China people began to pay attention to modern ceramic art and formed a scale in public opinion, which should be after the 1990s. Of course, strictly speaking, the origin of modern ceramic art in China is related to the earliest practitioners of the former Central Academy of Arts and Crafts (predecessor of Tsinghua Academy of Fine Arts) and Jingdezhen Ceramic Institute in the late 1970s and early 1980s. In the past 20 years, Zhu Danian, Yang Yongshan and other older ceramists have made useful attempts in the direction of modern ceramics, resulting in a large number of young and middle-aged ceramists, such as Lv Pinchang, Luo Xiaoping and Bai Ming, with various styles and techniques. Most of them are university teachers, or influenced by traditional pottery with higher education. Therefore, China's ceramic art has an indissoluble bond with the Academy from the very beginning.
However, the pure college development is greatly restricted in concept and communication, and is also very narrow in academic level. In 1990s, 199 1 held the "Beijing International Ceramics Symposium", followed by 1995 held the "Jingdezhen International Ceramics Symposium". 1May, 1998, the' 98 China Yixing International Ceramics Seminar, which was planned by Luo Xiaoping and others, was held in Yixing. In the autumn of the same year, it was held in China. At the beginning of 1999, Zuo's "Beyond Mud-Academic Invitational Exhibition of Contemporary Ceramic Artists in China" was even more advanced. These important academic seminars show that ceramic art in China is on the rise, and its scale, scope and influence are expanding to the whole society.
However, as a new thing, there are still many problems in modern ceramic art, which constitute the present situation of China ceramic art in a greater sense and to a greater extent, and deserve our discussion. It boils down to the following questions for readers to ponder.
First, the gap between "tradition" and "modernity"
The relationship between "tradition" and "modernity" is an endless topic in today's art field, and pottery is not convenient. However, in many discussions about the transformation of ceramic art from "tradition" to "modernity", a very important issue, namely the function of ceramic art, has been neglected. It is not only related to the function and value of ceramics, but also related to the role of ceramics in the whole cultural system and the social orientation of ceramists. Only by putting it right, "What is modern ceramic art for?" Such a question is not just "What does modern ceramic art look like?" I think ceramic art can really move from "tradition" to "modernity".
China's traditional ceramic art is attached to ceramic art, and "being as practical and beautiful as possible" has long restricted the development of contemporary China ceramic art. Under this concept, pottery can only belong to arts and crafts, and its functions are only practical and ornamental. In this case, the intelligence of ceramists is more limited by "making utensils" and can only be explored in the field of pursuing design and formal beauty. Pottery artists are also closer to craftsmen and cannot integrate into the trend of modern art.
The function of modern ceramic art lies in that it expands the artistic attributes of the original ceramic art, so that ceramists are not limited by "making utensils" and can be recruited in their aesthetic and value criticism fields. He can not only continue to do something in the original design field, but also give full play to his artistic nature and make valuable cultural criticism on reality, thus setting foot in many artistic fields such as sculpture and installation. It enriches itself and supplements other art categories, thus enriching the foyer of visual art.
Therefore, no matter how traditional pottery develops, it is bound by "utensils". In the development of modern ceramic art, the first thing we should do in understanding is to transfer the functional theory, so as to get rid of the dependence on "objects" and fixed shapes and truly move towards a broader world.
This gap can be solved by changing the concept, and its existence is also the driving force for the continuous development of contemporary ceramic art.
Second, the limitations of communication and acceptance.
After the reform and opening up, especially in the middle and late 1980s, many schools of modern art entered China like a storm. Although China people at that time did not appreciate it, and some even felt disgusted, they objectively acknowledged the rationality of its existence and approached them conceptually. Modern ceramic art has not caught up with that trend, and it seems that it has missed the golden age from the perspective of communication. Judging from the current situation, many people in the industry also pointed out that modern ceramic art has a good foundation only in a few porcelain producing areas and cities, such as Jingdezhen, Guangzhou, Shanghai and other places. However, on the surface, its mass base is quite weak, and it has not cultivated a large-scale ceramic art appreciation group, which is not conducive to the development of modern ceramic art. We also notice that the daily-use ceramics and fine-art ceramics industries in China are not prosperous at present, so even in many traditional and profound porcelain fields, people's interest in ceramic art is weakening, which is very worrying.
