of view, this ear-piercing bottle may be just a work of art for viewing, not quite like a practical utensil in a pot-throwing game.

Also in Chang 'an, a large ear-piercing bottle with gray-green glaze in Tang Dynasty was unearthed. The bottle is 0.36 meters high, 0.097 meters in diameter and 0.058 meters in ear diameter. Obviously, it is a practical utensil for pot-throwing games. So this must be a porcelain ear-piercing bottle used to throw pots in the Tang Dynasty. The only pot-throwing porcelain that may be practical in the Tang Dynasty is the freehand peony pattern ear-piercing bottle and the gray-green glaze ear-piercing bottle, so it is particularly precious.

From the late Tang Dynasty to the Five Dynasties, the height of Qiong Yao's blue glaze ear-piercing bottle has been reduced to 0.20 meters, and it can no longer be "pierced". So by the end of the Tang Dynasty and the Five Dynasties, at least some porcelain ear-piercing bottles had become table decorations. They are just for entertainment and have no practical value.

However, some people unearthed a piece of black glazed ear-piercing bottle from Guangyuan kiln in Song Dynasty. Its appearance further shows that in the Song Dynasty, some porcelain ear-piercing bottles were separated from pots and became simple furnishings.

However, according to the literature, the activities of throwing pots in the Song Dynasty did not stop. Famous writers in the Song Dynasty, such as Su Shi and Lu You, still left poems about throwing pots, even more than poets in the Tang Dynasty.

In Song Dynasty, Confucian scholars, represented by Sima Guang, set out from the standpoint of propriety. They put too much emphasis on the functions of governing the mind, cultivating self-cultivation, serving the country and observing the people, but suppressed the trend of popularization and competitive entertainment of throwing pots.

They even revised some rules in the Song Dynasty's "New Style Pot Throwing", making pot throwing limited to the upper class.

Nevertheless, the new rules still list the techniques of "starting", "receiving", "piercing ears", "scattering arrows" and "archery", and also record many ancient pot-throwing materials. It is said that there were more than 140 kinds of throwing methods until the Ming Dynasty, which were still very popular in the court of the Qing Dynasty, but gradually disappeared after the late Qing Dynasty.

However, regardless of the prosperity or decline of pot-throwing since 1000, the ear-piercing bottle made of pot-throwing has always been cherished by the royal family, because it has richer cultural connotation and symbolic significance than other porcelain bottles.

During the Southern Song Dynasty, both official kilns and Longquan kilns fired ear-piercing bottles, mostly 10-20 cm high. Some large blue glazed ear-piercing bottles in the Southern Song Dynasty are generally about 0.3 1 m high, and the inner diameter of the ear holes of both bottles is less than 0.02 m, so it seems that they cannot be used for throwing pots.

However, during the Ming and Qing Dynasties, the ear-piercing bottles fired by Jingdezhen official kiln were pure works of art, but these pure works of art are still rare treasures of later generations because of the long history and profound cultural heritage of throwing pots.

Later, Duan Fang, a writer in Qing Dynasty, recorded in his Record of Ji Jin in Taozhai that there was a deer-shaped pitcher, which was a deer like a horse with two horns. It has a cylindrical pitcher on its back, ears and a small cylinder on both sides of the saddle. It is two feet six inches three minutes high and one foot eight inches long. Judging from the shape and ornamentation, it should be an artifact of the Song and Yuan Dynasties.

The pot-throwing painting in Sima Guang's "New Pot-throwing" is also very famous.

Later, there was a pot-throwing pavilion in Zhongshan Park, Beijing, that is, to the east of the social altar, where six ancient bronze pots were preserved. This is a cross-shaped open pavilion. After reconstruction, it is also a witness to the solidification and history of the throwing pot culture.

In addition to archaeological discoveries, there are also some paintings in the Tang and Song Dynasties, which also show people's love for throwing pots in the Tang and Song Dynasties. In archaeological discoveries or ancient paintings handed down from generation to generation, you can often see works about throwing pots. Zhou Wenju, a famous painter of the Five Dynasties, vividly reproduces the historical features of throwing pots.

