Blue and white in ceramic culture folk kiln

Jingdezhen blue-and-white porcelain in Ming Dynasty is a wonderful flower of China traditional ceramic art, and its folk patterns, themes and smooth brushstrokes leave people with unlimited leisure space. By analyzing the evolution of blue and white in past dynasties, this paper focuses on the formation, theme, decorative style of blue and white in Ming Dynasty and its relationship with other arts.

Key words: folk art of blue and white literati painting in Jingdezhen folk kiln in Ming Dynasty With the change of history, the history of Jingdezhen porcelain-making ushered in a brilliant reputation during the Song Jingde period, but it was in the Ming Dynasty that Jingdezhen porcelain-making industry really reached its peak. Ming Dynasty was the golden age of Jingdezhen folk kiln development, and it was also the period when Jingdezhen was exported to foreign countries as a commodity. Especially in the late Ming Dynasty when capitalism was budding, the Ming kiln gradually got rid of the shackles of feudal citrus, which made it possible for the people to burn a large number of porcelain and sell it all over the world. During this period, blue-and-white porcelain became the mainstream of Jingdezhen folk kiln ceramics production in Ming Dynasty. It can be said that blue-and-white porcelain confirmed the traces of Jingdezhen folk kiln development in Ming Dynasty.

In the history of Chinese and foreign ceramics, "blue and white" has won worldwide praise for its unique pure, simple, generous and elegant artistic effect and beautiful texture. It is made by coating a pure cyan material containing cobalt oxide on a porcelain blank, then applying a transparent self-glaze, and firing at 1300 degrees. Blue and white have the charm of traditional Chinese painting in China. Because it directly expresses the image on the blank of porcelain with a brush, it will present the artistic effect of cyan Chinese painting on the clean and smooth porcelain surface after firing, which is beautiful and green, and has a sense of art. Blue-and-white porcelain is produced in official kilns and private kilns, and their artistic styles are not exactly the same. Especially, the middle and low-grade blue-and-white porcelain produced in private kilns has a bold and unrestrained decorative style. Second, the evolution of blue and white in the past dynasties created the brilliance of blue and white in the Ming Dynasty.

Blue and white porcelain first appeared in the Tang Dynasty. However, blue-and-white porcelain in the Tang Dynasty was not the mainstream of ceramic decoration in the Tang Dynasty. On the pieces of blue-and-white porcelain unearthed in Tang Cheng, Yangzhou, the main body and ornamentation of blue-and-white porcelain are mostly plant patterns, such as creeping weeds, rare flowers and flowers interwoven with flowers and plants. Only a few animal patterns and blue-and-white porcelain are brightly smudged, but there are small black spots, fetal glaze ash and many pores in the dense color. In addition, the Tang Dynasty was luxurious and elegant. This made the blue and white flowers in the Tang Dynasty short-lived, and they were not popularized and developed. Similarly, the blue-and-white color in the Song Dynasty was dark blue, not bright, and the enamel color of the body was grayish yellow. For example, the blue and white porcelain fragments unearthed from Jinshao Temple in the south of Longquan City, Zhejiang Province, have rough fetal quality, red abdominal wall carcass and milky white Japanese part; Inside and outside glaze, the upper part of the belly is thick with blue glaze color in the middle, and the tire pattern on the outer wall is painted with blue and white patterns, which looks like blooming chrysanthemums. The blue and white color is dull and not bright, which is related to the impure cobalt minerals. These factors make the charm of blue and white decoration unable to show. It was not until the Yuan Dynasty that blue and white flowers began to develop in large numbers. Although the color of blue and white in the early and middle Yuan Dynasty is dark gray, it is quite ingenious in decorative composition and painting techniques, such as lion head pattern, elephant head pattern and ruyi cloud pattern, which enriches the changes of vessel modeling. By the middle and late Yuan Dynasty, Jingdezhen blue-and-white firing technology was completely mature, with white and thick carcass, blue glaze color from the inside out, smooth and bright, blue-and-white materials with bright green colors and rich decorative themes. For example, in the Song Dynasty, in addition to peony, lotus, chrysanthemum and precious flowers, pine, bamboo, plum, ganoderma lucidum, banana leaves and jujube flowers were added. Yuan Blue-and-White also uses popular opera stories as decorative pictures, such as Xiao He chasing Han Xin under the moon, Zhao Jun leaving the village, Yuan Blue-and-White decorative art, etc., which not only inherits the fine tradition of realism in Han and Tang Dynasties, but also has its own distinctive characteristics of the times. It can be said that Jingdezhen blue-and-white in Ming Dynasty inherited and developed the blue-and-white art in Yuan Dynasty to a great extent. From firing technology to porcelain raw materials and blue-and-white pigments, it laid the foundation for the development of blue-and-white kilns in Ming Dynasty. Third, the decoration and theme of blue and white in Ming Dynasty folk kilns