On the other hand, the introduction of modern ceramic art in the media and newspapers is sporadic, not to mention special ceramic publications. At present, some ceramic studios are responsible for communication, but their role has not been taken seriously. People of insight pointed out that the premise of the overall development of a country's ceramic industry is to mobilize the power of the people, and a rising tide lifts all boats.
From the receiver's point of view, China people certainly don't lack feelings for ceramics, but they really can't talk about feelings for modern ceramic art, because most people's views on ceramic art are stuck in traditional concepts. Coupled with poor communication, it is naturally difficult to mobilize the taste of the audience.
However, we should see that modern ceramic art and modern art movement are interlinked in spirit, and it is only a matter of time before people accept modern ceramic art.
Third, theory is divorced from practice.
The disconnection between theory and practice has become a very prominent problem in modern ceramic art. Xia, a ceramist, said, "A group of people from Guangzhou Academy of Fine Arts invited an art critic from Central Academy of Fine Arts to comment on modern ceramic art.. He can comment on modern ceramic art with modern artistic concepts and modern philosophy. But I don't think this is enough. " He pointed out that it is difficult to form modern ceramic critics because China's modern ceramic art is underdeveloped, and he thinks theorists are very needed. The author once found a book called Modern Ceramic Art in the library of the Central Academy of Fine Arts. In fact, the ceramics in the book are only ceramics made by modern "living people". It can be seen that modern ceramic art is quite scarce in theory, and the books that can be found to introduce modern ceramic art are also quite few and informal.
It seems that the disconnection between modern ceramic practice and theory will become a headache for quite some time. Theoretical talents are in urgent need of training, so many ceramists put forward to do some theoretical research while practicing, which can be described as helpless.
In addition, there are also some problems in the creation system, sales system and creation concept of modern ceramic art. Fortunately, from the words of contemporary ceramists, we can all appreciate the unique lofty ambition of China intellectuals, which is "a long way to go, and I will go up and down".
Although modern China ceramic art has a long way to go, with the development of China's economy, there will be a brilliant tomorrow!
Judging from the available archaeological data, it is not a problem to conclude that the primitive pottery in China began around 7000 years ago. The earliest painted pottery originated in the Yellow River valley, and Qi Long was concentrated in Jinghe River, Weihe River in Shaanxi and eastern Gansu. The first phase of Dadiwan culture in Longdong is one of the earliest painted pottery cultures in the world, which is not only regular in shape, but also simple in painted patterns. During this period, pottery wheel technology appeared, and pottery making became a special technology. The painted pottery of Banpo culture is slightly later than the first phase of Dadiwan culture, and its decorative patterns are slightly complicated, mainly geometric patterns. In Miaodigou culture centered on the border areas of Shaanxi, Henan and Shanxi provinces, painted pottery patterns are even more varied, with curved lines and dynamic diagonal lines to reflect distorted animal images. Common fish, birds, pigs and people in daily life are all used as decorative patterns. These decorative patterns are vivid in description and reasonable in layout. They are masterpieces of the original paintings, and they are reliable image materials for studying the painting history of China.
Majiayao culture, about 4000 years ago, is a branch of Guqiang Group derived from Banpo culture. The other two branches related to it are Mid-Levels Culture and Racecourse Culture, which is another glorious period after Longshan Culture. Majiayao cultural ceramics, polished surface, smooth and symmetrical surface, decorated with black monochrome. Decorative patterns are good at fullness, and are also painted on the inside of open utensils such as bowls, plates and bowls. In ancient times, people, caves, and work centers in life all revolved around fishing and hunting, so the initial urgent invention needed things like kettles and jars. The appearance of decoration on ceramics shows that the level of human productivity has made great progress. Besides solving the problem of eating, there is still plenty of room, so people begin to pursue the performance of beauty in addition to meeting the minimum needs.
