The Study On The Artistic Style And Origin Of Blue-and-White Flower And Bird Pattern Of Jingdezhen Folk Kiln In The Late Ming Dynasty

As a classic subject on ceramics,flowers and birds appeared in the Changsha kiln in Tang Dynasty,which is developed by the Song and Yuan Dynasties.In the Ming and Qing Dynasties,the development of the subject on flowers and birds on ceramics was arrived at the peak in Jingdezhen.The so-called "porcelain must have painting,painting must be intentional",the "meaning" carried by flowers and birds is not only reflected in the auspicious meaning of homophonic(such as quail parable,bats "meaning")and other forms of auspicious meaning,but also from the two angles of painting and appreciation,showing people’s pursuit of natural beauty,reflecting on the state of self life,and then highlighting it.The social aesthetic taste at that time reflect the philosophical proposition of "man and nature".This paper selects the time of late Ming Dynasty,because it is the key period of the development of the green flower in the folk kiln,with the flower and bird as the breakthrough point,which can make deeply exploring of the deep causes of the formation of its craft and artistic style,and the profound influence on the artistic style of the later generations of the same kind,with a view to the future of ceramic flower through the combing of this series of problems.The development of the subject on flower and bird provides useful thinking for the painting on ceramics in the future.