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    Zhejiang was one of the beneficiaries of the construction of Great Cannel that was built after the unification of China in the Sui Dynasty. There was such famous temple like Guoqing Temple in Zhejiang in Sui Dynasty which had been called Tiantai Temple initially. Zhi Yong (or Faji, whose surname had been Wang before he became a monk), who joined the Buddhism in Yongxin Temple and was well known for his religious name Yong Master, was the seventh generation's offspring of the famous calligrapher, Wang Xizhi. He was so hard in practicing his calligraphy that many brushes were used out. He buried those brushes and built the Tomb of the Abandoned Brushes. As so many people came to his house to ask for his calligraphic works, his wooden-made doorsill was damaged. He enwrapped the damaged doorsill with iron belt that was called the Iron-doorsill Bound. His cursive hand style works were natural and graceful indeed with strong and powerful strokes. He used to send out 800 copies of his collection, namely Cursive Hand Styled ' A Thousand Words to the Eastern Zhejiang temples. Some of the 800 copies even come down till today.
   Yuezhou (shaoxing) became the textile center of the Southern Yangtze River Region after mid Tang Dynasty where presented various kinds of textiles like Wu damask silk, Hua Gu Xie and red gauze as the tributes to the royal court. The damask silks produced in Yuezhou were beautiful in pattern and delicate in weave. The persimmon pedicel damask silks produced in Hangzhou were famous all over the country and the noted poet, Bai Juyi gave very high praise to them in his poem Spring View Of Hangzhou. The products presented by the Yue Kilns in Tang Dynasty were famous for their glaze quality, shapes and engraved patterns. The production center had been moved from Shangyu to Shanglinhu Region where Yuyao and Cixi bordered. The porcelain wares of Yue kilns were green in glaze and the famous poet Lu Guimeng wrote the poem The Olive Green Yue Porcelains to praise the sense of beauty the porcelains brought. After compared the Yue porcelains with the northern Xing Porcelains by Lu Yu, he wrote down three advantages of Yue porcelains in His work Scripture of Tea in that the they were more like the color of jade and ice and what's more, the tea leaves would look more fresh against the green glaze of Yue porcelains. The porcelains of Tang Dynasty emphasized on the beautiful designs, for example, the shapes of bowls could be made like lotus leaves, Chinese flowering crabapples and sunflower petals. The handled-pots were the important kind of the Yue Kiln products of the late Tang Dynasty. They looked dignified and stout. The most puff boxes then were of sunken bottom inside and raised top, with lightly embossed decorative patterns and smooth glaze. In the middle and late Tang Dynasty, the Yue kilns reached its second peak of the productions. They caught up with the vogue of the time and produced many works full of natural and graceful artistic temperament. The Celadon Round Jar With Tortuous Dragon was a product of typical Tang flavor, which was decorated with a vivid tortuous dragon and plump in shape. The Eight-arrised Matrass was shinning with the green glaze and was simple but dignified in shape. The Bowl of Chinese Flowering Crabapple Shape was like a blossoming crabapple when one looked out upon it; it was smooth in glaze, soft in color, big but shapely in shape which reflected the lofty producing level of the craftsman in Tang Dynasty. The techniques of gold and silver production were highly developed. The Topped Silver Jar excavated from some tomb of Lin'an was a masterwork of Tang Dynasty. It was covered with gold-plating, decorated with clouds, lotus leaves, pair dragons, pair lions and party scene patterns. The Mirror With Mysterious Marine Beasts and Grapes was another featured craftwork of Tang Dynasty.
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