Cultural Integration in Celadon Porcelain

"Plain embryo outlined in blue and white brush strokes thick to light, the bottle depicts the peony as your first makeup, Ran sandalwood incense through the window of the heart of the matter I know, rice paper on the pen to this half shelved, glaze rendering of the rhyme of the figure of the maiden was privately hidden, and you smile sweetly as a bud waiting to be blossomed, a wisp of your beauty drifted away to a place where I can not go, the color of the white flowers and the green Koi leaping on the bottom of the bowl, copying the Sung style of inscription But thinking of you, you hidden in the kiln burns a thousand years of secrets, very delicate as if the embroidery needle landing; curtain outside the banana caused by the rain, the door ring caused by the copper green, and I passed by the town of Jiangnan caused you, in the ink landscape painting, the sky blue and other smoke and rain, and I'm waiting for you, the smoke curls up, across the river ten million miles, the bottom of the bottle in the book of the Han Li imitation of the previous dynasty of the drift, when I met you ambush, "Jay Chou! The song "Blue and White Porcelain" has been popular in the north and south of the Yangtze River, the lyricist Fang Wenshan is also known to everyone, and the lyrics overflowing with the rich Chinese style has also made us mesmerized by it. The tune of the song "Porcelain" is so gentle and elegant that all that comes to my mind is the image of a smoky, rainy Jiangnan.

I. Classical imagery in blue and white porcelain.

Celadon, peony, sandalwood, rice paper, glaze, ladies' drawings, peony, koi carp, copying the Song Dynasty, kiln firing, embroidery needles, copper-green door rings, rain hitting the banana outside the curtain, a small town in the South of the Yangtze River, splash ink landscape paintings, hanli, and so on, the lyrics of the song with these uniquely Chinese vocabulary depicts a very romantic and wonderful picture, full of rich Chinese cultural colors. These scenes or things that we are all very familiar with are an important expression of traditional Chinese culture.

1. "Smoke and rain," the classical literature outlined a delicate mood.

Legend has it that the Ru Kiln in the Song Dynasty was exclusively for the use of the Song royal family, and the kiln officials will be Ru Kiln porcelain firing is completed, and asked Emperor Huizong of the Song Dynasty for the color of the name, Emperor Huizong's royal seal: "After the rain, the clouds broke, this color to do in the future." (This sentence another said for the five generations after the Zhou Chai Shizong said), since then, the sky green that is for the Ru kiln porcelain color name. According to Fang Wenshan interpretation that "the reason why the 'smoke and rain', rather than 'rain', is purely because the mood of the smoke and rain is more beautiful. And I use the phrase "the sky is green and waiting for the smoky rain" to contrast with the more vernacular phrase 'and I am waiting for you', using two 'waiting' words in a row, in order to emphasize that the most powerless and helpless thing in love is 'waiting'. Waiting'. To put it in prose, 'The vagaries of the weather are beyond the grasp of ordinary people. If we want to see the pure blue color of the sky washed by rain, we can only wait patiently for the sudden rain to stop naturally, just as I can only wait passively and quietly for you, who will appear at an unknown time.'" This method of expressing imagery has a lot to do with the subtle beauty of our traditional Chinese culture.

The use of the character "惹" is also a masterpiece of traditional Chinese culture. The Sixth Patriarch of the Buddha, Huineng, has a famous saying: "There is no tree in Bodhi, and the mirror is not a platform; there is nothing in the first place, but where does it stir up the dust", and "where does it stir up the dust" can be written as "where does it 'stain' the dust". "Where to stir up dust" can also be written as "Where to 'stain' dust" or "Where to 'stain' dust", but because the semantic meaning of "stain" and "stain" is not as strong as "stir up", stain" and "stain" are just a kind of "stain" and "stain". The words "stained" and "dyed" are only words for contact with other things, but "惹" has the meaning of inviting in uninvited, with a strong initiative, more aggressive and dramatic. There are three words in a row, with the same meaning but different usage, which is very interesting.

2. "Basho" rain, ancient rhyme.

