Ceramics dissertation topics

Analysis of ceramics and calligraphy of artistic characteristics

Abstract: Although ceramics and calligraphy are two separate arts, but the two have a deep historical origin since ancient times, the two have common artistic characteristics. Under modern conditions, ceramics and calligraphy art also reflect each other, different ceramic shapes can be used with its style to harmonize the calligraphy to decorate, so that ceramic art to get the effect of icing on the cake. Although the use of calligraphy in ceramics is only in an auxiliary position, but its role and significance should not be ignored, it is worth engaging in ceramic art people to pay attention to and apply.

Keywords: ceramics, calligraphy, art charm

Introduction

Ceramics is the art of clay and fire, calligraphy is the art of pen and ink. Art is common, ceramics and calligraphy originally belong to the independent art, but there is no lack of fit between the arts. Ceramics with the art of calligraphy to the appreciation of the feeling is undoubtedly the icing on the cake. Successful mastery of the two, lies in the interpretation of the two arts and deep excavation, and then reach a comprehensive art of perfection and unity.

1 ceramics and calligraphy of historical origin

Chinese pottery has a very early origin. Since ancient times, it has been said that "Shennong's tile" and "Kunwu's pottery". The origin of Chinese characters also has a long history. As far back as 6,000 to 7,000 years ago in the Yangshao culture (half-slope type) and 4,000 to 5,000 years ago in the Dawenkou culture as well as the Majiayao culture (Mafang type), there are symbols commonly found on the top of the ceramics to keep track of things, which can be regarded as the origin of the Chinese characters. It can be seen that the ancient ceramics and the origin of writing, from the very beginning has a very close relationship. During the Spring and Autumn and Warring States Periods, pottery was often engraved with seal characters, and the characters on the pottery also became valuable information for later generations to study the characters of the Warring States Periods and the pottery industry. The Terracotta Warriors and Horses of the Qin Dynasty are often engraved with the names of the craftsmen, such as "Xianyang Wu", etc., and the fonts are in seal script, while some are similar to cursive scribes. Three Kingdoms, two Jin period is the popularization and development of celadon ware stage, but also ceramic calligraphy art further improve and form the process of paradigm. During the Tang Dynasty, the writing systems of Regular Script, Zhangcao, Cursive Script and Running Script were gradually perfected, and this period was characterized by the prevalence of the tea-drinking style. Calligraphy decorations appeared in the teapot, wine altar, there are regular script, there are grass, are great calligraphers Zhang Xu, Huaisu, Yan, Liu's style. Write celebrity poetry or "wine", "tea" text, hearty, rounded and robust, pure and natural, with different artifacts on top of the modeling, very simple, simple beauty. Song Dynasty calligraphy is the development of calligraphy in China a peak in the art of calligraphy tends to improve and improve the quality of social culture, reflected in the ceramic modeling has been a "great coincidence if you are stupid" of the natural rhythms. Ceramics decorated with calligraphy in this period naturally become its obvious characteristics, and harmonious and perfect integration, Yaozhou kilns decorated with calligraphy wine, tea set, the calligraphy is also quite "Su, Huang, Mi, Cai" rhyme. To Yuan, Ming and Qing dynasties calligraphy decorated ceramics has also become a unique form of artistic decoration and artistic aesthetics, which has its spirit of inevitable harmony.

2 0 century after the 60s, with the richness and development of ceramic art, writing thesis with the expansion of people's vision of ceramic art. The combination of ceramics and calligraphy style is also more and more appear, the expression of more and more diversified, artistic taste is also more and more improved, calligraphy has gradually become the unique charm of ceramic decoration in the species. Numerous ceramic calligraphy works, or pen writing, or knife carving, or glazed, or under the glaze, each with a full of elegance. In recent years ceramic artists around the use of different materials and processes, creating a large number of excellent works. Such as modern pottery in Foshan, Guangdong, Shandong Zibo color glaze engraved porcelain, Jiangxi Jingdezhen ceramic calligraphy engraved and stacked words. These works make full use of the formal beauty of calligraphy and ceramic material beauty in the cultural connotation and form of the connection, harmonious and natural combination, for the development of ceramic calligraphy art opened up a new realm.

