For this song, Ma Weidou thinks the best sentence is the beginning, that is, "The blank embryo outlines the blue and white brushwork, and it turns from thick to light". However, Ma Weidou believes that 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: Blue and white porcelain has quickly become the overlord of China porcelain since its birth, and no one has shaken it for 7 years. But han li was never written on the bottom of the bottle, and only in Chongzhen of Ming Dynasty did some blue-and-white wares occasionally write official scripts. Another mistake is "I missed you when I copied Song Ti's signature". Ma Weidou said that the mistake of this lyric lies in the fact that "Song Song's inscription is only seen in Kang Yong's dry three dynasties enamel porcelain, but not in blue and white porcelain." Ma Weidou also pointed out that when singing in front of Jay Chou, several pieces of porcelain appeared in the background behind, one of which was an imitation of the late Qing Dynasty, which is a "fake" in today's words.

Rehabilitation of Blue and White Porcelain —— Pei Guanghui refutes Ma Weidou's fallacy

Pei Guanghui: former member of the Art Appraisal Committee of the Ministry of Culture, member of the Chinese Folk Collection Appraisal Committee, and visiting professor of cultural relics in Peking University. Famous cultural relic appraiser, blue and white porcelain scholar. He has published many academic works on blue-and-white porcelain, such as Perfect Blue-and-White Porcelain, Blank Blue-and-White Porcelain, Transition Blue-and-White Porcelain, Clark Porcelain and Kang Yong Dry Blue-and-White Porcelain. In the "Ghost Valley Gate Incident" of Christie's in London in 25, he became famous overseas for questioning the blue and white Ghost Valley jar of Yuan Dynasty auctioned by the company, and was called the first China cultural relic expert to say no to famous foreign auction companies.

In this year's CCTV Spring Festival Gala, the singer Jay Chou sang a song "Blue and White Porcelain", which became the highlight of the gala and received rave reviews, and won the second prize in the song and dance category of "My favorite Spring Festival Gala program". This is a song with China blue-and-white porcelain as the creative element, and porcelain as the "China element" to create songs, with novel ideas, which opens up a new way of "Chinese style" song creation. The lyrics and singing are very beautiful, and the beautiful pictures of ancient blue and white porcelain on the big screen background of the stage increase the visual impact of the program, which can be called a program with good audio-visual quality. No wonder it became popular and sung in China as soon as it was broadcast.

However, while the popularity of the song is still rising strongly, Mr. Ma Weidou, a collector in Beijing, said: The lyrics of Blue and White Porcelain are fallacious, and "these mistakes are so low that ordinary people can see them". The nervousness of the entertainment press was immediately aroused, so the newspaper immediately put out such eye-catching headlines: Jay Chou was found fault, and the collector said that the lyricist didn't understand porcelain (Morning News), Ma Weidou, a collector, said that Jay Chou's lyrics were ridiculously wrong (Chengdu Business Daily), Ma Weidou: Jay Chou's lyrics were ridiculously wrong (News Noon) and Jay Chou was badly injured. Experts say that the author doesn't know much about porcelain (Modern Express), Jay Chou's Lyrics (Changjiang Business Daily) and It's a Fake (Qingdao Morning Post) ...

So what "very low-level" mistakes did the lyricist vincent fang make? Mr. Ma singled out two places:

"In Ma Weidou's opinion, the most fallacious sentence is' han li imitates the elegance of the previous dynasty at the bottom of the bottle'. 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 7 years. But han li was never written on the bottom of the bottle, and only in Chongzhen of Ming Dynasty did some blue-and-white wares occasionally write official script. Obviously, the lyricist didn'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 Ti's signature is only seen in Kang Yong's dry three dynasties enamel porcelain, but not in blue and white porcelain'. " (Beijing Morning Post: "Famous Appraiser: Jay Chou Made Low-level Mistakes in Blue and White Porcelain")

It turns out that Mr. Ma asked the lyricist to write the lyrics like an academic paper, and he could not use literary means such as fiction, imagination and exaggeration, otherwise he would inevitably make "low-level mistakes". This reminds me of a joke made by Su Dongpo, a writer in the Song Dynasty: Wang Qi, a poet in the Song Dynasty, wrote two "bamboo poems", and he proudly recited them in front of Su Dongpo. Dongpo was quite dissatisfied with the poem, saying, "Good is really excellent, but in this way, only ten bamboo poles can 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." (For details, see "Tiaoxi Fishing Hidden Conghua", Volume 55, Miscellanies of Song Dynasty) In fact, it is not Wang Qi but Su Dongpo who should laugh. As a great writer, he should not use arithmetic tools such as addition, subtraction, multiplication and division to criticize poetry. Literature uses image thinking, while arithmetic uses logical thinking. Can we confuse them? Yang Sheng 'an in the Ming Dynasty also made such a joke. He once criticized Du Mu's famous poem "Jiangnan Spring" and said: "A thousand miles of yings crow green and reflect red" should have been "a hundred miles of yings crow green and reflect red", but "today's edition is mistaken for" a thousand miles ". If you follow the custom, you will hear the birds crow a thousand miles away, who will listen? Thousands of miles of green reflect red, who can see it? " (Yang Shen's Poems on Sheng 'an (VIII)

For this pedantic view, Wang Fuzhi once cited the example of "attacking his shield with his spear" in Jiang Zhai's Poems, saying that "those who are particularly sour and pedantic are not only at the place where poetry is found, but also at the source of poetry to research things." Du Fu's poem' I want to sell wine, and I just have 3 bronze coins', so I think the price of wine in Tang Dynasty. Cui Guofu's poem' A fight with selling wine costs just 1 yuan'. Selling wine in Dulinggu and selling it to Cui Guofu, won't you get thirty times the interest? Those who find the place are ridiculous. " What Mr. Ma doesn't understand is precisely the mistake of "finding out the place of poetry, restraining taking poetry as the source and researching things". Therefore, as soon as it came out, it was immediately accused by the singer's fans of being "picky".

