Thesis on blue and white porcelain?

From the traditional cultural inheritance and innovation point of view analysis of the "blue and white hot" Author: Yu Hu Mei Time: 2009-4-3 17:02:00 Source: thesis world thesis network Abstract: Beijing Olympic Games of the blue and white series of dresses, the people of the blue and white porcelain favor pushed to the extreme. The adoration of traditional cultural treasures is worth rejoicing, but the way of its esteem, analyzed from the perspective of quantitative and qualitative inheritance and innovation of traditional culture, is worth worrying. In the following, the author puts forward his own views on this. Keywords: traditional culture inheritance and innovation, quantitative and qualitative changes, blue and white porcelain Main text: the inheritance and innovative development of traditional Chinese culture has always been the Chinese complex of the children of the Yellow Emperor, the government and academics are very concerned about this issue, as evidenced by the implementation of the regulations for the protection of intangible cultural heritage. However, how to inherit and innovate is a topic of debate. In a general sense, the innovation of art refers to the new development and new breakthroughs in art on the basis of the original, which plays the role of change, promotion, growth and renewal in the life of art. The innovation and development of art can be divided into quantitative innovation and qualitative innovation in terms of nature. Quantitative innovation mainly refers to the development of an art within the scope of some quantitative changes, but no qualitative changes. Qualitative innovation refers to the breakthrough of the nature and scope of the original art, creating a completely new work of art. The author believes that the relationship between the two can be understood as the relationship between similarity and similarity. Protection, collection, repair, renovation, exhibition is just a way of preserving specimens, just like the panda into the protected area carefully fed for visits is the same, the species of the lingering only, not inheritance, not innovation and development. The current interpretation of the "blue and white hot" trend, enough to see our way deep value question. Blue and white porcelain, as the Chinese porcelain (China) in the crown, its porcelain tire bone delicate crystal soft, flower color fresh and bright quiet elegance, glaze bright and clean white in green, elegant and fresh temperament, very Chinese traditional ink painting charm. Its elaboration of Chinese culture is quite influential in the international arena. We hope that Qinghua porcelain, as the pride of the nation, will influence the world's admiration for Chinese culture with its unique artistic approach, and will spread and create certain economic and cultural benefits in the context of modern craftsmanship and modern civilization. Celadon porcelain is the treasure of the art hall, is the literati artists in the hands of love, is the collector's prey, is the museum of treasures, is the traditional culture of Eastern China label. From the screen hit Zhao Yazhi starring "blue and white" to the popularity of the north and south of the river sung by Jay Chou "blue and white porcelain", from the Olympic Games aquatic program "blue and white porcelain" series of awards dress to the Beijing subway line 10 Beitucheng station "blue and white porcelain" columns, "blue and white porcelain", "blue and white porcelain", "blue and white porcelain", "blue and white porcelain", "blue and white porcelain", "blue and white porcelain", "blue and white porcelain", "blue and white porcelain". The "blue and white porcelain" has become more and more a carrier of Chinese culture, taking the responsibility of spreading Chinese culture. Like a hurricane, celadon porcelain has been involved in the hearing, sight and even touch of ordinary people, setting off a trend of "celadon fever". With a large number of "Chinese elements" appearing in the Beijing Olympic Games, the world-famous design of "blue and white porcelain", which is full of Chinese cultural elements, is increasingly coming into people's view. Here are a few representative examples to analyze: I. Quantitative innovation, i.e., simple imitation of the shape. 1, directly on the traditional blue and white porcelain product form of the modern copy. The following four examples are the direct utilization of traditional blue and white porcelain handicrafts or daily necessities. Figure 1 is a literati style of blue and white porcelain represented by Wang Bu, which is still a quantitative innovation. With the general form of the blue and white porcelain itself, just made a breakthrough in the basic form and innovation of decorative patterns.

2, directly borrowed from the figurative form of blue and white porcelain decoration for secondary creation. The following examples are, in order, the celadon carpet, the Qingdao advertisement posters, the camera manufacturer Lomography's Diana celadon camera, the entrance to the Beitucheng station of Beijing's Line 10 which intersects with the Olympic Spur, the seat and pistol decorations, the DVD packaging design, and the Hewlett-Packard's celadon printer. I can't help but marvel at the fact that from furniture items to electronic products, from promotional posters to public **** facilities, from apparel brands to pistol decorations, all of them use the original figurative pattern of celadon, even though the materials, shapes and functions are different. Undeniably, even if you see them for the first time or alone is how exciting and appreciate, but here when they are gathered together, I dare say that "no creativity" is like a child's posting. Let contains a deep culture of classical timeless elegance of celadon, become like a popular fashion wind. Second, the quality of innovation, that is, the sublimation of God's refining. The following pictures in turn: located in the "green home media village" of the "porcelain" ATM ATM, Olympic ceremonial clothing and porcelain raft concept design. Separated from the traditional celadon shape pattern, the modern vision has more serenity, atmosphere and elegance, revealing only the classic temperament of celadon, but each design clearly tells people its function and characteristics, showing its own charm through its own design, rather than through the celadon form. We will not sigh this kind of traditional culture and art of God's refining, because in the traditional cultural analysis of the predecessor has long been on the style of celadon temperament to do the most condensed narrative, but we appreciate the designers to understand and absorb, and in the reality of the design of these souls combined with the functional demands of the product with the design of the form of the visual language expressed. Here we have to mention the Suzhou Museum designed by the Suzhou-born international master architect Mr. Robert Behlisch - a very modern, very Chinese, very Suzhou old modern building. He demonstrated the typical qualities of Suzhou gardens and architecture such as compactness of scenery, change of scenery by steps, rockeries, ponds and swamps, static and static realities by modern methods with wonderful artistic means. Inheriting and sublimating our traditional culture, this is a sustainable art form that grows on the fertile soil of traditional culture nourished by the moisture of modern fresh air. Conclusion: It is true that, in the inheritance and innovation of celadon porcelain, only quantitative imitation can only preserve the civilization of the ancients to a certain extent, which is a fetishistic approach, but we can not be denied for this reason, and its existence is the most primitive and basic way of traditional cultural inheritance. Sublimation of qualitative innovation, is a substantial inheritance of traditional culture, is rooted in the cultural soil of the national cultural history of progress, in the practice of the practice, can tap the cultural potential of modern people, so as to leave deep footprints for the sustainable development of national culture. Therefore, the real vitality of the art of blue and white porcelain can not lie in the collection of sky-high prices more than in the simple imitation of fashion, these superficial and widespread imitation of the "blue and white heat" can only be to the elegant art of blue and white porcelain itself stained. The development of the cultural heritage of blue and white porcelain to rely on qualitative innovation, with modern scientific design thinking to convey the condensed cultural charm. References: [1] Xiong Liao. Chinese ceramic art history. Forbidden City Press, 1993 [2] Yang Yongshan. Chinese traditional crafts collection - ceramics [M]. Beijing: Elephant Publishing House. 2004: 6-7. [3] Jingdezhen blue and white porcelain. Jiangxi People's Publishing House, 1984 [4] China's national folk culture protection project - census workbook [M]. Beijing: culture and art publishing house, 2005.