Again from the history of ceramic development, from the primitive pottery to colored pottery, painted pottery, and then later pottery and porcelain flow of veins and schools, the mystery of ceramic art is not only deep in the handmade mode inherited from generation to generation, but also magically deep in the individual experience from the ingredient, pulling the bad, shaping, decorating to firing. Therefore, ceramics, like calligraphy, its principles, regulations, modes, styles, and connotations are also constrained by the connotations and forms of Chinese culture as a whole.

In short, the occurrence and development of ceramic craft and the art of calligraphy in China since ancient times has a long history and close relationship, and is a specific reflection of the cultural, artistic and even political and economic conditions at that time.

2 ceramics and calligraphy of artistic characteristics

Ceramics and calligraphy are the traditional arts of the Chinese people. In terms of its essence, there are similarities, write my master thesis for me both have many **** the same cultural connotations, have a harmonious aesthetic interest.

First of all, both are plastic arts. Calligraphy is the flow of lines to show the author's emotional state of mind and character cultivation. Ceramic modeling through a variety of lines and decent combination of change, space, volume and size of the relationship, the contours of the ups and downs, etc., constitute the ceramic modeling beauty.

Secondly, from the point of view of the aesthetic characteristics, both are practical and artistic unity, unity of the art and lyricism. Calligraphy is colorless and has the splendor of pictures, soundless and has the harmony of music, from the natural image and away from the natural image. The calligrapher transforms his own spiritual connotation, life sentiment, and aesthetic interest into lines that are either vertical or retracted, withered or moistened, thick or thin, rigid or soft, and through the personalized factors of the withering and moistening of these brush and ink lines, it reflects the aesthetic experience of the human being. Yang Xiong of the Han Dynasty said in "The Words of the Law", "Words, the voice of the heart; calligraphy, the painting of the heart." Sun Jiuting of the Tang Dynasty believed that the art of calligraphy could reveal the emotions of the calligrapher, i.e., "to express his feelings and to form his sorrows and joys". Liu Xizai in the Qing dynasty is a phrase: "writing, writing also", "calligraphy, such as their learning, such as their talent, such as their aspirations, in short, such as their people only."

China's ancestors seem to have given ceramics the meaning of art and spiritual culture from the very beginning. "Pottery, panning also, according to the mountain to take the soil, water filtering soil, and water molding", a "pottery" word is actually a symbol of thought, so there is a "pottery", "pottery casting" and other humanistic meanings arising from the word "pottery", but also the essence of ceramic works as a spiritual and cultural symbols. In front of the kiln, every ceramic artist is full of hope and expectation. They are using the special language form of clay and fire to express their feelings and souls. Ceramic artists unite the spirit and language in the process of ceramic creation, and seek the natural expression of language from the spiritual level to create works rich in cultural connotations and individual characteristics. Their pursuit is no longer the surface of the form of interest, but with their own hearts, emotions corresponding to the language form; they are no longer concerned about the empty theme of the work, but their own ideological support. Again, from the point of view of the performance characteristics, ceramics and calligraphy art in the form of expression has **** the same characteristics. This is mainly manifested in two aspects. On the one hand, they are not suitable for the performance of continuous episodic events, and long for the performance of an action moment, and in the action of the moment to create a rich vitality and expressive and imaginative image of art. On the other hand, both the art of calligraphy and ceramic art pay attention to and emphasize changes. Qing man Chen Jieqi in his "practice word secret" in the advocate "practice word is not as good as practicing air", it is by the pottery and gold layout structure of the inspiration. Because some of the pottery, the calligraphy of the inscription is more with the needs of decorative and natural changes in the shape of the vessel, and do not adhere to the neat rows and columns; font size is not rule consistent, so instead of making people feel the iterative and colorful, interesting and colorful. We know that "Qin brick Han tile" this popular idiom, the meaning of its expression, not only shows that the pottery craft has reached the top, more importantly, is to illustrate the "Qin brick Han tile" creativity and rich in variability. The patterns and characters on the pottery not only show the simple style of the times, but also have natural artistic interests. Carved whether in seal script or clerical script, more in a round or square, cloud-shaped outline changes in its shape, between the text and pattern, there is a kind of round and elegant charm, people never get tired of watching.

