Relationship Research On Figures Painting On Jingdezhen Glaze And Nanchang Porcelain Plate Painting

Jiangxi regional culture has a long and glorious history, among which Nanchangporcelain plate painting is one of the outstanding cultural representatives. Existing inthe form of handicrafts, Nanchang porcelain plate painting has ornamental,monumental and commodity circulation features, in the meantime, it also contains adeep Chinese traditional humanistic spirit, advocating the thoughts of Confucianism,encouraging people to be temperate, kind and courteous, and also respect the old andcherish the young. So far, it possesses the educational power and universal values, forexample, making changes in customs and traditions and promoting ethicalrelationship. In the current expanding consumption culture, Practical functions andspiritual values inherent in traditional porcelain painting are gradually declined. Forinstance, as a necessity of life in market demand, and the symbol function forworshipping our ancestors. Furthermore, the rigid demand as commodity circulationis also drastically reduced. Therefore, the position of porcelain plate painting incontemporary life is becoming marginalized and non-mainstreaming. However,Nanchang porcelain plate painting is traditional intangible cultural heritage, and itsspiritual and cultural value, geographical and cultural identity and unique aestheticimplication still play an important part in the aesthetic culture of the world. As anexcellent human cultural symbol, the preservation of heritage value is undoubted.How to explore the spiritual and cultural value and artistic aesthetic characteristics ofNanchang porcelain plate painting is the new subject proposed by the era. Taking thisas a starting point, this paper carries out an in-depth analysis on the artistic origin,cultural and artistic identity of Nanchang porcelain plate painting.This paper gives a specific elaboration in the field of figure painting onJingdezhen glaze and Nanchang porcelain plate painting, including origin causes,representatives, development process and artistic features and so on. Based on this, itconducts a comparative study on the field of painting figures in the porcelain ofJingdezhen and Nanchang, which mainly focuses on the study of their relationship.By using the comparative study method, the author studies their inheritance, identity and differences. From the level of artistic expression analysis, including the theme,shape, color, composition and technique, through these comparative analysis, theirsimilarities and differences are summarized. For example, in the earlier period,Nanchang inherited from Jingdezhen, and in the later development they sometimeshave the same subject matter, for example great people images. On this basis,Nanchang created celebrities, stars and propositional creation. In the modelingaspects, it has inherited from Jingdezhen. The pioneering stage of Jingdezhen’smodeling is not entirely based on anatomy, which obviously has technique ofexpression in eyebrow, eyes and beard of Chinese paintings. It was Liang Duishi whointroduced porcelain portrait painting into Nanchang. He had some western paintingskills. The shape of his painting is more rigorous, and he paid attention to the accurateexpression of the structure, rather than spirit characterizations, which is the differencefrom Jingdezhen. In these studies, the author takes the time as the line, artisticexpression as the surface, and specific works as the point. The point, line and surfaceclosely link to each other throughout the comprehensive comparative analysis.