In the early Ming Dynasty, Yongle and Xuande were the representatives. At this time, the manufacturing technology of folk kiln was further improved than that of Yuan Dynasty. The tire soil is refined, the carcass is moist and delicate, the weight is moderate, the glaze color is flat, the glaze layer is crystal clear and thick, the blue-and-white hair is dark blue and green, bright and deep, the material color penetrates into the glaze bone, and the lines are often dizzy, much like the ink halo formed by China's freehand painting on rice paper, which makes the picture look deep and calm. Some blue and white materials in Yongle and Xuande kilns use imported raw materials, that is, the "Sumali" green materials recorded in the literature, which are expensive but have good color. Judging from the blue-and-white porcelain pieces unearthed in Hutian, although the blue-and-white wares in folk kilns were also used as religious utensils and civilian articles made of "imported Sumali" green materials, most of the products before Chenghua in the early Ming Dynasty were made in China, and their colors were slightly grayer than those of "Sumali" without black spots. In this way, the hair color of blue and white in folk kilns is different, and there is no bright color in official kilns. People always think that the technology and technology of folk kilns are poor. In fact, the production of folk kilns has become increasingly rich and varied in decoration and type, and the production technology has become more and more mature. In terms of decoration, the blue-and-white decoration of folk kilns in the early Ming Dynasty adopted the technique of one stroke and one painting, which was coherent, round and in one go, with simple brushwork and simple style. For example, the auspicious decorative patterns such as bats, fish patterns and wishful patterns in the Ming Dynasty were almost drawn in one stroke, just like the cursive script of calligraphy, which meant that the pen hit the point. This freehand brushwork of China ink painting was applied to the blue-and-white decoration, which achieved the blue-and-white decoration. It fits the rhyme in Sheikh's painting very well. The formation of this technique is not only influenced by Chinese painting, but also related to the mass production of porcelain in Ming Dynasty. Due to the high labor intensity of porcelain painters, some blue and white decorative patterns are programmed, which not only reduces the difficulty of drawing, but also increases the output of porcelain. Compared with the Yuan Dynasty, the decorative patterns have changed greatly. Plant patterns and animal patterns are rich, and peony, lotus, rose and camellia in plant patterns are more vivid and interesting than those in Yuan Dynasty. Animal patterns are popular with dragon patterns, phoenix patterns, unicorn patterns and fish algae patterns. In particular, compared with the Yuan Dynasty, the dragon pattern tends to be more formal in decoration, and the whole dragon pattern is fuller and thicker than the Yuan Dynasty. By the middle of the Ming Dynasty, Jingdezhen folk kiln, represented by Chenghua Xuande, gradually changed its simple and dignified style, with a thin carcass, which was ivory white or flesh red under near-light perspective, and the green material was made of domestic green material "Ping Dengqing", also called "Bitangqing". After firing, it appears soft, elegant and thorough blue, and the decoration techniques are mainly sketching and rendering, which adapts to the characteristics of blue and white pigments such as ink and wash. By means of rendering and filling, the decorative patterns drawn are layered, elegant and soft, and the decoration is relaxed and pleasant, simple and gentle. Flower and bird, baby play, Sanskrit, dragon and tree stone are widely used, with slender lines and elegant painters. It can be said that both folk kilns and official kilns have this artistic charm, for example, the blue and white bowls fired by Jingdezhen folk kilns in Chenghua year unearthed in Yangzhou. Blue and white decorative brushwork is smooth and dense, lotus pattern is filled with double lines, and tree reinforcement is filled with light pen and double hooks. Chenghua blue-and-white porcelain is rich in beautiful and elegant artistic characteristics, with strong decoration, diverse patterns and regular flowers. Some vessels are "decorated" inside and outside, and "colored fighting" and "colored filling" are popular. It does have a unique decorative artist.