Machang-style painted pottery in Hexi Corridor is generally small in shape, and some objects have holes to wear, which is easy to carry, reflecting the economic situation of semi-agriculture and semi-grazing in this area. On the other hand, the humanoid patterns sown on painted pottery in the Mid-Levels show the development of agriculture and the progress of human creativity.
In primitive society, written language was not perfect and mature. The image of the pattern is intuitive, symbolic and decorative at that time, so the study of painted pottery patterns will also provide evidence for the study of ancient Chinese characters. China has been a multi-ethnic country since ancient times. In primitive times, clans and tribes were more complex, which formed the unique cultural characteristics of aesthetic demand under specific production conditions. Each of them has a symbolic image representing clan culture, and also has a spiritual cohesion that cannot be underestimated. With the rise and fall of clan culture, pottery decoration also appears in different forms.
Throughout China's painted pottery technology and art, it lasted 4800 years. In fact, its last generation is still a mystery that is difficult to verify. With the continuous archaeological excavation, different new understandings may appear. As far as the available information is concerned, it can be said that primitive pottery is not only a treasure of ancient art in China, but also occupies an important position in the history of world culture and art. It is a precious cultural heritage of all mankind and a glorious chapter in the history of human civilization.
Ceramic art
Ceramic art has become synonymous with Chinese civilization in a sense. However, when China ceramists suddenly woke up from the words "tradition", "practicality" and "daily use" and re-examined the world, they found themselves behind. Indeed, modern ceramic art exists not only as a kind of arts and crafts closely related to people's daily life, but also beyond the concepts of practicality, beauty, economy and generosity. With its unique artistic language, it has been widely involved in the modern art movement and has become a sharp weapon for artists to express their thoughts and criticize culture.
China people began to pay attention to modern ceramic art and formed a scale in public opinion, which should be after the 1990s. Of course, strictly speaking, the origin of modern ceramic art in China is related to the earliest practitioners of the former Central Academy of Arts and Crafts (predecessor of Tsinghua Academy of Fine Arts) and Jingdezhen Ceramic Institute in the late 1970s and early 1980s. In the past 20 years, Zhu Danian, Yang Yongshan and other older ceramists have made useful attempts in the direction of modern ceramics, resulting in a large number of young and middle-aged ceramists, such as Lv Pinchang, Luo Xiaoping and Bai Ming, with various styles and techniques. Most of them are university teachers, or influenced by traditional pottery with higher education. Therefore, China's ceramic art has an indissoluble bond with the Academy from the very beginning.
However, the pure college development is greatly restricted in concept and communication, and is also very narrow in academic level. In 1990s, 199 1 held the "Beijing International Ceramics Symposium", followed by 1995 held the "Jingdezhen International Ceramics Symposium". 1May, 1998, the' 98 China Yixing International Ceramics Seminar, which was planned by Luo Xiaoping and others, was held in Yixing. In the autumn of the same year, it was held in China. At the beginning of 1999, Zuo's "Beyond Mud-Academic Invitational Exhibition of Contemporary Ceramic Artists in China" was even more advanced. These important academic seminars show that ceramic art in China is on the rise, and its scale, scope and influence are expanding to the whole society.
However, as a new thing, there are still many problems in modern ceramic art, which constitute the present situation of China ceramic art in a greater sense and to a greater extent, and deserve our discussion. It boils down to the following questions for readers to ponder.
First, the gap between "tradition" and "modernity"
The relationship between "tradition" and "modernity" is an endless topic in today's art field, and pottery is not convenient. However, in many discussions about the transformation of ceramic art from "tradition" to "modernity", a very important issue, namely the function of ceramic art, has been neglected. It is not only related to the function and value of ceramics, but also related to the role of ceramics in the whole cultural system and the social orientation of ceramists. Only by putting it right, "What is modern ceramic art for?" Such a question is not just "What does modern ceramic art look like?" I think ceramic art can really move from "tradition" to "modernity".
China's traditional ceramic art is attached to ceramic art, and "being as practical and beautiful as possible" has long restricted the development of contemporary China ceramic art. Under this concept, pottery can only belong to arts and crafts, and its functions are only practical and ornamental. In this case, the intelligence of ceramists is more limited by "making utensils" and can only be explored in the field of pursuing design and formal beauty. Pottery artists are also closer to craftsmen and cannot integrate into the trend of modern art.
