Pacun Kiln's Ceramic Art Research

Cizhou porcelain kilns are the biggest non-governmental one in the northern china in Song and Yuan dynasties, which spread widely in Henan,Hebei, Shanxi and so on. Pacun kiln, as an important branch of Cizhou kilns, lies in the middle Henan, which enjoys the same origin with Dangyangyu kiln in Xiuwu, HebiJi kiln, Dengfeng kiln and Boshan kiln. Its product is mainly featured with black flowers on the white motherboard, which integrates the porcelain zing techniques with Chinese calligraphy and painting. Its themes are prolific and style unpolished and modesty.Since Pacun kiln was discovered in the 1950s, although some experts such as Chen Wanli, FengXianming, Ye Zemin of the Palace Museum have inverstigated the relics of Pacun kiln and written some short reports about it, compared with the abound research of Cizhou kilns, the research of Pacun kiln is still on its cold stage, not mention to the involvement of the experts of art line. Pacun kiln has long been regarded as the same type to Cizhou kilns. On the basis of investigation of the relics of Pacun kiln, the remained breaks on the earth, the cultural relics in museums of Yuzhou, Xuchang, consulting the heirlooms and private collections presented in GuoXuelei's Cizhou kiln's porcelain of Ming dynasty and integrating the concerning content of the history of fine arts, this thesis focuses on the analysis and up neatening of Pacun porcelain of Song and Yuan dynasties. Staring from the research of its decorations, the thesis makes a preliminary exploration into its social and cultural backgrounds, the social and historic messages conveyed by the decorations, its achievement in calligraphy and painting and its position and influence in the porcelain history and a comprehensive judgment on it through its art value, historic value and folk-custom's value.The thesis consists of five parts. Part 1 introduces the background of Pacun kiln's decoration art, including the historic evolution of its location Yuzhou,its geographic environment, its natural conditions and the development of art and porcelain in Song and Yuan dynasties. Deferring to Changsha porcelain's technique in Tang dynasty and Pacun kiln's unique style as a branch of Cizhou kilns, the third part classifies the themes of Pacun's color-paintings into: calligraphy and characters decoration. Each class has abound sub-themes which enclose the broad contemporary social and historic life. Colligating the above materials, part 4 explores the art style of Pacun porcelain and its non-governmental and comprehensive features. After exploring the connection between Pacun kiln and its contemporary Cizhou kilns, by comparing it with the later Blue and White, Wucai and Doucai porcelain, Part 5 dredges up Pacun kiln's position and influence in the ceramic art history of Chinese porcelain.