Built Pottery "residual Post" Decorative And "broken" Form Aesthetic Taste

"Residual Print" is one of the symbolic and decorative forms of Yunnan Jianshui oottery, it was popular in late Qing Dynasty and early Minguo, and it has been extended to contemporary decoration of Jianshui pottery. With the development of fianshui pottery, there are more and more relevant studies of it, there are also the esearch on the schema of "residual print". However, there’s no detailed investigation n these studies on origin, form of social background of "residual print", instead it has oeen simply defined as the unique decoration form of pottery. In fact, the so called "residual print" with the aesthetic taste of "stack","broken" text, illustrations is not unique in pottery decoration. In late Qing Dynasty, this kind of aesthetic taste widespread in the vicinity of Jiangsu, Jiangxi, Zhejiang and other regions, and it was involved in painting, craft decoration. Its formation has been closely related to the rise of stone wind, Calligraphy. So far, few people have sorted out details or did in-depth study towards this, which is precisely the research focus of this dissertation.During the research, the author in this thesis attempts to decompose the decorative schema of Jianshui pottery "residual print" into two breakthroughs of aesthetic taste as "stack of multiple fonts" and "broken", and tries to do mutual corroborated research on the two with calligraphy aesthetic of "print" and "monument" to gain some inspiration. As the important basis and template for calligraphy learning,"print" has included many kinds of chirographies that have been formed through thousands of years’development in Chinese history, the learning of "print" means to be familiar with and master a variety of chirographies (especially for cursive handwriting, formal script and running hand). From the late Ming Dynasty to Qing Dynasty, especially after the middle of Qing Dynasty, with the emergence of stone textual, the epigraphy was again popular based on the main performance of seal character and official script. It was at that time, the learning and master of many chirographies ultimately became the co-existing form of "multiple chirographies" and "complex albums" and stack. At the same time, the development of epigraphy has directly led stone calligraphy to focus on seal carving surface,"collapse residue" "overwhelming","broken" in epigraphy tablet calligraphy, resulting in the aesthetic taste of "broken". It was first appeared in seal carving and calligraphy aesthetic in late Ming Dynasty, which was gradually be strengthened after mid-Qing Dynasty, and ultimately formed in schema of stack and co-existence of "multiple chirographies" and "complex albums". Such kind of drawing pattern mixed with broken and overwhelming was named as "Jin Grey Stack", and it widely affected the craft decoration at that time; the decoration of "residue print" of Jianshui pottery belongs to a small portion of this fashion aesthetic.