The Early And Middle Ming Dynasty Official Kiln Hgure Pattern And The Palace Figure Painting Theme Comparison Research

Ming Dynasty official kiln porcelain began to rise in Hongwu period,reached the first peak in Yongle and Xuande period,and then reached the second peak in the Chenghua period.Throughout the golden age of Jingdezhen official kiln in Ming Dynasty,it almost coincided with the prosperous period of Palace painting in Ming Dynasty,and they had many similarities in subject matter,especially in the subject matter of characters.The Palace figure painting in the early and middle Ming Dynasty has a strong political and religious color,and the official kiln figure decoration with the same official background is also greatly affected by the political and religious factors.This paper mainly organizes and analyzes the theme of the characters of Jingdezhen official kiln in the early and middle Ming Dynasty,classifies it according to the chronological order and the type of subject matter,and compares the ornamentation with the contemporaneous Palace figure painting theme,and then explores their similarities,differences and deep connections.This paper sorts out the development process of the theme of Jingdezhen official kiln's character ornamentation in the early and middle Ming Dynasty,and summarizes its development law.It can be seen that the character pattern of this period has obvious inheritance and distinct innovation.From the inheritance of character ornamentation,some of the themes run through the early and middle of the Ming Dynasty.Take the theme of children's games as an example.The content of the Yongle sixteen children's game patterns was not only completely reproduced in Xuande and Zhengtong period,but also retained in the period of Chenghua.From the point of view of the innovation of ornaments,the ornaments of different periods not only have innovative subject matter content,but also use the latest production technology.For example,the foreigner characters in Yongle period,the ladies in Xuande period and Gaoshi in Chenghua period were all the innovative themes of the official kilns at that time,and the use of domestic blue and white materials in Xuande period and the Doucai in Chenghua period.This paper also compares the decoration of official kiln porcelain characters in the early and middle Ming Dynasty with the Palace figure painting at that time,studies the relationship between the two,and finds that they have a high similarity is closely related to the social background at that time,and the decorative drawings may come from the creation of Palace painters at that time.Taking the foreigner figure patterns of Yongle period as an example,it's emergence was closely related to the social background of Zheng He's voyages to the West and other foreign exchange activities at that time.And Xuande period of ladies theme decoration and Chenghua period of Gaoshi theme decoration is related to the emperor's personal preferences at that time.In addition,the painting style of official kiln porcelain figure patterns in the early and middle Ming Dynasty and Palace figure painting also have a certain degree of imagination,their development direction is basically the same,from the early realistic style began to slowly change to the freehand style in the middle and late period.The Xuande period character decoration and the popular Palace painting at that time are realistic style,the painting method is meticulous and rigorous,the pattern have many details.But in the middle period,the character decoration begins to popularize the freehand style,the character image begins to distort.The details of the pattern are greatly reduced,just keep a few important elements.