Chinese traditional patterns learn from Gu Yue.

1. painted pottery: an ancient pottery variety with patterns painted in colors. Because it was first discovered in Yangshao Village, Mianchi County, Henan Province, archaeologists identified painted pottery as the representative of Yangshao culture. Painted pottery is mostly hand-made, with thin and uniform walls, mostly black and red in appearance, and painted with plants, animals, geometry and other patterns. Common shapes are cups, bowls, pots and urns. Due to the different locations and styles, painted pottery in China can be divided into the following categories: ① painted pottery in Banpo Yangshao; ② Painted pottery at the bottom ditch of Yangshao Culture Temple; ③ Intermediate Majiayao painted pottery; ④ Painted pottery of Qijia culture; ⑤ Painted pottery of Dawenkou culture; ⑥ Qujialing cultural painted pottery; ⑦ Racecourse-type Majiayao cultural painted pottery; ⑧ Painted pottery of Liangzhu culture.

2. Black pottery: the general term for pottery with black carcass and surface. The material culture produced by primitive society and patriarchal society. Because it was first discovered in Longshan town, Licheng, Shandong Province, it was named as the representative of Longshan culture. Black pottery has a regular shape and a polished surface. People often use "black as paint, bright as a mirror, thin as paper and hard as porcelain" to describe its artistic characteristics, which has an unpretentious character. Representative shapes are single-ear cups, high-handle cups, ding cups, glutinous rice cups, etc. Black pottery, like painted pottery, is known as the "originator of plastic arts" in China.

3. Picking red: commonly known as carved lacquer in Beijing (meaning wider than picking red, and picking yellow, black and color, etc. Also included), that is, the method of covering and adjusting silver ink, stacking layer by layer on the bone of lacquer ware to a considerable thickness, and then carving patterns with a knife. From the cross section of the red edge, we can sometimes see the number of paintings, but it is not easy to count them accurately. During the Ming and Qing dynasties, the number of people picking red was small, as many as 50 or 60 or even more than 100. On the other hand, the thickness of each paint layer is different from each other, so the thickness of ancient red objects is very inconsistent. Carved lacquer in Ming dynasty, especially in the early Ming dynasty, is still full of patterns, and the thin lacquer layer can't be carved. Heavy paint, labor and materials, it is impossible to do this for products that sell quickly. The red paint is dark red, close to purple, red, light and slightly yellow, and the best is pure color and bright luster. As for the fineness and roughness of the knife, the difference is even greater.

4, picking rhinoceros: picking rhinoceros is commonly known as "jujube rhinoceros", also known as "cloud carving" in Beijing and Shanxi, and "curved wheel" in Japan. Rhinoceros-removing lacquerware has developed to a relatively mature stage in Song and Jin Dynasties. In the Ming Dynasty, Huang Cheng and Yang Ming made incisive exposition on the characteristics, manufacturing methods, commonly used decorative patterns, and identification of advantages and disadvantages of rhinoceros horn picking technology. Rhino lacquerware is painted in two colors or two colors, usually two colors. First, apply one color to fetal bone several times, and then apply another color several times, so that the layers of the two colors can reach a certain thickness regularly. Then, different patterns such as palindrome, cloud hook, sword ring and grass roll are carved with a knife, and paint layers of different colors are exposed on the cross section of the blade, and the patterns are bright. Although rhinoceros picking belongs to the category of Qi Diao, it does not carve landscapes, figures, flowers and birds, insects and fish, but mainly carves "moiré", with simple, smooth and generous lines.

5. Enamel color, one of the decorative techniques of porcelain, originated from the technique of painting enamel color. Porcelain decorated with enamel is often referred to as enamel. Enamel color is an over-glaze color decoration technique that transplants enamel color technique to porcelain tire, and it is later called "ancient" and "rose color" abroad. Enamel color was founded in the late Kangxi period of Qing Dynasty and further developed in Yongzheng period.

6. Changxin Palace Lantern: Bronze ware of Han Dynasty in China. 1968 was unearthed in the tomb of Dou Wan, the wife of Liu Sheng, the king of Zhongshan Jing, Mancheng County, Hebei Province. The lamp body of the palace lantern is a gilded maid-in-waiting, sitting with the lamp in both hands, with an elegant expression. The lamp body is 48 cm high and weighs 15.85 kg. Palace lanterns are cleverly designed. Maid-in-waiting holds a lamp in one hand and a sleeve in the other to suck oil smoke like a rainbow tube, which not only prevents air pollution but also has aesthetic value. This palace lantern was once placed in Changxin Palace in Dou Taihou (Liu Sheng's grandmother), hence its name. He is currently in the Institute of Archaeology, Chinese Academy of Social Sciences.

