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.
(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.