This song also appeared in the blue and white porcelain "banana" in the lyrics of the less common plant, is the Chinese literati "banana" this plant inexplicable favorite, love and love and to, just like the coconut tree will make people think of Taiwan, palm trees are equivalent to Just as the coconut tree reminds people of Taiwan, the palm tree is equivalent to the warmth of the beach, the scene of the cactus is certainly in the desert, think of "plantain" people will naturally be associated with the Song lyrics in the smoky South of the Yangtze River in the Suzhou Forest Garden. Such as Li Yu's long love in the "...... autumn wind, rain and, outside the curtain banana three or two trees, the night is long." In fact, if you look carefully at the plants that often appear in Song lyrics, the frequency of "plantain" is quite high: Jiang Jie's "One Cut of Plum": "A piece of spring sorrow to be poured out by the wine, the boat on the river rocking, the curtains upstairs beckon. Qiu Niang Ferry and Tai Niang Bridge, the wind is fluttering again, the rain is drizzling again. When will I return home to wash my robe? The word "silver sheng" is tuned, and the word "heart" is burned with incense. It is easy to throw people away, red cherries, green bananas." Li Shangyin: "The banana does not show lilac knots, and each of us is sad in the spring breeze." Xu Zaisi's "Water Fairy": "A sound of wutu leaves and a sound of autumn, a little bit of plantain and a little bit of sadness, after three nights of dreaming." Li Qingzhao, "Cai Sang Zi": "Who planted the banana tree in front of the window? The shade fills the center court, the shade fills the center court, the leaves are heartfelt, and there is residual emotion in the scrolling. Sad pillow three rain, dripping heavy rain; dripping heavy rain, sad loss of northern people, not accustomed to listening up!" The haiku was written by a famous Japanese haiku poet. In addition, the famous Japanese haiku poet Matsuo Basho, is to take Basho for their aliases, which in turn let Basho this plant to add some literati temperament. After a heavy rain full of green, the air is full of moist moisture, banana leaves rolling with crystal raindrops, at this time the scene, the most poetic; and that after the frost and wind and rain, still set in the door just more rusty mottled copper ring, the most rich in ancient meaning.

3, ladies, Han Li, ink five thousand years.

Lady figure, also known as "Lady painting", is the subject of the painting of the life of women in the upper middle class of Chinese feudal society. A typical pattern of porcelain decoration, the picture to the theme of women, first seen in the Tang Dynasty Changsha kiln porcelain. In the Song and Yuan Dynasties, paintings of ladies were rare, which had a lot to do with the prevalence of bird and flower paintings at that time. The Wei, Jin, and North and South Dynasties were the early stages of development for the painting of ladies. The women depicted were mainly ancient virtuous women and fairies in myths and legends, etc. The prototypes of such images generally came from poems, fugues and other literary works and folklore. When painters represented these women, who were far away from real life and had idealized colors, they were most concerned about how to promote their inner spiritual temperament through the expression of women's external forms. From the earliest surviving scroll painting of ladies, the Eastern Jin Dynasty, Gu Kaizhi based on Cao Zhi's "Luoshen Fu" poetic creation of the "Luoshen Fu" (Song copy) in the portrayal of the goddess of the Luo River, can be seen in the typical Wei and Jin beauties, thin bones and clear, elegant and ancient style. "Its shape is also, fluttering like a shocking, graceful like a swimming dragon. Rongyao autumn chrysanthemum, Huamao spring pine. As if Ruoxi light clouds of the moon, swaying Ruoxi flow of the wind back to the snow. When you look at it from a distance, it is like the sun rising in the morning; when you look at it from a distance, it is like lotus flowers coming out of the water. The flora and the fiber are in the right place, and the length of the body is in the right place. Her shoulder is like a chiseled shoulder, and her waist is like a veil. The neck is beautiful, and the white quality is exposed. There is nothing to add to the fragrance, and the lead is not to be resisted. Cloud buns, eyebrows. Dan lips outside Lang, white teeth inside fresh, bright eyes good favor, dimple auxiliary bearing power. The colorful and elegant posture and the quiet and relaxed body. Soft feelings, charming in the language. The strange clothes are worldly, and the bone image should be pictured. She is dressed in the splendor of a robe, and has a jade jade jewels. Wearing jewelry of gold and jade, adorned with bright pearls to shine. She was a woman who traveled far and wide, and wore a light train of raw silk. The fragrance of the orchid is faint, and she stumbles over the mountains." Luo Shen has an oval face, clear eyebrows, and a slender, lithe and slender physique. She did not meet with Cao Zhi in the Luo water and showed the ecstatic demeanor, and did not because of the Cao Zhi parted with the sadness and anger, she绐终以淡泊平和的表情面对事态的发展, which successfully demonstrated the Luo Shen extraordinary high and elegant beauty, this beauty and the Wei and Jin period people worship metaphysics, pay attention to people's inner spirituality, the pursuit of transcendence of the times coincide with the characteristics of the era. Throughout history, the painting of ladies from the origin, formation to development. After more than two thousand years of long evolutionary process, it has become China's outstanding cultural heritage, which provides us with rich experience in today's painting innovation.

