Ming And Qing Paper Research

Jianzhi,a kind of paper printed with delicate designs is known as paper artwork for writing and painting.It is also one of the important carriers for traditional Chinese art literatures.Jianzhi in Ming and Qing Dynasties in particular,can not only become the carrier of calligraphy and painting but also play a role as the medium for spreading art and culture.That means the images presented on Jianzhi and Jianpu not only reflects the writing etiquette and aesthetic taste of the literati class but also has the effect of Huapu and Jinshi Tupu.Therefore,Jianzhi itself is both the carrier and an important form of art literature.The activity of Jianzhi making in the late Ming Dynasty followed the skills of dyeing and calendaring during the process of paper decoration for thousands of years.At the meantime,some printing methods such as woodblock overprint and Gonghua were originally used.As a result,the Luoxuan Biangu Jianpu and Shizhuzhai Jianpu from Jinling City had completely heralded the beginning of a kind of period that literati love to collect and sort out varieties of patterns on Jianzhi.Compared with other Mopu Huapu and the illustration of novel and traditional Chinese opera which were contemporaneous,the above two Jianpu had vividly showed not only the various designs but also some stereoscopic pattern with a bas-relief like.Approximately during the Qianlong period,there came out the dividing point of Jianzhi making in Ming and Qing Dynasty.Since then,different Jianzhi stores appeared everywhere and those scholars,urban freelance calligraphers and painters who were enthusiastic about identifying the patterns on Chinese sacral vessels in Qing Dynasty devoted themselves to Jianzhi making one after another.They took full of the advantage of the characteristic that Jianzhi is able to be copied into thousands of ones to widely show and communicate the language of art.Gradually,with the Beijing-Tianjin region centered on Beijing liulichang in northern China and the Suzhoufu-Songjiangfu region centered on Shanghai Yuyuan garden in southern China,two most representative center of Jianzhi production appeared.The one in northern China called Nanzhidian,while the other in northern China called Jianshanzhuang.At the moment,all the Jianzhi stores,Jianzhi makers,calligraphers and painters together with engravers and printers constantly made themselves increasingly impressive through powerful combination,centering on Jianzhi stores.In that case,besides to seal various Jianzhi with pattern from works of painters and ask to purchase calligraphy and painting works,the Jianzhi store even instituted painting association with corresponding journals published,which became a force to be reckoned with between the southern and northern school of painting world in the end of Qing Dynasty.The purpose of this thesis is to explore the literatures have not been integrated in contemporaneous field of art from the perspective of Jianzhi in Ming and Qing Dynasty.Although the perspective looks like common and microcosmic,it may perhaps become the interpretation for supplement and answer.