7. Xuande furnace: a bronze incense burner made during Xuande period in Ming Dynasty, referred to as Xuande furnace for short.

8. underglaze red: one of the decorative techniques of underglaze color of porcelain, which was created and fired in the Yuan Dynasty. The method comprises the following steps: coating a pigment containing metallic copper as a colorant on the surface of a porcelain blank according to a required pattern, covering it with a layer of colorless transparent glaze, and then firing it once in a high-temperature kiln at 65438+/-0350 DEG C in reducing flame atmosphere. The variety of porcelain that mainly adopts the decoration technique of underglaze red, that is, underglaze red porcelain, is usually referred to as underglaze red for short.

9. Cloisonne: Also known as "copper tire silk enamel", it is a unique handicraft combining porcelain and copper. Its manufacturing history can be traced back to the Yuan Dynasty, and it was the most popular in the Jingtai period of the Ming Dynasty (1450-1456), and it was named cloisonne because it was mostly blue at that time. Cloisonne is made of copper into various shapes, then kneaded into various flowers with gold wire or copper wire, filled with enamel glaze, fired, polished and plated with gold. Cloisonne is unique in shape, exquisite in production, solemn in pattern, rich in color, resplendent in gold and jade, and has distinctive national characteristics. It is a traditional export handicraft of China.

Secondly, the painted pottery of Majiayao has patterns not only on the outer wall, but also on the inner wall, that is, it has the characteristics of internal color. Such as "painted pottery pots with circular dots and arc patterns" (1966 unearthed in Lanzhou) and "dancing pattern pots" (1973 unearthed in Datong, Qinghai).

Majiayao culture Majiayao-style painted pottery dance pattern basin unearthed in Shangsunjiazhai, Datong County, Qinghai Province, uses three groups of silhouette dance figures in the basin to form a two-way continuous shape on the inner wall of the vessel. Each group of girls with five short petals hold hands and perform collective songs and dances in a neat and rhythmic way, with ornaments such as braids and tails sticking out from their heads and hips. It is realistic and exaggerated, and the characters are intuitive. The whole picture is permeated with a kind of naive, simple and quiet artistic conception, just like a true portrayal of the relative prosperity of life and social stability in the heyday of matriarchal clan society in the middle and late Neolithic Age. Whether it is the expression revealed by the structure of a single character or the artistic atmosphere set off by the whole picture and its background, it can be called the treasure of ancient art. The primitive dance displayed here, although very brief, still reveals the innocent feelings and passionate emotions of primitive people with its clear and simple movements. This kind of dance may belong to primitive witchcraft activities, or it may just be a game song and dance after work, but in any case, it left us a rare picture of primitive life. The decorative artists of painted pottery pots are ingenious. There are dance queues on the upper part of the inner wall of the pot, such as water in the pot, and the dance troupe seems to be dancing beside the pool and Liuxia, which is in harmony with the reflection in the pool. This kind of painted pottery figure painting, especially the depiction of people themselves, got rid of the composition technique of constructing face patterns with geometric patterns in the early and middle period of Yangshao culture, so it became the originator of figure painting in China. For the first time, I found such a picture on the painted pottery pot, which completely represented people and clearly described some activities of people.

The decorative pattern of painted pottery in Majiayao makes the lines more vivid and rhythmic on the basis of the application of curve in the ditch at the bottom of the temple, and the most representative pattern is spiral pattern. There is often a large blank in the center of the spiral pattern, which is in contrast to the dense lines of the spiral pattern itself. Dense but not smothering, visually full of strong sense of movement, like a rushing river. It is characterized by fullness and whirling; Well-made, smooth surface; Patterns seem to reflect the motion forms of cosmic objects.

Thirdly, since the Shang Dynasty, Ding has cast various mysterious patterns, mostly animal patterns, such as gluttonous patterns, cicada patterns and elephant patterns. And the pattern changes very cleverly. Family badges or ancestors' names are cast in the container.