Ink painting is a traditional Chinese painting technique. According to legend, in the Tang Dynasty, Wang Qia, with ink on paper, foot and hand wipe, with its shape for the stone, for the clouds, for the water, should be hand at will, figure out the clouds and haze, dyed into the wind and rain, like God's skill, look down and do not see its ink stains of the traces (see the Tang Dynasty Famous Paintings Record). Ming Dynasty Li Rihua, "Bamboo Painting": "Splash ink with ink is subtle, not see the handwriting, such as splash out ear." Qing dynasty Shen Zongqian "mustard boat learning to paint": "ink is said to splash ink, mountain color is said to splash green, grass color is said to splash green, splash for use, the most sufficient hair painting rhyme." Later refers to the pen sound ink full, or point or brush, ink dripping, magnificent, are called "splash ink". In modern times, there is also a colorful and bold painting method called "splash of color".

Listening to the song and reading the lyrics as if roaming in the Jiangnan Zhouzhuang, heavy rain, delicate ladies, new bananas, vermilion lacquer wooden door, green rust copper ring, a mesmerizing classical ink splash landscape painting!

Two, blue and white porcelain and the origins of traditional Chinese culture.

1, traditional culture.

Traditional culture refers to the sum of the material and spiritual culture created by previous generations, is formed in the long-term historical development and retained in real life, with relative stability of the culture, with a distinctive ethnicity, era and inheritance. China's rich and colorful excellent traditional culture is more and more by the attention of society as a whole, its connotation is also multi-faceted, China's traditional culture contains (1), conceptual culture (ideological theories, traditional conceptual culture is mainly Confucianism, Taoism, Legalism and Buddhism); (2), historical artifacts (cultural relics including artifacts and works of art, such as pottery, porcelain, bronzes, jade, gold and silver, lacquerware, bronze mirrors, ancient money; calligraphy, painting); (3), social systems, the so-called institutional culture; (4), ancient books on literature, history, medicine and health, agronomy, astronomy and calendar. From the Chinese traditional culture can be seen, the Chinese people with their own hard work and wisdom to create a long and continuous history and rich and colorful civilization.

2, ceramic culture.

In the eyes of the world, China's porcelain culture is one of the most representative of traditional Chinese culture imagery. The world's artifacts, much decoration. Chinese ceramics in the thousands of years of development, decoration and ware closely linked to the formation of a unique style of ceramic culture. In people's aesthetic diversification today, as a few thousand years of Chinese history and culture of ceramic art is increasingly favored by people. Ceramic art is the crystallization of art and science, each piece of ceramic works by the ceramic material, shape and decoration of the three basic elements of the organic unity of the whole, with material and spiritual dual cultural characteristics. Ceramic art decoration with its exquisite patterns, rich colors, unique technology, exquisite production skills, strange ideas and new concepts, forming a unique form of craft painting and unique ceramic culture. Ceramic art decoration creation process has always been throughout the art of aesthetic creation, aesthetic creation, aesthetic acceptance of the three links. Ceramic art is profound, far-reaching, ceramic art is ceramic culture messenger. Ceramic art decoration presents to people is a ceramic culture spirit. People in the labor created culture, culture and shaping people, excellent culture enriches people's spiritual world, give people spiritual strength. Therefore, ceramic art is not only a material product, a spiritual product, but also a cultural product.

3, blue and white porcelain.

Blue and white porcelain is one of the four traditional famous porcelain in Jingdezhen (blue and white porcelain, pastel porcelain, color glaze porcelain and exquisite porcelain). Blue and white porcelain is the application of color pigment painting on porcelain tires, and then on the transparent glaze, fired at high temperatures under the glaze porcelain, the flower surface is blue pattern, elegant, clean and elegant, color stability, not easy to wear and tear, and there is no lead leaching and other ills. Gong Zizhen in the Qing dynasty in his "pottery song" in this way to praise the blue and white porcelain: "white glaze blue and white flowers into a fire, flowers from the glaze through the clear. Can refer to the creation of the first day of the wonderful, no pole from the Taiji born".