The picture of playing chess with heavy screen was painted by Zhou Wenju, a painter of the Southern Tang Dynasty in the Five Dynasties. Its silk book is colored, and four people sit and play chess and break the pot. There are landscape figures painted on the screen behind the four people, and there is a small screen in the middle of the big screen, so it is called "heavy screen chess map"

According to textual research, this is a precious portrait of a historical figure. The man in the middle and in front is Li Jing, the leader of the Southern Tang Dynasty. This painting vividly reproduces the etiquette and customs of throwing pots in ancient China.

Zhu Zhanji, Xuanzong of the Ming Dynasty, was a master of throwing cans. Because of his superb skills, he was later taken by some famous painters. In "Pleasure" written by Emperor Xuanzong of the Ming Dynasty, he left a scene in which Zhu Zhanji smashed the pot.

And Ximen Qing in China's famous novel "Jin Ping Mei" is also good at throwing pots. He often plays this game with Pan Jinlian. According to textual research, Ximen Qing's literary image was alluded to by Zhu Houzhao, a student of Amin Wuzong.

It can be seen that in the Ming Dynasty, throwing pots not only brought pleasure to the palace ladies and concubines, but later this game was introduced by men to the boudoir to encourage women to play, which also brought them endless fun.

In the Tang dynasty, throwing pots became more prosperous, and even neighboring countries were infected. The history book "Tang Shu" records: "Koreans worship the Tang Dynasty very much, and they also like playing chess, throwing pots and cuju."

Lu Zang, a minister of the Tang Dynasty, was knowledgeable and versatile, and was also a national player in throwing pots. His skill in throwing pots is superb. He can throw pots from behind, just like Yue Long Falcon Flying, and every shot hits.

Shangguan Yi, a writer in the Tang Dynasty, also wrote the Book of Dumping Pots, which was widely circulated in the Tang Dynasty. The Book of Dumpling Pots determines the rules and patterns of Dumpling Pots. Even the "Touhu Jing" prevailed until the Song Dynasty, and then it was gradually lost.

During the Five Dynasties, many beautiful women lived in the former Shu Palace. They are the emperors' concubines. However, there are many beauties in the harem, but few concubines can be favored by the emperor. Although most women have nothing to worry about, they are bored, and life in the palace is really hard.

Fortunately, Emperor Wang Yan likes to play, and he also likes to play with everyone.

Therefore, concubines and ladies-in-waiting have many games to play in the palace, and the pot-throwing game is one of them.

In this regard, even the Empress Dowager Huarui intends to throw the pot. She wrote these pot-throwing games in the harem into her palace poem, entitled "Pot-throwing", which reads as follows:

You learn to throw a pot coldly, and the arrow leans against your waist to draw. Do your best to the king. One minute you shoot, the other you lose. Divide friends, sit around and bet on cherries, but throw a pot of jade wrist, which wastes time. There are two agarwoods each, and the one who is tired of the game is higher.

This palace poem is about throwing a pot in the palace. The concubines were tired of this game, so they learned to throw cans. Although they have just learned, they also wear an arrow barrel around their waist, so they are personable and personable.

They all claimed to be masters before the emperor, but none of them could win. Sometimes, they have to add a little bet, such as cherries, to see who is skilled and lucky.

There are many poems about the court pot throwing game. Li Bai, a poet in the Tang Dynasty, once wrote a poem about ladies-in-waiting smashing pots. Before the emperor threw the pot, there were many beautiful women, and lightning flashed in three places in San Xiao.

There is an ancient song about smashing pots in the Tang Dynasty, which is very popular. Maids-in-waiting will improvise in their spare time. The lyrics are as follows:

Go to the Golden Temple, honor jade, delay the distinguished guests, enter the Golden Gate, enter the Golden Gate, go to the Golden Temple, cook with the east stove, cook the pig pole with the cow, the host drinks wine, and the harp is for the sake of clearing things, and the pot is playing chess and resuming the game.

Qian, a famous poet in the Song Dynasty, wrote a poem about throwing pots in the boudoir:

The fragrance is broken and the ring is heavy, but the shade of chun yin is open. Sometimes horses are too lazy to look and laugh all day.

Compared with the love of polo in the Tang Dynasty and the worship of cuju in the Song Dynasty, many emperors in the Ming Dynasty did not have much expertise in sports, which was not obvious on the whole, but playing with pots was their favorite.

