[On the Characteristics of Ceramic Decoration Art of Changsha Kilns in Tang Dynasty] The main classification and artistic characteristics of Changsha Kilns in Tang Dynasty

Abstract: Changsha Kiln is the birthplace of underglaze color of China ceramics. It has rich colors, different shapes and unique decorative techniques. Coupled with the extremely large number and low price, it is not only loved by ordinary people, but also exported to overseas. Its creativity lies in the application of landscapes, figures, flowers and birds, poems and calligraphy to ceramic decorative arts. The perfect combination of movement, lines, colors, meanings and the whole ceramic modeling reveals a new breath of folk culture in the Tang Dynasty and becomes the source of inspiration for modern artistic creation. This paper analyzes the artistic aesthetic characteristics of Changsha kiln ceramic decoration art in Tang Dynasty.

Key words: Changsha kiln; Ceramic decoration; Artistic feature

China Library Classification Number: J527 Document Identification Number: Part A Number:1005-5312 (2012) 24-0075-02.

Hunan Changsha Kiln, also known as Tongguan Kiln, is one of the large celadon kilns in the south of Tang Dynasty. Changsha kiln began in the early Tang Dynasty, flourished in the middle and late Tang Dynasty, and finally lasted for more than 300 years in the Five Dynasties. Its fired porcelain is rich in variety, beautiful and exquisite, and practical. These porcelains are painted with colorful patterns under the green glaze, which broke through the situation that monochrome green glaze dominated the whole country before the Tang Dynasty and embarked on a brand-new development path. The beauty of ceramic decoration in Changsha kiln is manifested in many aspects, such as color beauty, moral beauty, painting beauty, modeling beauty and so on. Here, its artistic aesthetic characteristics are summarized into three aspects, namely, the beauty of color, the beauty of decorative patterns and the diversity of modeling.

First, the basic situation of Changsha kiln

Tongguan Kiln Site, namely Changsha Kiln, is the only cultural relic protection unit in ancient sites in Hunan Province. Changsha Kiln is located in Shizhu Lake, Wangcheng County, Changsha City, 27 kilometers south of Changsha City, adjacent to the famous Tongguan Taocheng in the north and Xiangjiang River in the east. Changsha Kiln mainly produces underglaze color paintings and all kinds of monochrome porcelain. Its decorative art not only absorbs the characteristics of China's painting, calligraphy, plastic carving and sculpture, but also absorbs the local characteristics of the combination of Chinese and Western and some artistic expressions of Buddhism, thus forming a unique Changsha kiln colored porcelain, which is a milestone in the history of China's ceramic development.

Second, the artistic characteristics of ceramic decoration in Changsha kiln in Tang Dynasty

The ceramic decoration of Changsha kiln in Tang Dynasty was mainly underglaze color. The invention and application of underglaze color is an important event in the history of China ceramics, which broke through the situation that monochromatic glaze decoration dominated the whole country before the Tang Dynasty. The underglaze decoration of Changsha kiln in Tang Dynasty is rich in colors and forms, which can be roughly summarized as the following artistic characteristics:

(A) the Tang Dynasty Changsha kiln ceramic decoration color beauty

The underglaze decoration of Changsha kiln in Tang Dynasty changed from paying attention to the beauty of glaze color of porcelain to developing the beauty of painted decoration of porcelain, from the initial single brown to brown green. The brown coupler is iron, which is stable in color. The underglaze color of Changsha kiln ceramics in Tang Dynasty is rich, especially the various painted patterns protruding through the glaze, which have a lively and vibrant feeling. Changsha kiln ceramics in Tang dynasty were widely circulated and exported overseas at that time, and were known as? The first kiln in the world? It is precisely because its rich colors meet the needs of people's aesthetic psychology, and this beautiful and artistic color can not be formed overnight, but an advanced new underglaze color technology gradually created by kiln workers on the basis of learning excellent technical culture.

The ceramic decoration of Changsha kiln in Tang Dynasty is reflected in the change of pigments in its color glaze. According to the color of glaze, it can be divided into green, sauce, white, green, red and tricolor glaze. In particular, the brown and green patterns painted under the blue glaze with iron and copper as colorants never fall off after firing, showing a soft and implicit effect, which laid the foundation for the production process of colored porcelain in China, thus creating colorful ceramic decorative works of art. The underglaze decorative art is very close to the traditional Chinese ink painting, and a freehand painting with vivid charm and similar modern watercolor effect is formed. It uses a lot of sketching, cross-painting, throwing colors and other techniques to achieve it? Painting people wants to talk, painting flowers is about to drip, painting birds is about to fly? The realm is quite artistic. Although the cultural accomplishment of ceramic painters in Changsha kiln in Tang Dynasty was not as good as that of literati painters, and there was no profound painting theory guidance, their artistic creation spirit was consistent with that of literati painters. More importantly, they are good at absorbing nutrition from life and creating more interesting underglaze decorative art, which is also a great contribution in the history of painting.

(B) The decorative beauty of Changsha kiln ceramics in Tang Dynasty

The beauty of Changsha kiln in Tang Dynasty is not only reflected in its color, but also in its decorative patterns. The common painted patterns of Changsha kiln in Tang Dynasty are geometric patterns, such as square, hexagon and diamond. There are moire patterns, peaks and the like, which are mostly decorated with colors, and some are painted with various birds and beasts, fish patterns, flowers and figures. These paintings are simple, natural and free, and have a strong flavor of folk life.

