Study On The Shape And Pattern Of Black Flower Porcelain In Cizhou Kiln In Ming Dynasty

The Ming Dynasty Cizhou kiln black flower porcelain is not only a craftful ancient art,but also contains a high historical value and cultural value.This thesis aims to find out the shape and pattern characteristics of the four representative works of bowls,plates,bottles and cans by studying the shape and pattern of the white porcelain in the Cizhou kiln system in Ming Dynasty,and summarizing the formal characteristics and pattern of the patterns.Therefore,it lays a foundation for the study of the shape and pattern of the black-flowered porcelain of the Cizhou kiln system in the Ming Dynasty.This thesis firstly studies the black-and-white porcelain system of the Cizhou kiln in the Ming Dynasty.From the aspects of the shape and size of the neck,abdomen and bottom foot,the paper divides the shapes of bowls,plates,bottles and cans into three parts..By analyzing the basic styles of bowls,plates,bottles and cans,the shape characteristics are summarized.Secondly,the mathematical analysis is used to calculate the caliber and height of the black-and-white porcelain samples and their ratios,and the characteristics of the shapes are summarized.Both sensibility and rationality reveal the shape characteristics of the black flower porcelain in the Ming Dynasty.The results show that the bowl can be divided into five types according to the shape and size characteristics of the neck,abdomen and bottom foot.The disc is divided into four types,the bottle is divided into four types,and the tank is divided into six types.Among them,the most direct change in the shape of the bowl is the difference between the diameter of the bowl and the curve of the abdominal wall;the most direct influence on the shape change of the disc is the size of the disc and the angle of expansion of the abdominal wall.Although the foot has an influence,it has little effect;The most direct influence on the shape change of the bottle is the neck length of the bottle,the difference and high curve of the shoulder and abdomen,and the influence of the mouth and the foot on the whole is relatively small;the largest change in the shape of the can is the size of the can.The curve difference between the shoulder and the abdominal wall and the height of the can,the influence of the foot is not obvious.On this basis,this thesis studies the black-and-white porcelain pattern of the Cizhou kiln in the Ming Dynasty.It mainly uses case analysis and induction to analyze bowls,plates,bottles and cans from three perspectives:plant patterns,animal patterns and other patterns.The characteristics of the patterns are summarized in the basic laws of plant patterns and animal patterns in the black-flowered porcelain of the Cizhou kiln in the Ming Dynasty.The results show that the patterns of black-flower porcelain plants in the Cizhou kiln system in the Ming Dynasty mainly include entangled patterns,broken branches,and individual grass leaf patterns;animal patterns can be used as the main pattern,or with entangled patterns,rolled lines,The combination of patterns such as moire appears in the form of abstraction and figuration;other patterns mainly include figure patterns,geometric patterns,and text patterns.From the visual point of view,there are mainly three forms of plane,three-dimensional and flat three-dimensional combination.From the expression of the pattern,there are two expressions:realistic and freehand.The realistic pattern is realistic and the freehand pattern is simple.This thesis starts from the two aspects of the shape and pattern of black flower porcelain,and combines a large number of pictures and archaeological literature to in-depth and meticulously study the morphological regularity of the four representative works of the bowl,plate,bottle and can of the black porcelain of the Cizhou kiln in the Ming Dynasty.The research and research results can provide reference for the improvement of the theoretical framework of the study of the black kiln porcelain of the Ming Dynasty,and also provide the basis for the inheritance and development of the styling and decoration.