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    The Northern and Southern Song Dynasties was a proud era of Zhejiang because of its great social and cultural developments.
    In the Northern Song Dynasty period, Zhejiang became the textile and dyeing center where there were state-run Huzhou Damask Silk Workshop and Hangzhou Textile Workshop, both of which were quite large. There were such famous, beautiful and high-quality silk products like the White-sided Damask Silk of Hangzhou, The Tribute Red-sided Silk of Wuzhou, the colorful silk of Dongyan, the Temple Silk made by the nuns in Yuezhou and the joint-edged thin silk of Muzhou. In the middle of the Northern Song Dynasty, the Longquan kiln began to produce porcelains and formed its unique flavor of the celadon. The Longquan porcelains usually adopted white or light gray roughcasts. The surface was painted with violet-golden coatings that turned out red later. With no decorative pads, no violet mouths and iron feet, the porcelains produced in this period were called the Acient Longquan. Its representative piece was The Longquan Kiln Five-tubed Bottle, which displayed the scenery of four lovely ducklings paddling in a pond in the Southern China region.
    Hangzhou had become the national center of the engraving printing. The woodcarving print developed fast and illustrations of Buddhist scriptures were very popular which mainly evolved from the single spell pictures to the preface pictures and in the end to the vivid form of explanation about the religious figures, events and tenets. The representative pieces were the Laughing Buddha (painted by Gao Wenjin and engraved by the famous monk Zhi Li), Weishu Buddha and Puxian Buddha. In the first picture, the Buddha hunkered straight on his lotus flower seat and looked rather imposing and solemn. There were attendants around him and flying apsarases above, all of whom were delicately engraved. The latter two were a set, now in Japan's collection. The single paged illustration, Sui In Pursuit of the Dharani Scripture, was engraved in the year of 1001 by a Hangzhou native, Zhao Zongba.
    The rock cave josses of the Song dynasties adopted a true to life artistic style that made the joss human-like. Among the rock cave josses of the Flying Hill, the eighteen arhat figures (built in 1026) found in the Yuru Cave were simple and humorous, chiseled according to the human's expressions and with little temperament of immortals. The small josses were popular then that were suitable for the worship in the adherents’ own houses, for example, the Gold-plating Bronze Joss and the Painted Joss were delicate in the details of the figure and of typical flavor of the Northern Song Dynasty. The Exquisite Silver Pagoda Model was one of the well-reserved silver wares of the period that was made of thin silver pads and plated with gold. It was made in 7 floors and inside it, there were delicate sitting-josses.
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