Symmetry is a remarkable feature of bronze ornamentation in Shang and Zhou Dynasties. Symmetry means balance and harmony, and it is also a kind of beauty. In a sense, symmetry is perfection. Humans have discovered the perfect symmetry of nature, especially stimulated by H. Weil, so they have reached a quite mature stage in practice and creation, especially in artistic creation, imitating the symmetry of nature and themselves, such as the symmetrical patterns in bronze decorations in Shang and Zhou Dynasties.

1, bronze tripod with grain in Shang dynasty

It is 38.5 cm high, 29.8 cm long and 23.7 cm wide. 1959 The tripod unearthed from Ningxiang Huangcai is a cooker with two ears on it, which is convenient to carry and four feet on the bottom, which is convenient for heating. There are many bronze ding in Shang Dynasty. What is particularly noteworthy about this ding is its four sides, heavy eyebrows, high nose, prominent cheekbones, wide mouth and solemn expression. There are zigzag horns on the left and right sides of human face, and animal claws on both sides of cheeks. Explain that this face is not a human face, but an image of a god or a strange god in people's minds. There is an inscription "Yamato" on the abdomen. There is a legend in the history of China about Xia Yuzhu's dominance. After the demise of Xia Dynasty, Jiuding belonged to Shang Dynasty, and after the demise of Shang Dynasty, Jiuding belonged to Zhou Dynasty, and Ding became a symbol of state power. Personally, Ding is a status symbol.

2. Bronze statue of tapirs in Shang Dynasty.

It is 40 cm high and 72 cm long. 198 1 years ago was unearthed as a wine vessel in Chuanshan, Xiangtan. The back of the pig has an oval mouth and its stomach is full of wine. There are fangs on both sides of the mouth. From the perspective of animal evolution, it is not domesticated, but a powerful wild boar. There are round holes in the front and back elbows. From a practical point of view, this instrument weighs more than 30 kilograms and has a volume of 13 liter. When it is full, it is difficult for one person to carry it. With this hole, you can wear a rope to hang things. Pigs are decorated with scales, dragons and animal faces. The use of wild boar as a vessel is only an example in the existing bronze wares of Shang Dynasty.

3. Cattle-shaped copper purlin in Shang Dynasty

Height 14cm, length 19cm. 1977, the wine vessel (gōng) unearthed in Baojiataizi, Hengyang contained wine in its belly. The neck is flowing. The shape of the head and horn of this cow is a common buffalo image in the south of the Yangtze River. There is a tiger standing on the back of the cow, which is both a practical catch and a decoration. Cattle are also decorated with Feng Niaowen, dragons and animal faces. Gūng's modeling design and practicality are perfectly integrated, showing excellent process design ideas.

4. Bronze enamel with animal face pattern of elephants in Shang Dynasty

The overall height is 7 1 cm, and the width of the milling chamber is 46.5 cm. The cymbal (náo) unearthed in the ancient village of Ningxiang weighs 67.25kg, 1959, which is a musical instrument. According to the actual measurement, striking the positive drum and the side drum can produce different musical sounds. The shape of cymbals is similar to that of later clocks. The clock has a clock stand and belongs to percussion instruments. Judging from the structure of cymbals, some can be hung, and some can't, because the harmony part is straight. Therefore, the cymbal (náo) may be a percussion instrument with the head down and the mouth up. This pheasant has a vertical pattern on its side drum, a heavy animal face pattern on the pheasant (zhēng), and a pattern of tiger, fish and milk nails arranged alternately around the pheasant. At present, a large number of copper osmium has been found in Hunan Province, weighing 2265438 0.5 kg.

Four, the main difference between ceramics is:

(l) Different raw materials are used for tires: clay is generally used for pottery, and porcelain clay is also used in a few cases, while porcelain stone or porcelain clay is used for porcelain, which has different components due to different raw materials. Taking Yixing Zisha pottery as an example, its mineral composition belongs to iron-bearing clay-Yingshi-matriarchal system. Iron exists in the form of hematite, the main phases are syenite, mullite and mica crumbs, and the crystals are fine and uniform. Kaolin for firing white pottery is a kind of clay with kaolinite as the main component, which is white or grayish white and dull in luster. Pure kaolin contains 46.5 1% silica, 39.54% alumina, 65,438+03.95% water, and its melting point is 65,438+0780℃. Because of its poor plasticity and high melting point, it can only be made of other materials. Porcelain stone is composed of quartz, feldspar, sericite and kaolinite. After complete weathering, it is usually porcelain clay. Porcelain stone for porcelain making belongs to semi-weathering, and it becomes raw material for blank making after crushing and elutriation. The main components are silica and alumina, and contain a small amount of calcium oxide, magnesium oxide, potassium oxide, sodium oxide, iron oxide, titanium oxide, manganese oxide, phosphorus pentoxide and so on. The melting degree is generally1100 ~1350℃, which is inversely proportional to the amount of flux.