The function of modern ceramic art lies in that it expands the artistic attributes of primitive ceramic art, so that ceramists can gallop in their own aesthetic and value criticism fields without being restricted by "making utensils". He can not only continue to do something in the original design field, but also give full play to his artistic nature and make valuable cultural criticism on reality, thus setting foot in many artistic fields such as sculpture and installation. It enriches itself and supplements other art categories, thus enriching the foyer of visual art.
Therefore, no matter how traditional pottery develops, it is bound by "utensils". In the development of modern ceramic art, the first thing we should do in understanding is to transfer the functional theory, so as to get rid of the dependence on "objects" and fixed shapes and truly move towards a broader world.
This gap can be solved by changing the concept, and its existence is also the driving force for the continuous development of contemporary ceramic art.
Second, the limitations of communication and acceptance.
After the reform and opening up, especially in the middle and late 1980s, many schools of modern art entered China like a storm. Although China people at that time did not appreciate it, and some even felt disgusted, they objectively acknowledged the rationality of its existence and approached them conceptually. Modern ceramic art has not caught up with that trend, and it seems that it has missed the golden age from the perspective of communication. Judging from the current situation, many people in the industry also pointed out that modern ceramic art has a good foundation only in a few porcelain producing areas and cities, such as Jingdezhen, Guangzhou, Shanghai and other places. However, on the surface, its mass base is quite weak, and it has not cultivated a large-scale ceramic art appreciation group, which is not conducive to the development of modern ceramic art. We also notice that the daily-use ceramics and fine-art ceramics industries in China are not prosperous at present, so even in many traditional and profound porcelain fields, people's interest in ceramic art is weakening, which is very worrying.
On the other hand, the introduction of modern ceramic art in the media and newspapers is sporadic, not to mention special ceramic publications. At present, some ceramic studios are responsible for communication, but their role has not been taken seriously. People of insight pointed out that the premise of the overall development of a country's ceramic industry is to mobilize the power of the people, and a rising tide lifts all boats.
From the receiver's point of view, China people certainly don't lack feelings for ceramics, but they really can't talk about feelings for modern ceramic art, because most people's views on ceramic art are stuck in traditional concepts. Coupled with poor communication, it is naturally difficult to mobilize the taste of the audience.
However, we should see that modern ceramic art and modern art movement are interlinked in spirit, and it is only a matter of time before people accept modern ceramic art.
Third, theory is divorced from practice.
The disconnection between theory and practice has become a very prominent problem in modern ceramic art. Xia, a ceramist, said, "A group of people from Guangzhou Academy of Fine Arts invited an art critic from Central Academy of Fine Arts to comment on modern ceramic art.. He can comment on modern ceramic art with modern artistic concepts and modern philosophy. But I don't think this is enough. " He pointed out that it is difficult to form a modern ceramic critic because China's modern ceramic art is underdeveloped, and he thinks that theorists are very needed. The author once found a book called Modern Ceramic Art in the library of the Central Academy of Fine Arts. In fact, the ceramics in the book are only ceramics made by modern "living people". It can be seen that modern ceramic art is quite scarce in theory, and the books that can be found to introduce modern ceramic art are also quite few and informal.
In addition, there are also some problems in the creation system, sales system and creation concept of modern ceramic art. Fortunately, from the words of contemporary ceramists, we can all appreciate the unique lofty ambition of China intellectuals, which is "a long way to go, and I will go up and down".
Although modern China ceramic art has a long way to go, with the development of China's economy, there will be a brilliant tomorrow!
Everything in the world is decorated. During the development of China ceramics for thousands of years, decoration and utensils are closely linked, forming a unique ceramic culture style. Today, people's aesthetic diversity, as China has thousands of years of history and culture of ceramic art, more and more people's favor. The renewal and development of modern ceramic art decoration on the basis of traditional ceramic art decoration not only promoted the development of modern ceramic art decoration to a higher artistic realm in creative direction, expression forms and techniques, but also showed the trend of "a hundred flowers blossom", and its brand-new ideas, unique creativity, rich materials and exquisite production skills formed a unique craft painting. Modern ceramic art decoration emphasizes the effect of works on people's spirit and psychology, and artists use their own design concepts to integrate more new connotations into ceramic art decoration works.