In the middle and late Ming Dynasty, folk kilns were represented by Jiajing and Wanli. Since Jiajing, the blue-and-white pigment has changed to the elegant color of blue-and-white, showing a strong blue-purple tone, and the shape has also begun to diversify. In addition to daily necessities, there are also providers of various religions, especially Taoism. In addition to animals, plants and Ji Xiangwen, there are a large number of Taoist decorations on blue and white flowers, such as Eight Immortals, Eight Treasures, Eight banners, and Eight banners held by Ganoderma lucidum. Blue and white paintings are more exquisite and picturesque, and the characters are slender and elegant. During the Wanli period, more and more new decorative patterns appeared. Wanli blue and white porcelain has various decorative styles, including embossed brocade, ancient money brocade, plum blossom brocade and round, rectangular and rectangular petal patterns. The decorative patterns are simple and complicated, the pen is exquisite and straight, and the composition is more rigorous. Especially after Jiajing and Qin Long, due to the development of capitalist factors and the implementation of the system of official burning by the people, some advanced blue-and-white porcelain wares appeared in folk kilns. Their tires and glazes are similar to those of official kilns, and the ornamentation may also break through the regulations of official kilns. According to "Jiangxi Dazhi", "cyan is a mess ... it is a folk, and its production is not divided." It can be seen that there is almost no big gap between folk kilns and official kilns in terms of modeling, decoration and technology. During this period, the blue-and-white porcelain wares of folk kilns also had extremely fine products aimed at the middle and upper landlords and bureaucrats, and there were strokes on the porcelain. For example: Museum Collection, Notes on the Housekeeping of Jingzhao County, Dongshutang, etc. During the Wanli period, Jingdezhen folk kiln also specially produced a large number of blue and white utensils for export to Europe, and the patterns and decorations were all European-style.

At the end of the Ming Dynasty, folk kilns were represented by the Apocalypse and Chongzhen periods. According to "Heavenly Creations", it is recorded: "Who uses Rao Town, and those in the mountains of Hengxin County are expected, which is called Zhejiang material. Those who go to Zhu Yi use porcelain, and those who go to Fengcheng use it. " It can be seen that the use of green materials is divided into three levels: upper, middle and lower. At that time, high-grade blue-and-white porcelain fired in official kilns and folk kilns were all colored with upper materials, while ordinary civil blue-and-white porcelain used middle and lower blue materials. At this time, because the products of folk kilns have been supplied to domestic and foreign markets in large quantities, blue and white porcelain of folk kilns spread all over the world during the Apocalypse and Chongzhen periods. The decorative themes of folk blue-and-white porcelain in the late Ming Dynasty are also rich and varied, which completely broke through the shackles of the standardization of official kiln patterns. Freehand brushwork landscape is also very popular, and the picture composition is also like Chinese painting with poetry. The author thinks that the blue-and-white decoration in the late Ming Dynasty also has a positive influence on the artistic style of blue-and-white in the Qing Dynasty, and this inheritance is particularly prominent in the decorative techniques of blue-and-white in the Qing Dynasty. Four, folk kiln blue and white compatible with literati painting and folk art..

The development of blue and white in folk kilns absorbed the nutrition of literati painting and folk art to a great extent, especially influenced by literati painting at the same time. Literati painting in Ming Dynasty inherited the tradition of Yuan people, and by the middle of Ming Dynasty, it became more and more powerful, such as Shen Zhou, Tang Yin, Wu Sijia and Chen Chun and Xu Wei in the later period. There are also some literati craftsmen, such as Shi Dabin, who is famous for making teapot. These skilled craftsmen not only had a far-reaching influence on China's later painting art, but also promoted the maturity of ceramic painting, especially in the field of blue and white, and their expressions absorbed the expression techniques of Chinese painting. Mountains and rivers, flowers and birds, people, etc. Are indispensable. Added several landscape sketches, figures and Chinese painting inscriptions. This technique, which uses the characteristics of blue and white pigments, can be used as both meticulous painting and freehand brushwork. It is similar to painting on rice paper and silk. At the same time, folk kiln craftsmen also pay attention to drawing nutrition from daily life, such as folk paper-cutting, New Year pictures, woodcut prints, embroidery and so on. The theme decoration is also colorful. In addition to a large number of flower and fruit patterns and auspicious patterns, there are many opera figures, folklore, unicorn animals and religious themes. In the decoration of blue and white porcelain, many silk decorative patterns, such as flowers, branches and geometric shapes, are often used. Because the blue-and-white wares in folk kilns have merged many beneficial art forms, they have truly enjoyed both elegance and popularity, and formed artistic features of unrestrained and elegant style. Throughout the formation and development of Jingdezhen Ming Dynasty folk kiln blue and white characteristics, as well as the emergence and development of Ming Dynasty ceramic production basic wood. It can be seen that the blue and white of Jingdezhen folk kiln in Ming Dynasty not only accumulated valuable experience for Jingdezhen modern ceramic art, but also inspired ceramic art lovers all over the world with its unrestrained, elegant and beautiful artistic characteristics.

"The years are long and the road to porcelain is long". The glory of Jingdezhen folk kiln not only represents the past, but also inspires our generation of young ceramic lovers to explore and pursue higher artistic peaks.