(2) Tire color: The raw materials for making ceramic tires have high iron content, which are generally red, brown or gray and opaque; The color of porcelain tire is white, transparent or translucent.

(3) Types of glazes: Glazed ceramics have a bright layer with glass texture on the surface, which consists of porcelain clay (or clay) and flux. Generally, low-temperature glaze is not applied to the surface of pottery, and its flux is lead oxide. During the Qin and Han dynasties, this kind of lead glazed pottery was fired in large quantities. Tri-colored glaze in Tang Dynasty, low-temperature glazed glaze in Song Dynasty, multicolored glaze in Ming Dynasty and famille rose in Qing Dynasty all belong to this category. There are two kinds of high-temperature glazes on the surface of porcelain: lime glaze and lime-alkali glaze. Lime glaze uses calcium oxide as flux, and its content is more than 10%. Calcium-alkali glazes use calcium oxide, potassium oxide and sodium oxide as fluxes, the content of calcium oxide is mostly below 10%, and the sum of metal oxides such as potassium oxide and sodium oxide is often above 4%.

(4) Firing temperature: Due to the tire-making materials, the firing temperature of pottery is generally 700 ~ 1000℃, and that of porcelain is generally above 1200℃.

(5) Total porosity: Total porosity is a sign of compactness and sintering degree of ceramics, including apparent porosity and closed porosity. The total porosity of ordinary pottery is12.5% ~ 38%; Tao Wei12% ~ 30%; Fine stoneware (original porcelain) is 4% ~ 8%; Hard porcelain is 2% ~ 6%.

(6) Water absorption: This is an important indicator of the degree of sintering and porcelain, which refers to the ratio of the weight of water absorbed by the green body to the weight of the green body after fully absorbing water. The water absorption of ordinary pottery is above 8%, stoneware is 0.5% ~ 12%, and porcelain is 0 ~ 0.5%.

Fifth, the Han dynasty continued the style of the Warring States period, and the pursuit of patterns was more atmospheric, bright, concise and changeable.

At this time, in terms of pattern decoration, it changed the pattern organization form of Shang and Zhou Dynasties, which was symmetrical in the center, repeated and continuous, but the composition showed overlapping and winding, interspersed up and down, extending in all directions, and was deformed by fantasy and romanticism to form lively moire, bird pattern and dragon pattern. Its characteristic is that the flowing arc extends freely up and down, left and right, and the lines at the turning point are thick or thin, which emphasizes the dynamic of the lines and enriches the image.

The uniqueness of this freestyle moire pattern lies in its ingenious combination with animals. Adding a bird's head to the curved moire head and drawing a curve at the end will become the image of a bird with its head held high, but it also implies the moire mark. This ingenious conception and expression technique belongs to bold artistic exaggeration and is very interesting. This moire pattern has been further developed in the application of clothing.

The image depicted in the silk paintings unearthed in Mawangdui, Changsha, is dressed in an "S"-shaped moire. This "S" pattern has the vivid characteristics of mutual echo and gyration. Its lines are thick and thin, and the size is interspersed, which makes a new creation in the contrast and unification of the formal beauty of the pattern. The technology of weaving and embroidery in Han Dynasty shows that this period is the first prosperous period in the history of dyeing and weaving in China, and the fabric variety and pattern layout have reached a high level. Judging from the moire patterns unearthed in Mawangdui, Changsha, the lines are smooth and dynamic, all in the shape of "S". It can be seen that the moire pattern in the Han Dynasty has a new development at this time, that is, the rhythm of reality and reality has been produced in the freely extending lines, and the freely extending "S"-shaped skeleton has shown a harmonious aesthetic feeling, which laid the foundation for the later artistic modeling design. Lacquer craft, which is famous for its lightness, exquisiteness and chic, also reached its peak in the Han Dynasty. Its craft is exquisite, and the decorative patterns are mainly stretching and flowing deformation moire, animal moire, plant moire and geometric moire, but more are moire on lacquer crafts.

