The Study On Shapes And Patterns Of Chinese Ancient Pottery

To recognize history, people firstly start from when and where the things existed. But unfortunately, the prehistory has no written records, even without the dynastical annals of the historical period, and no literature to be checked becomes an obstacle for us to recognizing history. Fortunately, in the Chinese prehistoric archaeology, a lot of painted potteries have been excavated. As a particularly noticeable cultural characteristic of Chinese prehistory period, the current research situation on painted pottery art provides reference for us to recognize history.However, Chinese painted pottery art has rich remains, a large and jumbled pedigree, and plus a comparatively long history, which makes the research work rather difficult. During the study of the predecessors'research achievements, I found there are not many papers studying on modeling and grain of painted pottery, and the study on the relationship between them is also rare. Therefore, choosing the relationship between them as a frame, using the basic knowledge of artistic anthropology and related content of aesthetics and other disciplines as a theoretical basis, and starting with the characteristics, this thesis focuses on the study of the relationship between them. The introduction accounts for the selection of this study point of view, meanwhile, the current research status of painted pottery is summarized and discussed. The main text part firstly makes a double-assertion of the development from pottery to painted pottery, the author thinks this development is a reconstruction process of the ancients' "deliberate creation" and "contingency"; Secondly, the author classifies the modeling and decorative pattern of painted pottery, and summarizes the characteristics of both evolution, especially discusses how the typical matrixes develop from the initial realistic state to the abstract form; After a clear understanding on modeling and decorative pattern, in the end the author mainly discusses the time-space relationship and the unique artistic reaction between them. The final guesses are new ideas appeared in the research process, and the author hopes that it can provide more research perspectives. In addition, besides the aesthetic implication, painted pottery also owns rich cultural connotation, which is referred to in this thesis.The platform between our spiritual realm and aesthetic consciousness and the ancient ancestors'of is the only speechless painted pottery. The occurrence of painted pottery art is so far away, the spanning spatio-temporal dialogue inevitably cannot figure out the characteristics painted pottery art thoroughly. The research on Chinese primitive painted pottery art will be a lasting subject.