About China traditional culture: Traditional culture refers to the sum of material culture and spiritual culture created by predecessors. China's colorful and excellent traditional culture has attracted more and more attention from the whole society. The connotation of China's traditional culture is various, and China's traditional culture includes 1 and concept culture (ideological theory, traditional concept culture is mainly Confucianism, Taoism, Buddhism); 2. Historical relics (cultural relics include artifacts and works of art, such as pottery, porcelain, bronzes, jade, gold and silver, lacquerware, bronze mirrors and ancient coins; Calligraphy, painting); 3. Social system, the so-called institutional culture; 4. Ancient books on literature, history, medicine and health, agriculture, astronomy and calendar. It can be seen from the traditional culture of China that the Chinese nation has created a long and continuous history and colorful civilization with its diligence and wisdom. China's traditional culture is rich in content and diverse in forms. China traditional culture has humanistic spirit, natural spirit, equality spirit and communication spirit.
Ceramic art decoration has formed a unique form of industrial painting with its exquisite patterns, rich colors, unique craftsmanship, exquisite production skills, unique creativity and brand-new ideas. Formed a unique ceramic culture. The process of ceramic art decoration always runs through three major links: aesthetic occurrence, aesthetic creation and aesthetic acceptance. Ceramic art decoration occupies an extremely important position in the history of cultural and artistic development and economic development of human society. Ceramic art is profound and has a long history, and it is the messenger of ceramic culture communication. Ceramic art decoration shows people a spirit of ceramic culture. People create culture in labor, and culture shapes people. Ceramic art is not only a material product, but also a spiritual and cultural product. Ceramic art decoration has formed a unique ceramic culture through long-term practice.
During the Spring and Autumn Period and the Warring States Period, pottery mainly developed in two directions: architectural pottery and ghost pottery. At that time, the large demand for ceramic materials in various countries promoted the technological level of building ceramics. During the Qin and Han Dynasties, "Qin Brick and Han Tile" became a much-told story in the art of pottery making. The terracotta warriors and horses unearthed near the mausoleum of Qin Shihuang in the suburb of Xi, Shaanxi Province are numerous and huge, which vividly reflects the true face of the Qin army. Three colors in Sui and Tang Dynasties are also treasures in pottery.
From Shang and Zhou Dynasties to Han and Tang Dynasties, pottery modeling reflected more people and society. People have become the main body of ceramic modeling, and ceramic art decoration reflects the diversity of human life. Pottery reflects people's deep understanding of nature and human beings, and embodies the humanistic spirit of Han and Tang cultures.
China in Wei, Jin, Southern and Northern Dynasties entered the porcelain age. In the Sui Dynasty, China kiln workers fired white porcelain. This great achievement of the Sui Dynasty changed the situation that celadon dominated the world. Yao Xing white porcelain is the most famous, with the reputation of "snow-like", creating a new pattern of "blue in the south and white in the north". Yue Kiln, known as the "crown of ten thousand kilns", created the peak of China's celadon art in Tang Dynasty. Lu Guimeng, a poet in the Tang Dynasty, once wrote such a poem: "The autumn wind in September opens the kiln and wins thousands of peaks." He described Yue kiln celadon as "a thousand peaks and a thousand greens", which is a poetic portrayal of the glaze color characteristics of Yue kiln porcelain.
Porcelain in Song and Yuan Dynasties reached a higher level in technology. Song Dynasty is the era when the traditional porcelain art in China reached the highest aesthetic level, and it is also the era when the "jade spirit" and jade-like quality were most profoundly reflected. The outstanding achievements of Jun Kiln, Ru Kiln, Guan Kiln, Ge Kiln and Ding Kiln made China reach the pinnacle of human porcelain making. Its jade bone-like elegance and quiet personality have become the aesthetic style pursued by later porcelain circles.
