The Traditional Folk Blue-and-white Porcelain And The Creation Of Modern Living Ceramic Art

It is generally recognized that China is the motherland of ceramics. The several thousand-years-long history makes China has the outstanding accumulation and splendid achievements in the field of ceramic art Jingdezhen, as the well-known ceramic city in the world, has an incomparable situation in world ceramic history. The blue-and-white porcelain, which initiated in Jingdezhen from Yuan dynasty, is its most brilliant accomplishment. The porcelain made in Folk kilns, which was one of the two major Ceramic production systems in Jingdezhen, were not as perfect as the products made at all costs in the Official kilns. But, in a variety of objective conditions, by the production practice, the hard-working and intelligent Jingdezhen craftsmen developed the folk blue-and-white porcelain with prominent living character.Because of the working conditions and the customers'sake, the folk blue-and-white porcelain made in Jingdezhen has been showing a simple straightforward aesthetic characteristic. Strong traces of artificial and natural amenities made it show unique artistic style different from those made by Official kilns. It is precisely because of such features, the traditional folk Jingdezhen blue-and-white porcelain has an independent aesthetic value. Commencing with the historic conditions, The thesis writer analyzes the intrinsic relationship between the characteristics of different periods of writing used on the Jingdezhen folk blue-and-white porcelain the traditional art represented by Chinese ink painting, summarizes its modern feature, and probes that whether it may link and be of benefit to the ceramic creations of modern living ceramic.In addition, we must mention that although this article chooses the traditional folk Jingdezhen blue-and-white porcelain as the excavation point and as a clue in this thesis, but is not to say that in our country, only the excellent Jingdezhen blue-and-white porcelain can be used as reference for modern living ceramic art. The writer wishes we may start from this thought and return to the starting point of ceramic art. We should seek elements from our excellent tradition of ceramic art, create for life, find out what we ever owned and our pursuit and respect for the culture of ceramic wares.