The first lesson about pottery

First, the origin of art

The origin, types and research methods of China's primitive art;

One is archaeology, including philology; But social anthropology.

China's primitive art remains, the most representative varieties are pottery (especially painted pottery), in addition to sculptures, rock paintings, ground paintings, decorations, stone tools, etc., also have different degrees of aesthetic characteristics.

The emergence of art:

1 stands for the theory that art originates from the instinct of human imitation-Aristotle Horace Plato in ancient Greece.

People have the instinct of imitation since childhood. One of the differences between humans and animals is that humans are best at imitation. Their initial knowledge comes from imitation, and people are always happy with imitation.

From the internal point of view, imitation is an instinctive and necessary means of survival, while from the external point of view, imitation can be gradually enriched and improved through practical efforts and acquired education.

2. Labor theory: Marx and Engels said that art originated from labor.

3, the game said: Kant Schiller art originated from the game

4. Witchcraft theory: The art of British 19C anthropologists Taylor and Fraser originated from witchcraft.

In the minds of primitive people, all biological and natural phenomena have a mysterious attribute, that is, gods.

That is animism. They try to control the ghosts and gods that dominate mankind through witchcraft. The art form is

Materialization of witchcraft concept.

Second, pottery

1, the invention of pottery

First of all, primitive people began to make containers of material life, painted mud on rattan containers, and then burned them, and found that mud could be turned into pottery. At the same time, they found that firing them directly with mud can achieve the same goal, without the need for rattan in the middle.

On the other hand, it is said that the invention of pottery did not start from making containers of material life, but from making idols of witchcraft etiquette.

Three basic conditions for the invention of pottery: water, soil and fire.

There are two kinds of human production, on the one hand, the production of means of subsistence, that is, food, clothing, housing and transportation and tools; On the other hand, it is the production of human beings, that is, the reproduction of species-so in primitive times, the production of clay statues was a witchcraft prayer for the reproduction of future generations. Primitive people believed that if a large number of dolls were made, the tribe would have descendants and the population would flourish, thus strengthening unity and greatness.

In addition, in primitive society, the maintenance of kindling was a full-time job for women. The fire kiln that keeps warm looks like a woman's abdomen, so when you are a clay figurine, you naturally burn it in the fire kiln.

2. Distribution and types of pottery

① Distribution position

Yangshao Culture-Yellow River Basin, Henan, Shanxi and Shaanxi; Majiayao-Gansu and Qinghai;

Longshan Culture-Lower Yellow River, East Coast

② type

Painted pottery of Yangshao culture and Majiayao culture; longshan black pottery

3, pottery techniques, raw materials

(1) making small hand-kneading.

Large pottery was built in Tao Pan, which is the "Tao Pan Building Law".

Mould forming

Yangshao's cultural and scientific progress. "Slow Wheel Correction"

"Kuai" in the Late Dawenkou Culture

② Experiments show that it is black soil, sedimentary soil and other clay with high iron content.

4. Mode

1 snake pattern and head snake pattern 2 fish pattern and face fish pattern 3 humanoid pattern 4 frog pattern

5 bird pattern and bird pecking fish pattern 6 vortex pattern and wave pattern 7 mosaic pattern and woven pattern

Examples: fish-patterned painted pots, painted pots with fish patterns on their faces, painted pots with snakehead stone axes, painted pots 1.

Painted pots with dance patterns, clay pots with human body reliefs and Nu Wa's head 3

Boat-shaped painting pot 7

The second lecture on bronzes

First, the origin of bronze and the "bronze age" in art history

In the cultural history of China, Xia, Shang and Zhou Dynasties were called the Bronze Age for two reasons:

First, the historical, cultural and aesthetic values of bronzes cast in these three eras are the highest and most representative in the history of bronze art in China.

Second, because the number of bronzes handed down from generation to generation in these three times is the largest, which can best reflect the mental outlook at that time.

(Reasons: cultural background, technical level, social division of labor)

"Flower King Gongji" is a document (more than 30 kinds of skills) that records the specifications and manufacturing techniques of various types of jobs in China's official handicraft industry during the Spring and Autumn Period.

Second, the stage of bronze art

1, incubation period of bronzes: Xia-early Shang Dynasty (21c-BC 14C).

Bronzes in this period are mostly small pieces with tools, with rough shape, backward casting technology and simple decoration.

2. The heyday of bronzes: equivalent to the middle of Shang Dynasty to the early Western Zhou Dynasty (pre14c-pre 10C).

Bronze art achievements in this period were the most brilliant, and most of them were used as sacrificial vessels for witchcraft activities, such as Ding and Gui-mostly "five-minister vessels" (emperor, monarch, minister, doctor and scholar).

With the implementation of the "arrangement" system, "rites and music" are naturally included in the "cultural relics system", and the tunes, songs and words that stipulate the appearance of different occasions and different characters are also different. In addition, the consistent system of equipment and decoration for chariots and horses also has strict hierarchical norms (in the field of superstructure and ideology, the witch history culture with strong religious nature is centered on ceremonial flags and ancestor sacrifices). Therefore, there is a saying that "the ritual is hidden in the device".

The works are heavy in shape and profound in carving, with animal faces, dragons, phoenix birds, clouds and thunder, etc., and most of them are decorated with deterrence-"the beauty of ugliness"

3 Bronze Transition Period: Early Western Zhou Dynasty-Early Spring and Autumn Period (BC10c-6C BC)

Bronze ware production in this period was not as prosperous as before, with superficial and stylized patterns and more banded patterns, which was no longer deterrent. This actually reflects the disintegration of imperial power, and the ritual activities centered on the five products are gradually declining-"the ritual collapses and the music is bad."