On the one hand, Changsha kiln in Tang Dynasty belongs to celadon system, and its decorative techniques are diverse, including carving, carving, plastic piling, printing, decals and painting. Painting flowers is the most creative, drawing various patterns on and under the glaze. This kind of glaze color is glazed on the blank, and after the glaze surface is dried in the shade, it is painted directly on it and calcined in the kiln at one time. This kind of over-glaze color painting is usually painted with decorative patterns such as colorful clouds, colored mountains, colored ribbons, colored dots and colored leaves. Because of the blending of color and glaze, it is natural, vivid and smooth, and it is full of vitality in ink painting.

On the other hand, there are figures, plants, animals, landscapes and other aspects in the decorative patterns of Changsha kiln in Tang Dynasty. The decorative patterns of Changsha kiln in Tang Dynasty partly absorbed the influence of foreign culture, thus forming the unique decorative style of Changsha kiln in Tang Dynasty. The traditional characters in the decorative figures of Changsha kiln in Tang Dynasty are vivid and natural. In the decorative graphics, there are also some Persian sculptures painted under glaze, knights with decals, conference semifinals who play flute, and figures on horseback. Craftsmen who make Changsha kiln ceramics have rich life experience, paying special attention to absorbing decorative themes and images from life. They are good at discovering beauty and expressing beauty in very ordinary life. Looking at the decorative patterns of Changsha kiln ceramics in Tang Dynasty, its richness and expression of the beauty of life are incisive.

In addition, a large number of abstract patterns appeared in the underglaze color paintings of Changsha kiln in the Tang Dynasty, some of which were made of beaded patterns, similar to the effect of Persian carpets. Others stretch freely like running water, changing into rich lines, such as creeping weeds and gem textures. The formation of this decoration mainly caters to * * *' s habitual love for abstract patterns. The application of underglaze decorative patterns in Changsha kiln in Tang Dynasty is original. Landscape, figures, flowers and birds are mostly common scenery on both sides of Xiangjiang River. As soon as the kiln picks it, the painting tools become lively and interesting, which is not only a portrayal of the natural customs on both sides of Xiangjiang River, but also the remains of the kiln's survival wisdom and interest, showing a sincere and simple aesthetic feeling.

(C) the diversity of ceramic modeling of Changsha kiln in Tang Dynasty

In the Tang Dynasty, Changsha kiln ware had various shapes, including plates, dishes, bowls, cups, bottles, cans, boxes, stationery, figures, animals and toys. There are many categories and complicated styles. A common pot in Changsha kiln products in Tang Dynasty. Its mouth is wide, its neck is short and straight, its shoulders are smooth, its belly is long, and its abdomen is getting closer to the soles of its feet. It has a melon-shaped and rectangular body, and there is a circle outside the bottom foot. The bottom can be divided into flat bottom, wall bottom and circle foot. Flat bottom is an early product, with the bottom of the wall slightly behind and the circle at the end. There is a stream on the shoulder, which is divided into long meandering and short flowing. It can be seen that Gu Zhuo is full of folk flavor and has the characteristics of the times.

Modeling features of Changsha kiln wares in Tang Dynasty: there are not many big wares, but common ones are pots, cans, bowls, boxes and pillows. The early vessels were plump and dignified, with round and soft lines and blue colors. In the later period, in addition to maintaining the momentum and norms, the modeling became more beautiful and the colors tended to be elegant, showing a trend of bringing forth the old and bringing forth the new to meet the needs of the times. Most of them have a vigorous and chic rhythm in the prosperous Tang Dynasty.

The flower-and-bird paintings in Changsha kiln in Tang Dynasty are elegant and vivid, realistic and exaggerated. Its modeling comes from real life, from nature, and has a careful observation and profound experience of the objective image. The object of painting is not a simple description, but a bold choice, refinement, exaggeration and deformation on the basis of description. Changsha Kiln produces a large number of molded animal toys, the themes of which include: lions, elephants, leopards, cows, sheep and so on. These images are very naive and vivid, even fierce animals such as lions and tigers are cute and childlike, like naughty children, full of rich life breath of that period.

Three. Concluding remarks

The underglaze color paintings of Changsha kiln in Tang Dynasty are free and easy, selfless, elegant and unrestrained. Although the underglaze color of Changsha kiln in Tang Dynasty was not as good as that of Yue kiln in Tang Dynasty? Qianfeng Green? Young and charming, but it has its own unique artistic language. The Tang Dynasty was an era of openness and absorption. From the art of Changsha kiln in Tang Dynasty, we can see that various art forms of Changsha kiln in Tang Dynasty show a sense of randomness, freedom and relaxation. The development of Changsha kiln was in the Tang Dynasty, and the peak period was in the middle and late period. At that time, the society was open and civilized, and Chinese and western cultures infiltrated and blended with each other. In this social background, there are different decorations from other kiln sites, forming a unique decoration. The artistic style and spiritual temperament of Changsha kiln in Tang Dynasty were all created in this era of Tang Dynasty, and its eclecticism and elegance were also unique in Tang Dynasty. At the same time, Changsha kiln, which combines Chinese and Western culture and Buddhist culture, has the artistic style of Changsha kiln we see today.

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