The color application of Han Dynasty patterns is mainly based on contrast, emphasizing lightness, eye-catching and gorgeous, showing the characteristics of element beauty. In the Han Dynasty, in addition to the continuation of the twelve chapters, clothing patterns, as a symbol of the power and status of the ruling class, became more meaningful. For this reason, in order to meet the needs of the rulers, all kinds of craftsmen are pursuing the aesthetic value of art in the design of clothing patterns, and the patterns embodied are not only satisfied with the deformation of various natural images, but meet the needs of the ruling class. In the choice of pattern modeling, the implication of dragon and phoenix is highlighted.

It can also be seen from the shape of the pattern that the dragon and phoenix at that time had a high artistic expression. In the expression of clothing patterns, dragon and phoenix patterns not only have strong craftsmanship and decoration, but also have aesthetic value, and also pursue the perfection of artistic modeling in design. To sum up, it shows that the application of clothing patterns has experienced the most primitive pursuit of the beauty of ignorance, totem worship, power and status symbol, and achieved people's subjective artistic processing and creation. That is to say, as a kind of clothing decoration, although it is covered with a layer of power color (that is, class color), it is not only a symbol of beauty, but also shows its artistic appreciation value more prominently. To this end, we say that the application of clothing patterns in the Han Dynasty has already had a high artistic expression.

6. Evolution, development and main types of bronze mirrors in Han Dynasty.

Han Dynasty is an important period for the development of bronze mirrors in China. Among the bronze mirrors in China, the Han mirror is the most unearthed and widely used. Han mirrors are not only more in number than those in the Warring States period, but also have made great progress in production form and artistic expression. Judging from its development trend, it can be divided into three stages, and the important changes appeared in the period of Emperor Wu of Han Dynasty, the period of Wang Mang at the end of Western Han Dynasty and the middle of Eastern Han Dynasty. The early Western Han Dynasty was a period in which the mirror of Warring States and the mirror of Han Dynasty alternated. It was not until the middle of the Western Han Dynasty, around the time of Emperor Wu of the Han Dynasty, that some new mirrors became popular. These new mirrors have played a connecting role in the development of bronze mirrors in later generations.

Besides the mirrors of the Warring States period, the most popular bronze mirrors in Han Dynasty include: flat mirror, flat mirror, Cao Zhang mirror, nebula mirror, Lei Yun continuous arc mirror, bird and beast mirror, rearranged animal mirror, continuous arc inscription mirror, reunited inscription mirror, four-row animal mirror, multi-row animal mirror, deformed four-leaf mirror and animal mirror.

Seven, the difference between multicolored and pastel.

Pastel is also called "soft color". The reason why it is called "soft color" is to distinguish it from hard color or "five colors" called antique. Pastel, like multicolored and bucket-colored porcelain, belongs to glazed porcelain in colored porcelain, but it is different from multicolored and bucket-colored porcelain. The invention of famille rose changed the situation that colored porcelain, which is mainly multi-color and bucket color, basically uses single-line flat painting or color flat painting to deal with the picture, and rarely uses painting to decorate it. As early as the late Kangxi period of the Qing Dynasty, pastel porcelain in Jingdezhen had already appeared, and it was quite exquisite in Yongzheng period, and reached a high artistic level in Qianlong period. "Eight Friends of Zhushan" left many porcelain treasures painted in pastels. Its leader, Wang Qi, applied the general method of painting porcelain to the portrait of porcelain plate, which was called "magic power" because of its profound painting method and novel painting style. After the founding of New China, pastel porcelain has made great progress, and many healthy, fresh and generous new works are dazzling. Fushou pastel porcelain produced by Art Porcelain Factory won the national gold medal. Jingdezhen Baochilin Company adheres to the enterprise spirit of "inheriting the thousand-year-old porcelain culture and refining modern porcelain treasures" and the core concept of "selecting carefully and valuing products", strictly regulates all links in the production process, and always puts customer demand first and porcelain quality first. The pastel porcelain produced by the company has beautiful shapes, various varieties, rich decorations and unique styles. Porcelain is as white as jade, as bright as a mirror, as thin as paper and as loud as stone, and it is also equipped with quality-guaranteed sales business.

Eight, the Song Dynasty arts and crafts style and its causes

This article is too long. See for yourself. ki.com.cn/Article/CJFDTotal-JDZT2003030 1 1.htm

References:

Baidu encyclopedia,

Creaer's view on the origin of bronze ware making and decoration in Shang Dynasty.