4 Bronze Renewal Period: Late Spring and Autumn Period-Warring States Period (6c-2C BC)

A degenerate style, after the transition period, is even more declining.

An exquisite style, making more daily necessities, plus exquisite ornamentation, the mystery and horror are swept away.

Third, the types of bronzes.

Ritual vessels (cooking utensils, eating utensils, wine vessels, water vessels)

Musical instruments, weapons, tools, chariots and horses

Fourthly, the aesthetic pursuit of bronzes.

The political system of the three generations is a strict hierarchical system, which has a strong religious nature and witch history culture in superstructure and ideology, with ceremony as the banner and ancestor worship as the core. The material and cultural representatives of three generations are bronzes, the so-called "heavy weapons". Copper alloy was a precious metal at that time, not a daily vessel of nobles, but a vessel for sacrifice and banquet. Priests and feasts are to comfort ancestors, so the overall spirit is grand, mysterious and majestic.

The fifth lecture on China's ancient painting theory

First, the development process of China's ancient painting theory.

The relationship between artistic theory and creation is the same as that between general theory and practice. Art theory is the reflection and summary of artistic creation practice, which guides and is tested by creative practice. China's ancient art theory came into being in a long-term feudal society, which inevitably brought some idealistic and metaphysical views of feudal society. However, most of them not only had an impact on ancient artistic creation, but also have reference significance for today's artistic innovation.

The origin of China fine arts can be traced back to the Neolithic Age about 6,000 years ago, when painted pottery was produced. Following the tradition of pottery making in Yanbian, bronzes developed. However, there are few theories about these two kinds of arts and crafts creation in ancient times. The study of bronzes began in Ouyang Xiu in Song Dynasty, which shows China's theory of arts and crafts, especially the theory of arts and crafts. Long-term lag in creative practice (neglected "100 works" are only used, not studied and not commented)

China's artistic theory has increased since the Spring and Autumn Period.

1, Spring and Autumn Han Dynasty

The discouraged art theories in this period are similar: first, critics are not specialized in art, but mostly philosophers with different theories, which is different from Wei and Jin Dynasties; But judging from the content of the paper, the original intention is not art, and art is often taken as an example to illustrate or metaphor its academic point of view. Of course, there are also some who specialize in art, but few.

Value: Some fundamental problems are raised, such as the relationship between art and politics, that is, the social function of art, the relationship between art and real life, that is, how to reflect social life, and the special laws of art itself.

Confucius: After Painting, Zhuangzi: Uncovering Thin, Wang Yun: On Balance.

2. Wei, Jin, Southern and Northern Dynasties

The great development of artistic theory in this period is based on the prosperity of artistic creation. In addition, the participation of writers, especially painters, has played an important role in promoting the development of art theory. Because they are more experts and practitioners in art than other philosophers, their views can be more in-depth, concrete and systematic. Gu Kaizhi, Sheikh and Yao Zui all made outstanding contributions.

Landscape painting in the Warring States Period also rose in this period, and Zong Bing and Wang Wei opened up a new field of landscape painting theory to express natural beauty. Six theories, such as "Nature in the Heart", "Fantasy in the Heart", "Form and Spirit" and "Vivid Charm", not only affect the creation of ancient Chinese paintings, but also affect the creation of Chinese paintings today. Some theories have gone beyond the scope of art and become the spiritual wealth of sister arts.

3. Tang and Song Dynasties

Tang and Song Dynasties are an important stage in the development of ancient art in China, but their artistic achievements and styles are different. Guo, a theorist of the Northern Song Dynasty, compared the art of the Song Dynasty with the art before the Song Dynasty in On Painting. This comparison is objective, and the general view is:

In the Song Dynasty, some kinds of painting achievements were not as good as those in the Tang Dynasty, and some kinds of painting achievements surpassed those in the Tang Dynasty. Less than the main figure painting, cow and horse painting; Not only flower-and-bird paintings and landscape paintings. That is to say. Paintings reflecting social life declined in the Song Dynasty. With the development of Song Dynasty, paintings reflecting natural beauty were welcomed, which was reflected in art theory. There are differences in the scope of discussion, the content of argument, artistic interest and aesthetics, especially the appearance of literati painting and literati painting, which made the painting theory in Song Dynasty turn.

Zhang Yanyuan's "Famous Paintings of Past Dynasties", a monograph on the art theory of Tang and Song Dynasties that has great influence on contemporary or later generations; Guo's Photo Album; His brushwork and Guo's Lin Zhi. Other writers and calligraphers, such as Shen Kuo, Ouyang Xiu, Su Shi, Huang Tingjian and Mi Fei, especially Su Huangmi, had a great influence on literati painting in Yuan, Ming and Qing Dynasties. (Introduction to "")

4. Yuan Dynasty

China's painting developed into Yuan Dynasty, and great changes have taken place. From the perspective of subject matter, figure paintings reflecting social life suddenly declined and were replaced by landscape paintings and flower-and-bird paintings depicting natural beauty. In terms of artistic expression. Yuan people's works win with rhyme and win with pen and ink. The change of Yuan painting is the expression of the long-term development and change of literati painting. Investigating the painting theory in Yuan Dynasty, we can see the aesthetic taste inherited by literati painting in Song Dynasty everywhere, and make our own contribution on this basis.

Famous ones include Zhao Mengfu, Qian Xuan and Zan.

5. Ming and Qing Dynasties