Application of Chinese Painting Composition in Porcelain

(A) the impact of Chinese painting on ceramic decoration

Poems and freehand brushwork on porcelain in folk kilns after the Ming Dynasty were the direct influence of literati landscape painting on porcelain decoration. For example, the freehand brushwork on blue-and-white porcelain wares in private kilns in the late Ming and early Qing dynasties, the painting style of animals, fish and insects is strikingly similar to that of the famous painter Badashanren at that time.

Kangxi blue and white, colorful stone painting, used to use "axe to cut", changed to "horse" in Yongzheng period. Chapter 10 of the History of Chinese Ceramics, Ceramics in the Qing Dynasty, records the decoration of Chinese paintings on ceramics: "During the Kangxi period, in addition to being used to' baby plays',' eight immortals' birthdays, and' four concubines and sixteen sons', drama stories were particularly popular. "For example, the stories in The West Chamber, Water Margin, Qiantang Dream, etc., the characters in this period were influenced by Chen Laolian's painting school in style. The real application of China's painting art in ceramic decoration is that with the development of society and the spread of knowledge, how to deal with ceramic decorators has gradually changed from the taste of a craftsman to the taste of a scholar.

By the end of the Qing Dynasty and the beginning of the Republic of China, a group of scholars and writers with traditional Chinese paintings had entered the Jingdezhen art scene. For example, father and son Shanshui, flower and bird Cheng, Pan and others all greatly influenced the traditional painting style at that time with fresh Chinese painting techniques, and the subsequent "Eight Friends of Zhushan" also embarked on this road under their influence, adding luster to the art treasure house of the motherland.

For example, painters Wang Qi, Wang Dafan, and Liu Yucen, Peach Blossom in the Water, all absorbed the boneless flower-and-bird painting techniques of Yunnan Tian and Ren Yi in Qing Dynasty, and applied them to ceramic pastels, making porcelain achieve the artistic effect of painting on rice paper like Chinese painting.

Mr. Wang Bu, the contemporary "King of Blue and White", used the expression method of China ink painting to draw blue and white, which was divided into five colors like Chinese painting. He also divided blue and white materials into five colors, striving for the charm of ink painting. I am interested in studying the brushwork of Badashanren and Huang Shen in Qing Dynasty. Powerful and gloomy style, simple and vigorous pen and ink, vivid flowers and birds, applied to ceramic blue and white art, is unique in Jingdezhen ceramic art.

Bi Yuanming, who is famous for painting tigers, is good at epigraphy, calligraphy, poetry and painting. When I was young, I studied the works of Zhang Shanzi, a famous Sichuan tiger painter, and Gao Qifeng, a painter of Lingnan School in Guangdong. Inherit the excellent tradition of Chinese painting in picture composition, brushwork, color setting and scenery. Mr. Wang's tiger has both Mr. Zhang's neat brushwork and the charm of southern style.

Lu Ru, a senior master of arts and crafts, is good at ceramic decorative design and traditional Chinese painting, and enjoys a high reputation in the field of ceramic art and painting. Decorating ceramics with China's traditional painting techniques has gained a high reputation. His new works "Loquat Hanging Plate" and "Summer Ripe" are ceramic decorations using Chinese painting techniques and are also one of Mr. Wang's successful works. There are also many artists in Jingdezhen, such as the painters of the older generation, who have been honed, have a solid foundation, profound skills, high artistic attainments and unique works. Mr. Hu is vigorous, Mr. Bi stands tall, Mr. Yu Hanqing is beautiful and healthy, Mr. Ma Yugui is old and simple, Mr. Yu Wenxiang is quiet and profound, and Mr. Xu is vigorous and profound. Young and middle-aged painters who have grown up after liberation adhere to the road of "learning from nature" and "learning from nature", study hard, work hard, be energetic and have the courage to create. Their works not only have traditional artistic color, but also absorb the nourishment of foreign sister art, showing a strong sense of the times and life. Some are unrestrained and smooth, some are elegant and smart, some are rigorous and delicate, some are dignified in brushwork, and some are chic in posture ... Many works are full of intriguing pen and ink flavor.

Why is Chinese painting so popular in Jingdezhen? Do ceramic artists care so much? This is mainly because the expression form of ceramic decoration, from composition to conception, from artistic form to technique, is different from process materials. Drawing lessons from Chinese painting to ceramic decoration, because many of its artistic techniques are suitable for the decoration needs of different types of ceramics, Chinese painting and ceramics penetrate each other, blending and brightening exquisite ceramic materials to form a unique ceramic decoration language.