however, what surprises me even more is that, after repeated thinking, the two "faults" in the lyrics of Blue and White Porcelain picked out by Mr. Ma, even if they are demanding from the pedantic "academic angle" of "textual research", the result is actually that there is no "hair" to brag about and no "fault" to ask for. That is to say, the description of blue-and-white brushwork in the lyrics of Blue-and-White Porcelain 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 "han li imitates the elegance of the previous dynasty at the bottom of the bottle". Why? Because blue-and-white porcelain "han li has never been written on the bottom of the bottle, only in Chongzhen, Ming Dynasty, some blue-and-white porcelain occasionally wrote official script". In fact, in the late Ming and early Qing dynasties (academically called "transition period"), there were a large number of official script styles, which were an important feature of blue-and-white porcelain in the transition period. Although most of them appeared in the body and mouth of the porcelain, those at the bottom of the porcelain were by no means invisible, but only relatively few. For example, the Palace Museum has a blue-and-white baby drama winning pot furnace, and there is a blue-and-white official script at the bottom of it. Jinjiang Museum in Quanzhou also has a blue-and-white unicorn-patterned elephant ear reed at the end of the Ming Dynasty, with the blue-and-white official script "Treasure of Hetai" at the bottom. In the autumn of 26, Hangzhou art auction even showed a six-character three-line official script of the Qing Dynasty Qianlong Year System, which was the base book of the Qing Dynasty Qianlong Blue-and-White Eight-treasure Bottle (Lot No.1317). It shows that the practice of calligraphy at the bottom of the green vase not only existed in the transition period, but also lasted until the middle of Qing Dynasty. In general, the official script at the bottom of blue-and-white choppers (including stoves, bottles, flower beds, etc.) is mostly the Tang number, but there are also a few praise and year numbers.

Second, Mr. Ma picked out another mistake, that is, "I was thinking about you when I copied the Song Dynasty". Why? Because "Song Dynasty inscription only saw Kang Yong dry three dynasties enamel porcelain, but not seen in blue and white porcelain." It must be pointed out here that Mr. Ma's understanding of what is Song-style characters is still vague, or it is not correct, comprehensive and in-depth. The blue material and red material on the enamel porcelain of Kang Yong Gansan Dynasty are one of the Song Dynasty characters, the so-called "Song Dynasty". (The word "Song Bi Style" is not a formal term in the publishing industry. It is a common name for a Song Ti character in the Ming Dynasty in the traditional antique circle. It was first seen in Zhao Ruzhen's Antique Guide. In fact, there are many faces of Song-style characters, and there are two main ones: imitation Song-style (called Song-style in Japan) and Song-style (called Ming-style in Japan, also known as Song-style in antique circles). Both song styles are evolved from the regular script of the brush, which is a printing font formed by the application of regular script to engraving. However, because the imitation of Song Dynasty was formed earlier, it retained more features of calligraphy. Due to the late formation of Song Dynasty, there are more characteristics of knife carving. In fact, it is not difficult to distinguish the two styles of Song Dynasty: that is, the horizontal and vertical paintings of "Imitating Song Dynasty" have the same thickness, and there is no great 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, the so-called "Song-style inscriptions" (that is, the fine and vertical Song-style characters formed in the Ming Dynasty) are regarded as the only style of Song-style characters, but the imitation Song-style characters that appear in large numbers on porcelain are called "regular script". In fact, it is not difficult to find out the actual situation of blue-and-white porcelain since its own style: from Yongle Xuande in the Ming Dynasty to the end of the Qing Dynasty, the song style on blue-and-white porcelain (most of them are "imitation song style" with calligraphy style) is everywhere. There are not only the Song Dynasty year number, but also the Song Dynasty Hall number, Kyrgyz language number, praise money and so on. However, it is not surprising that many people in the antique circle have turned a blind eye to the large number of Song-style characters appearing on blue and white porcelain because they mistakenly think that "Song-style" is the only Song-style character, and on the other hand, they confuse a large number of "imitation Song-style" with regular script. It should be further pointed out that on blue-and-white porcelain, there are not only "imitation of Song Dynasty" but also "Song Dynasty", which is not "only seen in Kang Yong dry enamel porcelain of the Three Dynasties", but the number of blue-and-white porcelain is not as large as that of imitation of Song Dynasty. Therefore, Mr. Ma said, "Song Dynasty inscription is only seen in Kang Yong dry three dynasties enamel porcelain, but not in blue and white porcelain." Is not in line with the facts.

By the way, please correct another mistake made by Mr. Ma, that is, the so-called "fake" in the stage background. Mr. Ma said: "When singing in front of Jay Chou, several pieces of porcelain appeared in the background, one of which was an imitation of the late Qing Dynasty, which in today's words is a' fake'." Everyone in the industry knows that the identification of the so-called "fake" is time-relative. For example, Kangxi's porcelain imitating 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 former dynasty in the late Qing Dynasty reaches the 21st century today, it is already a very qualified antique, how can it be called a "fake"? Does Mr. Ma regard himself as a "late Qing Dynasty person"? Therefore, the accusation that there is a so-called "fake" in the stage background is not established.

However, at the end of his blog on Sina, Ma Weidou commented on this song, which may express 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 the 7-year-old popular lover's eye-catching, re-dressing and pushing it to the front desk of the Spring Festival Evening.