Porcelain in Ming and Qing dynasties reached the peak of porcelain making industry on the basis of porcelain making technology in Song and Yuan Dynasties. The white porcelain in Yongle period is as clean as jade and as thin as paper, giving people a sweet feeling; Blue and white porcelain in Yongle period is also very distinctive. The blue and white porcelain in Xuande period reached the point of perfection. The Ming Dynasty also made brilliant achievements in high-temperature monochromatic glaze. The red sacrifice is seen by Chenghua, bright red and dazzling, and the blue sacrifice is made of cobalt oxide, and the blue one is very pure. The celadon enshrined in Xuande period was particularly exquisite. Porcelain in Qing Dynasty developed in the middle and late period of Kangxi. The blue-and-white ornamentation in Kangxi period adopted western painting techniques. Yongzheng and Qianlong periods were the fastest developing periods of colored glazed porcelain. Yongzheng period was known for its beauty and charm, while Qianlong period was characterized by grandeur. The antique kiln products fired in this period, regardless of decoration, shape and style, have reached the point of being authentic enough.
Tracing back to the ceramic products in different periods of China history, ceramic decoration has two characteristics: one is to decorate with patterns suitable for ceramic utensils; The other is to express the technological changes on ceramic vessels in the form of China's paintings.
3. The humanistic spirit of ceramic art decoration in China traditional culture.
From Tang, Song, Yuan, Ming and Qing dynasties to modern times, the decorative forms of ceramic art can be divided into two categories: one is freehand brushwork and the other is meticulous painting. These two forms of painting decoration are the presentation of the characteristics of China's painting art in the development period on ceramic products. The underglaze flower-and-bird painting appeared in Changsha kiln in Tang Dynasty, which is consistent with the high level of flower-and-bird painting art in Tang Dynasty. Mature techniques, smooth brushwork, one go, natural and vivid, is the artistic style of folk flower-and-bird painting in Tang Dynasty. However, the fineness of carving in Song Dynasty reflects the heyday of the transformation from flower-and-bird painting style to meticulous figure painting. It also laid the foundation for the emergence of ancient and pastel ceramics in blue and white in Yuan Dynasty and blue and white in Ming and Qing Dynasties. The decorative form of ceramic art, whether freehand brushwork or meticulous painting, is the unique decorative form of painting art in China. Ceramic art decoration reflects the historical influence of China's humanistic painting and forms the unique artistic style of China's ceramic decoration.
Ceramic art decoration is an important part of China's excellent culture and a precious wealth of our nation. Chinese porcelain has spread to other places since the Sui and Tang Dynasties. During the Song, Yuan, Ming and Qing Dynasties, porcelain, as an important commodity, was sold all over the country and went to the world. As a commodity, ceramic art decorations are spreading the ceramic culture in China and promoting the development of China culture. Therefore, China is called "the country of porcelain" and enjoys a world reputation. Porcelain-making technology has been passed down from generation to generation and constantly innovated. The unique ceramics produced in China play an important role in meeting people's life and aesthetic needs and in foreign economic and cultural exchanges.
Ceramic art decoration plays a role as a bridge and link between China culture and the development of world culture. It has made great contributions to the prosperity and development of China culture and world culture.
China is one of several ancient civilizations with a long history in the world, and has made many significant contributions to the progress and development of human society. The achievements in ceramic technology and art are of special significance.
