[Keywords:] ceramic art; Traditional aesthetics; Aesthetic implication; Pluralistic thinking
【 China Library Classification Number 】 J06 【 Document Identification Number 】 A 【 Document Number 】1004-518x (2012) 06-0233-03.
Zhao Caiquan (195 1-), male, deputy director of the Propaganda Department of Jingdezhen Municipal Committee, researcher of China Institute of Ceramic Culture, whose main research interests are ceramic art and criticism;
Yu Hua (1979-), male, cadre of the Propaganda Department of Jingdezhen Municipal Committee. His main research interests are ceramic art and western art history. (Jingdezhen, Jiangxi 333000)
Ceramic art, with its profound cultural heritage and unique forms of expression, has become a wonderful flower in world culture. Ceramic art not only contains the extraordinary cultural heritage of the Chinese nation, but also shows the pulse of the times and conveys the brilliance of Chinese culture in a meaningful form. In the long development of ceramic art, Jingdezhen ceramics is the most prominent and special one, which contains multiple artistic values and rich aesthetic implications. All these have promoted the further development of ceramic art.
Because Jingdezhen is located on the south bank of the Yangtze River, where four rivers meet. There are abundant fuel, water and mineral resources in the important places at the junction of these three provinces. It provides natural materials for the production of ceramic technology. During the Tang and Song Dynasties, Jingdezhen ceramic industry developed rapidly, and colored glaze, underglaze color, white glaze and carved flowers all appeared, which opened up a broad road for the development of ceramic art later. In Yuan Dynasty, blue and white glaze and red glaze became the mainstream of ceramic decoration. By the Ming Dynasty, Jingdezhen had become the center of porcelain industry, and porcelain kilns all over the world gathered here. Yongle's sweet white porcelain, Xuande's red sacrifice, pale yellow glaze, Chenghua's blue-and-white fighting color and Jiajing Wanli's multicolored porcelain are all masterpieces in the history of porcelain making in China. The magnificent dragon jar and exquisite thin-shell porcelain firing marked that the porcelain-making technology at that time reached a very high level. By the Kangxi, Yongzheng and Qianlong periods of the Qing Dynasty, the craft, variety, quality, output and skills had all entered a higher position. Yongzheng and Qianlong's "Five Colors of Kangxi", "Enamel Color", "Pastel Color" and "Beauty Mouth", Coral Red, Carmine Red, Wujin Glaze, Sky Blue, indigo Blue, Tea Powder, Sanyang Kaitai, Yaobian Glaze, etc. came out, which greatly enriched ceramic decoration. Modern "Eight Friends of Zhushan" applied Chinese painting to ceramic decoration, and created original porcelain painting techniques such as "floor pastel" and "water-dotted peach blossom", forming a generation of painting style.
First, the unique beauty of Jingdezhen ceramic art
Jingdezhen ceramic art shows its beauty to the world with its exquisite and colorful shapes, colorful patterns and colorful colors, and it also contains irreplaceable artistic and aesthetic values, which mainly comes from the following reasons:
(A) the special formal beauty of things
Ceramic ware, first of all, has a special aesthetic feeling in form and material, which is mainly reflected in the clever combination of modeling, raw materials and glaze color. The shapes of Jingdezhen ceramics are mostly made by rotary cutting, and their shapes and outline lines are the most charming, just like the midline decoration in Chinese painting, which is even and symmetrical, euphemistic and tortuous, elastic, rich in variety, natural and interesting. Its modeling relies on its own linearity and posture, as well as the rhythm and rhythm formed in space, giving people a linear aesthetic feeling. At the same time, the shape conforms to the mutual induction of internal and external vision and psychology. Simple modeling is not boring, and complex modeling is not complicated. As far as glaze color is concerned, Jingdezhen ceramics enjoys the reputation of "jade bone of Ice Muscle". The aesthetic characteristics of glaze, such as light, color, transparency and cleanliness, make people think and love. It embodies the wisdom of ancient and modern ceramic artists, is passionate, calm and quiet, and embodies the art of fire. Appreciators indulge in the feeling of beauty from the beauty of form and material of porcelain.