(B) Ceramic decoration absorbed the expression of Chinese painting.

(1) scattered perspective composition.

Chinese painting adopts scattered perspective composition, which leads to the appearance of the ancient scroll The Riverside Scene at Qingming Festival and the newly created Three Gorges Scroll by modern China Academy of Art professors Wang Shimin and Yao Hezhuo. It is impossible to draw such a long picture with the focus perspective of western painting.

If the scattered perspective composition of Chinese painting is not used in various ceramic modeling vessels, it is impossible to draw landscapes, figures and so on.

(2) "Counting white is black"

"Blank" is a unique and important manifestation of Chinese painting. Chinese painting emphasizes white as the main color and black as the pen. The relationship between reality and reality, the artistic principle of "knowing white and keeping black" in Chinese painting, is basically consistent with ceramic decoration.

(3) "Freehand brushwork is vivid"

The emphasis on "similarities and differences" in Chinese painting is Mr. Qi Baishi's summary of his experience in freehand flower-and-bird painting. "The spirit is outside the shape" and "the shape is in the air" is the unique feature of China's painting art, especially the folk blue and white of Ming Dynasty in Jingdezhen, which is like the freehand brushwork of "Badashanren". For example, a circle is the head, one is the hair, two points are the eyes, the inverted herringbone is the dancing hand, and then two long lines are drawn, namely the body and the feet. This is all the pens used in Baby Play, such as modern painters Guan Liang, Gao Made and other dramatic figures are so vivid. In contrast, the characters in folk blue and white in Ming Dynasty are more quiet, naive and naive.

The forms of expression and artistic features of Chinese painting can be found in ceramic decoration. The two influence each other and penetrate each other. For example, the figures and flower-and-bird paintings in "famille rose" are similar to those in Chinese painting.

Analyzing pastel decoration techniques, we can see that ceramic decoration and Chinese painting have always had an indissoluble bond. The main forms of Chinese painting are heavy color meticulous painting, light color, writing while working, freehand brushwork without bones, throwing black and so on. Mainly pay attention to the bone method with a pen. Sketch, rubbing dyeing, color rendering. Generally, decentralized perspective is adopted, which is not limited by time and space. Pay attention to composition, pay attention to blank space, and pursue the ingenious combination of conception and reading painting and printing. These are all unique forms of Chinese painting, which pays attention to the word "meaning", that is, freehand brushwork. It is not only the difference between neat brushwork and bold brushwork, but also the spirit of Chinese painting. In the image of plastic arts, Chinese painting requires both form and spirit, and emphasizing conception and vividness is its highest standard.

The expression forms of ceramic decoration, from subject matter to conception, from artistic form to technique, have many similarities with traditional Chinese painting, but they are different because of the differences in process characteristics, tools and materials.

For example, pastel pens are generally centered, with a little side attack, and are basically rubbed. Because the texture of porcelain tire is smooth, it is not as good as the ink absorption of rice paper, and the method of taking materials should be dark to achieve the effect of flying white. Pastel painting is similar to traditional Chinese painting except that there is no rendering and coloring (but there are washing and dyeing methods and color matching methods), such as bottoming, shading and filling.

Chinese painting especially emphasizes the function of lines, and the line drawing techniques of Chinese painting have accumulated a lot of rich experience, such as the "eighteen strokes" of characters, which are used and used for reference in ceramic decoration. Whether it is antique, pastel, new color or blue and white, it is inseparable from the use of lines. This is very important for ceramic decoration.

For example, Chinese painting, the most basic and important modeling method of Chinese painting, is generally marked by the center and has strong lines. Different from pastel painting, Chinese painting only relies on single-line painting, and all rely on line skills to express images of various figures, flowers and birds, mountains and water.

Blue and white are the largest lines, and the blue and white material lines are required to be convex for cross-line water diversion, so that the water diversion can be controlled within the line. Don't cross the lines of the depicted image.

(3) Ceramic decoration and Chinese painting art permeate each other.

Chinese painting is painted on rice paper, and the "Chinese painting" of ceramic decoration absorbs the expression of Chinese painting to decorate ceramics. Therefore, Chinese painting and ceramic decoration "Chinese painting" are two irreplaceable arts, which can only influence and inspire each other. Generally speaking, the varieties of arts and crafts are very fine, and they are known as "wonderful workmanship". Decorating Chinese painting on porcelain is more suitable for meticulous painting and makes the picture look beautiful.

Chinese painting art is innovative, and ceramic decoration strives for innovation in process materials and decoration techniques, so that Chinese painting art can be better applied to ceramic decoration and create ceramic art treasures worthy of our great era.