In short, the two features of ceramic art and calligraphy in-depth, complete understanding of the art, help artists in the creative process to strengthen the expressive and lyrical ceramics, so as to create a more aesthetic strength and aesthetic value of the works.

3 calligraphy decorative ceramics cultural connotation

While many ceramic works since ancient times there is no shortage of calligraphy inscription inscription, but the layout of the calligraphy is often placed on the back of the main picture or white space, is obviously in a subordinate auxiliary position. This is on the one hand by the influence of social aesthetic standards, emphasizing the craft and ignoring the artistic, on the other hand, by the ceramic process and material limitations, so the calligraphy of the subordinate nature of the performance is very prominent.

In the whole piece of ware in the form of calligraphy decorated ceramics. Although pure calligraphy as an image element to decorate and not add any other decoration, but this decoration is mainly based on the aesthetic and functional needs of the ceramic vessel type and use. For example, the Yuan dynasty capital site unearthed written with seven poetic lines ("a hundred grasses, a thousand flowers, rain gas new, now the sunrise on the end of the dust, the color of spring in Huangzhou can be in the wine, drunken east and west garden singing and dancing people") of the white glazed jar.

In the localization of ceramics decorated with calligraphy. Ceramics is a three-dimensional object, especially in ceramics drawing on the expression of Chinese painting, write a title essay on behalf of the picture inevitably have a blank space, decorative forms of calligraphy can be used to make up for the lack of painting, play a balanced and coherent role in the layout of the picture, but also to make up for the "painting of the lack of questions to trek," outside the string, outside the meaning of the painting. In the form of pattern-based decoration of ceramics, calligraphy is often intermingled with the pattern. For example: Kangxi enamel entwined moonflower bowl, blooming moonflower heart is rounded, in the middle of the red writing decorative form is very thick seal script "longevity and spring" and other fonts. In the use of patterns as a complementary set of vessels, generally in the abdomen of the bottle body to open two or four symmetrical round, square or flower-shaped white (commonly known as Doufang), used for painting or calligraphy. For example: Qing dynasty Qianlong enamel Jingzhou open blessing Shou tower landscape bottle, bottle belly four sides open, two of which painted landscape, two sides in seal script writing text poetry.

In addition, ceramic vessels written in calligraphy, mostly combined with the use of the function of the artifacts, borrowed poems and phrases to play the role of the "finishing touch". Such as wine on the inscription "but so that the master can be drunk guests, I do not know where is his hometown", tea on the inscription "a piece of ice in the jade pot"; or to meet the needs of the public and the general aesthetic interest, the inscription "Fukushoukangning ", "Fu as the East China Sea", "prolonged life" and other words of encouragement; or to improve the elegant style of ceramics in ceramics on the writing of generations of literati masterpieces, such as

"Red Cliff Fu", "Table of the Masters and so on.

With the progress of science and technology, the global exchange of information is more convenient and faster. This gives the ceramic art design around the world to provide the convenience of art modeling, the consequences of which may lead to artistic uniformity. Calligraphy as the traditional art form of the Chinese nation, if we put the calligraphy of the shape, God, meaning better integration into modern ceramic art, highlighting its unique artistic charm, will form a more distinctive, with a strong sense of national culture and excellent ceramic works of art.

References

[1]Journal of the Palace Museum.1990-2005

[2]Jin Yinzhen, Jin Zailong. The Artistic Language of Modern Ceramics. Xue Lin Publishing House, 2005

[3]Chinese Ceramics.2005(1-5)

[4]Tutorial of Modern Ceramics. Hunan art press, 2006

[5]Chinese pottery.1999 supplement

[6]The art of decoration. Jiangxi Fine Arts Publishing House, 2001

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Other reference topics:

Artistic Charm of Calligraphy in Ceramic Art