(B) pay attention to the expression of artistic conception
Jingdezhen ceramic art is a "meaningful form", which pays equal attention to the expression of form and content, advocates the beauty of simplicity, implication and nature, and pays attention to the directness and purity of spiritual feelings. For example, the modern blue-and-white art work Horse created by Gong Xunming, a contemporary Jingdezhen ceramic artist, depicts the galloping steed with freehand brushwork and presents a dignified and solemn face. Although it is a few strokes, it is the spirit of dragon and horse. Chinese painting and porcelain complement each other, showing the cultural charm of China.
When commenting on Gu Kaizhi's art, Sheikh pointed out: "The style is implicit and the pen is innocent; But the trace is not enough ... "Sheikh put forward that" meaning "is the opposite of" trace ". If "trace" is the shape of ceramics and the visual effect of pictures, then "meaning" is the ideological connotation of ceramics. When we peel off the first visual sense of ceramic images and enter a state of thinking, we unconsciously try to figure out, speculate and imagine the "meaning" contained in the existence of these "forms". These symbols are materialized hearts, expressing what people yearned for and pursued in the past with a special voice. This feeling plays a leading role in the profoundness of ceramic art.
(3) Special production technology and technology
Appreciating Jingdezhen ceramics, we can't ignore its manufacturing process and technology. Jingdezhen traditional ceramics production technology mainly includes 72 processes, such as mud refining, blank drawing, blank printing, blank use, blank drying, flower carving, glaze application, kiln firing, color painting and glaze discoloration. Each process is an important process in Jingdezhen ceramics production, but it is not only a skill, it reflects people's perception of things and the continuous discovery of the objects they create. Producers "should pay attention to and explore the spiritual essence hidden under the physical attributes from the beginning, that is, the creative subject should sensitively grasp the possibility of isomorphism between the object and the human mind from the beginning of the work". "All the actions accompanying the craft production process are based on practical experience, not completely standardized, and are determined by individual craftsmen. It is usually combined with the artist's mind, habits, interests and wishes, but it shows personal tendency in the attitude, rhythm and intensity of behavior, forming a personalized production style ... It resists the self-discipline tendency of technology and may bring the rich spirituality and primitive life impulse of the subject to the surface of reality and express it through dynamic space modeling. " In the description of decorative patterns, people's spiritual and aesthetic pursuits are more reflected. For example, the ideal unicorn is composed of parts of various animals, and the phoenix is composed of parts of various birds. This is the form of decorative patterns; On the other hand, it is the need of form that inspires producers to create boldly, break through the physical reality and pursue aesthetic effects.
Second, the multidimensional beauty of Jingdezhen ceramic art
Therefore, Jingdezhen ceramic art contains multi-dimensional aesthetic implications. This is mainly reflected in the following aspects:
(A) the artistic description of life
The artistry of life means that the perception and experience of daily life become an "art", and philosophy and "skills" permeate the taste of life. China people appreciate and play with ceramic art through the real intermediary of daily life. China ceramics is not a simple artistic expression, but has its profound meaning, which reflects what is hidden in the hearts of China people. Because ceramics are closely related to people's material life such as eating and living, and also to people's spiritual life such as appreciation and play, ceramics are practical and scientific. As a practical object, it is a daily necessities, which is first determined by the needs of real life. China people's pursuit of life pleasure, the significance of life philosophy and lifestyle are all in it, so ceramics have accumulated profound cultural psychology. The characteristics of China's traditional craft aesthetics are also reflected in the ceramic production as a craft. Bowls, plates, cups, bottles, etc. Daily necessities, integrating beauty into life scenes, are both practical and beautiful. The pursuit of ceramic art can better reflect the character and life interest of China people. Because China ceramics embodies the life interest of China people.