Pan-throwing has evolved for more than 2000 years and flourished in many periods. In the literati and the people, throwing pots everywhere is in full swing.

Although it evolved from the etiquette at the beginning of the cloud to an entertainment game, it was always accompanied by a complex set of etiquette, which did not completely cut off the connection with the etiquette in the Spring and Autumn Period. In this way, the spread of the pan-throwing is narrowed, limited to the literati class.

During the Song and Yuan Dynasties, throwing pots was still popular among literati. In fact, the activity of throwing pots, which implies political etiquette, has begun to evolve into a pure entertainment for the people, which makes some authentic Confucian scholars greatly dissatisfied. In the Northern Song Dynasty, Sima Guang stood out against it.

Sima Guang, a great scholar in the Song Dynasty, thought that throwing pots was against the ancient etiquette and was too entertaining. He is very dissatisfied. Sima Guang tried to restore the old ceremony from a conservative point of view, and apparently wrote a new style of throwing pots.

With a straight face, he deleted many game elements of the pot-smashing game when writing a book. He also said:

Throwing a pot can cure the heart, cultivate one's morality, serve the country and observe people. Why is there still a long way to go? The person who threw the pot didn't do too much or too late, so it was right. Don't let it wander, so it is positive. Chiang Kai-shek is the foundation of Tao.

In the fifth year of Xining in Song Shenzong, Sima Guang revised the Game of Dumping Pots and wrote a New Case of Dumping Pots. He also revised the name, scoring rules, etiquette restrictions and so on.

In the way of throwing the pot, Sima Guang determined that the first arrow into the pot was "Youchu"; The second arrow company is called "Lianzhong"; Put the ear in the pot, it is called "Tonger"; The first arrow does not enter the pot; The second arrow is called "scattered arrow"; The one who is hit by the arrow is called the whole pot; Those who miss an arrow are called "finished"; The arrow thrown into the pot bounces off, and then what is thrown in is called "small arrow" and so on.

Sima Guang tried his best to get the game of throwing pot back to the ethical track. He wants to treat his heart, preserve his health, serve the country and examine the people by throwing pots, which makes the pot-throwing game cast a dull ethical atmosphere.

Sima Guang's opinion politicized the throwing pot. This change of Sima Guang has greatly reduced the entertainment function of the pan-throwing game and affected its popularity.

During the Sui and Tang Dynasties, the activities of throwing pots began to develop in the diversification of skills, and the entertainment was greatly enhanced.

The new case of throwing pots reflects the diversity of throwing pots before 1072. However, Sima Guang's updating and restriction of throwing methods actually hindered the diversification and complexity of this activity, and also affected its entertainment to some extent.

This is unacceptable to people who are mainly entertaining. However, some people ignore the conservative thoughts of these guardians and still regard throwing pots as a game.

Later, the writers of the Southern Song Dynasty recorded in the "Wulin Old Story Traveling to the West Lake" that "people play various games such as clay pills, drum boards, throwing pots, bouncing bombs and tripping over things" by the West Lake. It can be seen that in the Southern Song Dynasty, people already liked the entertainment function of the pot-throwing game very much.

Pot throwing is a drinking game, which has been used for more than 2000 years and prevailed in Ming Dynasty. Even Ming Shenzong, the emperor of Wanli, fell in love with it. He put this golden arrow pot beside him, which shows that the charm of throwing the pot is very great.

According to legend, there was a man named Hu in the Ming Dynasty, who was called "throwing pot stunt" because of his superb throwing skills. Shen Bang, a writer in Ming Dynasty, recorded the stunt of throwing pots in detail in "Miscellanies of Ten Thousand Parts", saying that he could not only throw pots with his back, but also shoot three arrows at three pots at the same time, and he hit every shot, which showed how powerful his skill was.

In many literary works at that time, there were a large number of records about the basin-throwing game, which could reflect the situation of the basin-throwing game at that time, and all these showed the entertainment function of the basin-throwing game at that time.