The Yuan dynasty blue and white decoration is characterized by the composition of the largest full, multi-level and not chaotic. Penmanship to a stroke is common, smooth and powerful; outlining rendering is bold and calm. The theme of the decorative motifs are figures, animals, plants, poetry and other subjects. There are figures such as the figure of a high priest (the four loves) and historical figures; animals such as dragons and phoenixes, unicorns, mandarin ducks, and swimming fishes; plants such as peonies, lotus, orchids, pine, bamboo, and plums, ganoderma lucidum, flowers, leaves, and melons; and poems and writings are rarely seen. The petals of the painted peony are often left with white edges; the dragon pattern has a small head, a thin neck, a long body, three or four claws, a ridge on the back, and the scale pattern is mostly in the form of a grid, which is robust and fierce. Auxiliary motifs are mostly curly grass, lotus petals, ancient money, seawater, back to the pattern, dozens of clouds, banana leaves and so on. Lotus petal pattern shaped like "parentheses", lotus petals are often painted in the Taoist treasure; Ruyi cloud pattern is often painted in the sea of eight monsters or folded lotus, twining flowers, painted in the three steps of the cloud; banana leaf in the stalk is solid (filled with green material); seawater pattern for the combination of thick and thin lines depicted.

Ming Dynasty, Jingdezhen and around the folk kilns produced a large number of blue and white porcelain. Patterns and decorations break through the traditional normative constraints, there are a large number of birds and flowers, figures, landscapes and a variety of animal subjects of the picture, the composition of the strange, the line is free, and then the brush, natural and realistic; and then the rate of intentionally sketched, the shape of the gods are ready. Tianqi, Chongzhen common during the years of "blowing phoenix", "Dharma face wall", "autumn river evening ferry", "dry stone cold birds "," Lotus Heron "and other patterns, some with beautiful brush, some simple and strong implicit, and strive to be in the characters, animals on the personality of the heart, one's imagination. Ming dynasty folk blue and white porcelain, but also often see the picture vivid, amusing baby play figure, such as "hide and seek", "kite flying", "fighting crickets" and so on, color and lustre elegant, the tone of the unrestrained And beautiful. In the Ming dynasty folk blue and white porcelain creation, painting artists also often paintings, calligraphy skillfully integrated. Symbol of good fortune, "Fu", "Luk", "life", "joy" is not the subject of painting, but the ancient porcelain-painting artists through skillful conception. Artists after skillful conception, but also its performance on porcelain, and make it sublimated into an image with decorative beauty. Such as Jiajing, Longqing, Wanli period common with pine branches composed of "Fu", "Shou" character pattern; Wanli, Tianqi years of Ganoderma lucidum to "life", Ganoderma lucidum to "joy". "happy" picture, and even without the backing directly written on porcelain calligraphy "life" word, it seems also full, fluent, give people artistic enjoyment.

Third, the contribution of ceramic culture to the dissemination of traditional culture.

The inheritance and development of ceramic culture is closely related to traditional Chinese culture. How to extract the essence of traditional culture, draw nourishment, how to find a balance between tradition and innovation, not to give up any new way of development is precisely our generation and even generations **** the same pursuit of the goal. Ceramic culture is an important part of China's outstanding culture, it is the valuable wealth of our nation. Chinese porcelain, from the Sui and Tang dynasties began to circulate to the outside world, Song, Yuan, Ming and Qing dynasties, porcelain as an important commodity marketing nationwide, to the world, ceramic art decorations as commodities in circulation at the same time, but also in the continuous dissemination of China's ceramic culture, promote the development of Chinese culture, so China has been known as the "porcelain country," the name, reputation worldwide. Global reputation. Porcelain technology from generation to generation have inherited and innovation, China's production of ceramics with different characteristics, to meet the people's living and aesthetic needs, and foreign economic and cultural exchanges play an important role. China is famous around the world, porcelain in which plays an important role, the word China in English china original meaning is porcelain. Porcelain represents China's long civilization with its unique national cultural characteristics. From the point of view of the shape and decoration of porcelain, it is a more perfect embodiment of the face of Chinese culture. Ceramic culture on the exchange of Chinese culture and the development of world culture has played a kind of interchangeable bridge and link role, for the prosperity and development of Chinese culture and world culture has made great contributions.

Traditional culture has a distinctive ethnicity, is the spiritual ties that sustain the survival and development of the nation, it is the "two sides of the Taiwan Strait, four places", the hearts of Chinese people around the world are tightly linked together, which is also an important proof that we have the same roots and the same race. In order to enhance our cultural competitiveness, we should strengthen the protection, inheritance and innovation of traditional culture, which is to protect and pass on the bloodline of the Chinese nation. Every nation in the world has its own unique culture, which is an important mark of national continuity. Chinese culture has a long history, profound and profound, up to Yin and Zhou, down to a few thousand years later, Chinese calligraphy, Chinese painting, ceramics, etc. has maintained the characteristics of China, carrying a heavy Chinese civilization, its history of brilliant and long, rich and gorgeous connotation, style of distinctive and unique in the world's cultural treasury are occupying a very important position.