The Freehand Study Of Chinese Folk Kiln Porcelain Painting

Originality is the most enjoyable for China art. China kilns porcelain painting as the representative of folk art, from the outset fully demonstrated this feature. Through the combination of literature and image interpretation, in the making of a simple sort of the Chinese folk kiln porcelain painting and freehand brushwork in traditional Chinese painting features, explore the freehand brushwork of the reasons for the formation of form. Then combined with the practice of painting creation, in-depth analysis and interpretation of the aesthetic characteristics and cultural connotation of the expression of freehand brushwork. In the analysis of text data and porcelain painting can be found, to the late Ming and early Qing Dynasty, with the development of the literati painting freehand brushwork, coupled with kilns porcelain painting context changes, between the two began have great relevance. In the comparative study of the two can be obtained China Folk Kiln porcelain painting of freehand brushwork in traditional Chinese painting and traditional literati painting freehand brushwork in traditional Chinese painting "homologous allograft" conclusion. Both are China unique traditional Confucianism ideology based on the origin and Chinese culture. The difference is that a source of the literati class of the "upper class culture",a source from the bottom of the social work of the people of the lower culture".Anyway, in the strict sense, Chinese folk kiln porcelain freehand painting although in a certain historical period reference, integration of the literati painting creations, but investigates its essence is still an important part of Chinese folk art, which contains different from the unique aesthetic value of literati painting system. Through the study of Chinese folk kiln porcelain freehand painting aesthetics and aesthetic origin, the aesthetic expression, can better understand to kilns porcelain painting is representative of the folk art forms, aesthetic tendency and psychological needs, and for the contemporary Chinese freehand painting for "tastes" of the meeting point.