Li Ruzhen, a famous litterateur in Qing Dynasty, wrote in the seventy-fourth chapter of Jing Hua Yuan:

Zizhi followed and walked to the osmanthus room. I saw Zou Wanchun, Milan Fan and Min throwing cans there. Lin Wanru said, "We just entered some formulas, which is very troublesome. If we put some old condoms on the princess the day before yesterday, things would not be easier. " They all said, "Great, let's start with my sister." Wan Ru said, "It's easy for me, so I can aim at it alive. Just blow the incense into the air. "

Everyone voted in turn, some voted and some didn't.

Zou Wanchun said, "I am Su Qin with a sword on my back."

Milan Fen said, "I am fishing in Jiang Taigong."

Min said, "I came backwards on a donkey."

Rui Rui said, "I am an own goal wagging my tail."

Liu Ruichun said, "I am an upside-down kite."

Wei Ziying said, "I am a meteor chasing the moon."

Bian Ziyun said, "I am rich and magnificent." Everyone votes according to the formula. Zizhi came, grabbed a bunch of arrows with both hands and threw them into the pot: "I'm chopping wood." Make everyone laugh.

And Ceng Pu, a famous writer in Qing Dynasty, wrote "Evil Sea Flower" in the twentieth time:

Cheng Boyi called celebrities to celebrate Li Chunke's birthday in Wo Yun Garden. Li Chunke and Xiaoyan come to the garden. Before they spoke, there was a burst of laughter in the breeze. One said, "I threw a double stroke, which is much higher than your penetration!" " "One way:" Let me throw another ear. " Xiaoyan said, "Hey, who threw the pot there?" Xiao Ting said, "Who wants to do this except Yun Jian!" Qiao Hu hurriedly stepped forward and said, "I haven't played this before, so let's go and have a look. "

The pure guest talked all the way from the clouds and followed him down to the pavilion. When I got off the pavilion, I saw a winding corridor, winding and endless. Under the porch, I saw Jiang rolling up his sleeves and leaning on the railing with his hands crossed. He looked at a lively boy of fifteen or sixteen, holding a bamboo arrows, standing five steps away from a copper bottle with ears, and was about to throw it out!

It happened that Qiao Hu came running breathlessly and shouted, "Hum, you don't want me to play such an elegant play!" Said, and the young man took the bamboo arrows, conveniently a throw, throw five or six zhangs away early.

At this time, the pure guest and the people have come in and laughed when they saw it. Chunke said, "Idiot! This move, where is sloppy! "

Through the descriptions in these literary works, we can see that people who play games are all leisure classes, and women generally play more, which has shown signs of the decline of games.

In fact, after the Ming Dynasty, throwing pots did not stick to the old law, but entered a new stage of development with the increasing prosperity of social development. There were also many writings about throwing pots in the Ming Dynasty. In the Ming dynasty, the sport of throwing pots was still quite popular among the leisure class, and even developed a lot of tricks. Xie, a scholar in Ming Dynasty, wrote in an article: "At that time, there were more than 30 kinds of names of pot-throwing games, such as spring sleep, listening to the piano, inverted insertion, roller shutter, goose title, reed turn and butterfly."

From these fancy names, we can know that at that time, besides demanding accuracy, we also paid great attention to the throwing posture and the shape of the arrow entering the pot, which undoubtedly became more and more difficult and more suitable for men and women to play at home.

In the Qing dynasty, throwing pots gradually declined. However, throwing pots was still very popular in the imperial palace in the late Qing Dynasty.

During the Ming and Qing dynasties, there was still a market for throwing pots among the leisure class, but it began to decline and gradually disappeared after the late Qing Dynasty.

However, pot throwing originated from the shooting ceremony in the Spring and Autumn Period, which has the educational function. Because throwing a pot simplifies the shooting ceremony and greatly reduces the shooting difficulty, it can also be done in a banquet.

With the popularity of throwing pots in the Tang Dynasty, there are more and more participants, and its entertainment is highlighted.

Tossing pots combines "teaching" with "fun", which well explains the educational thought of "entertaining through education" in Tang Dynasty. It has become an indispensable part of the life of Confucian scholars and a social fashion pursued by people.

In its history of more than 2,000 years, a complete set of pot-throwing ceremony has been formed, and the pot-throwing technique has also been included in the temple ceremony. Its "entertainment" characteristics made it last for 2000 years, and it was precisely because it lost its entertainment function that it gradually declined and eventually disappeared.