After liberation, a large number of beautifully made painted pottery were unearthed from the prehistoric site in Anbanpo, Xi 'an, which was amazing. According to legend, Yao spread the world to Shun, Shun spread the world to Yu spread the world to his son and started the so-called "home world". Xia Chuanzhi was ruthless and tyrannical. Shang Tang released him and became emperor on his own, so he began to conquer the Tang Dynasty. Shang ruled the world for more than 600 years (about16th century BC-about1/century BC) until. After being conquered, he committed suicide and the world returned to Zhou. The ruling period of the Zhou Dynasty was roughly from1/century BC to 22 1 year BC, and the effective rule actually ended in 77 1 year BC. The period from 475 BC to 22 BC1year is called the Warring States Period. By 22 1 year BC, the Qin Dynasty had risen and unified China, but it lasted only 206 BC and was replaced by the Han Dynasty. During these thousands and hundreds of years, in addition to daily dining utensils, things used for sacrificial ceremonies have also developed greatly. In the Han Dynasty from 206 BC to 220 AD, the creative materials of artists and craftsmen were no longer mainly jade and metal, and pottery was paid more attention. During this period, with the development of firing technology, relatively strong glazed pottery generally appeared, and the word "porcelain" began to appear in Chinese characters. At the same time, through the trade routes from Xinjiang and Persia to Syria, China began to communicate with the Roman Empire, which promoted the cultural exchanges between the East and the West. From this period, we can also see the clues of external influence in ceramic products. Buddhism was also introduced into China at this time.
During the Six Dynasties (AD 220-58 1), the rapidly rising Buddhist art also had a corresponding impact on ceramics, leaving obvious traces on the modeling of this season's works. The Sui Dynasty seized power in 58 1 year, ending the long-term division between North and South, but it was not until 6 18 that it was replaced by the Tang Dynasty.
The Tang Dynasty (6 18-970) is regarded as a great period in China's art history. The technology of ceramics has been greatly improved, and many exquisite porcelain varieties have appeared in large numbers. Even using today's technical appraisal standards, it can be regarded as real high-quality porcelain. At the end of the Tang Dynasty, the hero was taken by surprise, followed by a dynasty struggle, that is, the Five Dynasties, which lasted until 960 AD. However, during the war years, a new ceramic variety, Chai Kiln Porcelain, appeared, which was widely praised for its excellent texture, but it was extremely rare that it could be passed down from generation to generation.
In the Song Dynasty (960- 1279), the ceramic industry flourished and began to export to Europe and Southeast Asian countries. Famous kilns with different characteristics, such as Jun kiln, Ru kiln, Guan kiln, Ge kiln and Ding kiln, have sprung up all over the country, and their products are becoming more and more colorful. Due to the invasion of the (Liao) Khitan and (Jin) Nuzhen nationalities in the northeast, the rulers of the Song Dynasty were forced to move south and were later destroyed by the Mongols. In A.D. 1280, the Yuan Dynasty was established and Shufu Kiln appeared. Jingdezhen began to become the center of China ceramic industry, and its reputation spread all over the world. The white porcelain produced in Jingdezhen is in sharp contrast with the underglaze blue ornamentation. Since then, blue and white porcelain culture has been deeply loved by people in various historical periods. The Ming Dynasty ruled from 1368 to 1644. During this period, Jingdezhen's ceramic manufacturing industry was absolutely the best in the world, occupying a prominent position in technology and art, especially blue and white porcelain. In addition, Dehua kiln in Fujian, Longquan kiln in Zhejiang and Cizhou kiln in Hebei are also famous for their different styles of high-quality ceramics. With the suicide of the last emperor of the Ming Dynasty, Li Zicheng led the peasant uprising army into Beijing on 1644. From Wu Sangui's summoning of the Manchu army to the fall of the Qing Dynasty in 19 1 1, Manchu rule lasted for more than 200 years. Among them, Kangxi, Yongzheng and Qianlong are considered to be the most brilliant periods of ceramic industry under the rule of Qing Dynasty. Many products with complex technology have all kinds of colored glasses with extremely rich glaze colors. By the end of the Qing Dynasty, the government was corrupt, the national fortune declined, and the people were in poverty, and the ceramic manufacturing industry in China went from bad to worse. After the founding of the Republic of China, some ceramic research institutions were established in various places, but their products were simply copied from some foreign designs except the previous generation, and there was no development at all. At the beginning of the Republic of China, warlord Yuan Shikai attempted to restore the monarchy. He once made a batch of porcelain with the year number "Hong Xian". These porcelains are not technically processed, mainly pastels and ancient styles. Due to frequent civil wars, foreign invasions and poor people's livelihood, the entire ceramic industry has declined in an all-round way. Until the founding of New China, there were no products that attracted worldwide attention.