Research On The Porcelain Painting Of Ci Zhou Kiln In The Area Of Ancient Ci Zhou Of Song And Yuan Dynasty

This thesis focuses on the development of the taste modality of porcelain painting art in Ci Zhou kiln and discusses the stages, varieties, and veins decorations of black -drawing on white-embryo porcelain of Ci Zhou kiln and its relationship with Chinese traditional painting and calligraphy. Starting with the general characteristics of the painting and calligraphy of Ci Zhou kiln, this thesis further analyzes the unique style of colored-drawing on white-embryo porcelain of Ci Zhou kiln, and the reasons of its formation, which are not only influenced by appeal and modality infiltration of Chinese traditional painting and calligraphy, but also affected by the economy and culture of Song, Jin and Yuan Dynasty. The decoration methods, expressions, and styles of porcelain painting and calligraphy of Ci Zhou kiln are also discussed in this thesis. What is especially pointed out is that an important creation style in porcelain painting decoration of Ci Zhou Kiln originates from the amalgamation of painting and calligraphy taken by civilian porcelain maker. The formation of this kind of creation style is a result of the influence of literati painting tide, the orientation of the nature of folk creating, as well as the requirements of the flourishing commercial manufacture. In the consideration of this thesis, a model of the combination of freeness and pattern is shaped in porcelain painting decoration of Ci Zhou kiln, and this model takes certain effects on the posterior celadon porcelain decoration. Moreover, this thesis also expatiates upon the positive significance which porcelain painting decoration of Ci Zhou kiln has in the aspect of porcelain art appraisal and appreciation, and its significance of art history in the aspect of traditional painting and calligraphy. Generally, the demonstration of these significances illumines our further cognition of Chinese traditional painting from brand-new points of view.