A representative painter of Jingdezhen Porcelain Factory in the late Qing Dynasty and the Republic of China? High score!

the period from 1911 to 1949 is called the Republic of China. China porcelain industry is in a dark period of depression and decline. Objectively speaking, in the past 3 years, many fine porcelains have also been produced. There are inheritance, integration and innovation in these fine porcelain products, which have injected new dawn and hope into the ancient porcelain industry.

The inheritance school led by Guo Baochang made porcelain with the name of "Jurentang", and its embryo quality, glaze and painting all reached a quite high level.

On December 12th, 1915, Yuan Shikai proclaimed himself emperor, changed the Republic of China to "Chinese Empire" and designated 1916 as "the first year of Hongxian". In order to follow the example of the emperors of Ming and Qing dynasties, an imperial kiln was set up in Jingdezhen to burn precious porcelain and write down the year number for the court to use. The "Jurentang" and the "Jurentang system" handed down from ancient times and Guo Baochang, the pottery official of Jingdezhen Imperial Kiln, later used his nickname "Zhai Zhai" as a clue to burn some porcelain, which is valuable. Porcelain with the title of "Hongxian" is a work of subterfuge. On March 22, 1916, the imperial system was revoked, and the title of Hongxian was cancelled.

The antique style prevailed in the late Qing Dynasty and the early Republic of China. No matter what age, whatever kiln mouth is imitated, the antique scope includes porcelain, glaze color and painting, and blue and white wares are no exception. Indeed, a few artifacts have reached the point of "confusion" in skill. For example, in the Republic of China, Mr. Sun Yingzhou specialized in imitating the blue and white wares of the former Ming Dynasty. His imitation of Yongle and Xuande blue-and-white plates and bowls, whose dignified crystallized blue-and-white spots penetrate deep into the fetal bones, are similar in effect to the real Yongle and Xuande blue-and-white wares, and are extremely difficult to identify.

New pastels appeared in the early Republic of China. Compared with the traditional pastel, the new pastel porcelain paintings have absorbed the nutrition of modern paintings in terms of shape, lines, luster and color. The works are good at workmanship and rich in color, which is more in line with the appreciation level of the general public.

Wang Xiaotang and Pan Taoyu, pioneers of new pastel porcelain paintings, whose new pastel porcelain paintings have influenced the whole Jingdezhen porcelain painting style. In 1928, under the initiative of Wang Qi, painters from Wang Dafan, Cheng Yiting, Wang Yeting, He Ren, Xu Zhongnan, Deng Bishan, Tian Hexian, Bi Botao and Liu Yucen set up the "Moon Festival", which was called "Eight Friends of Zhushan". At the same time, Zhang Zhitang, Fang Yunfeng, Wang Dacang, Yu Hanqing, Zhang Peixuan, Wang Xiaoting, Cheng Yunnong and others are also famous painters who are equally famous with the Eight Friends of Zhushan. Most of the new pastel works are porcelain paintings, including square bottles, cylindrical bottles, Yin He, water pots, flat pots and other simple objects.

In order to save the traditional ceramic craft in China, the national industrialists and businessmen further reformed the porcelain handicraft industry in China and founded a number of new porcelain factories. When Guo Baochang supervised the firing of porcelain in Jingdezhen, he hired famous artists such as painting, color filling, glaze pouring, modeling and kiln burning, and set up "Jiangxi Porcelain Company" by joint venture of government and businessmen. Fired objects have thin fetal bones, white glaze, pure and bright color and exquisite painting. The bottom tribe "company" of the artifacts. These artifacts are called "the only flower of revival in the history of China porcelain industry" by ceramic appraisers.

In the achievements of modern porcelain-making, except Jingdezhen, the underglaze colors in Liling, Hunan are unique.

Liling, located in the east of Hunan, produces high-quality porcelain clay. From the early Qing Dynasty to the late Qing Dynasty, the porcelain-making industry flourished several times, but the technology was backward, and only coarse porcelain for daily use was produced. In the early years of the Republic of China, Xiong Xicen, a Hunan native who was then Prime Minister and Finance Minister of the State Council, went to Japan to inspect the porcelain industry. After returning to China, he presided over the establishment of Hunan Porcelain School and Hunan Porcelain Company in his hometown. With the help of Jingdezhen artists and Japanese porcelain makers, they created underglaze multicolor. This unique underglaze is colorful, rich in color, crystal clear and moist, elegant and lively, and unique in flavor. There are red, orange, yellow, green, purple, black, gray and other colors. Each color is subdivided into several tones, reaching the artistic realm of "gorgeous but not vulgar, light but divine". It is simple and elegant, and it is bright and rich. At that time, there were artists such as Zhang Xiaogeng, Peng Xiaoqin, Fu Daohui, You Xianli and Wu Shouqi. Liling underglaze multicolor came out only for more than 2 years (199-193), and won the gold medal in the porcelain competition at home and abroad for four times, which was all the rage. At present, there are few handed down works.

Among the porcelains of the Republic of China, the most cultural feature is the porcelain of fashion figure painting. This innovative fashion figure painting porcelain shows the new fashion in the Republic of China. Gorgeous and rich new pastel techniques are adopted in porcelain painting, which makes China porcelain figure painting show an epoch-making new posture.

Before the Republic of China, the pictures on porcelain were mostly painted with landscapes, flowers and birds and auspicious patterns, and the figure paintings were mostly literati, Taoism and opera stories. It rarely shows housewives in real life. Fashion figure painting porcelain depicts the scenes of housewives' lives in many ways, some dressing in front of the mirror, some playing the piano, some arranging flowers with each other, and some playing with children. This description of the family life of modern women in fashion on porcelain is unprecedented in the history of China ceramics. This provides a basis for studying the evolution of customs and the development of women's fashion in the Republic of China.

The third chapter is the influence of China ancient porcelain on foreign countries and southeast regions <; /STRONG>

? A considerable number of Chinese ceramics were sold abroad in the Tang Dynasty. Since the Song Dynasty, the export of China's Song Dynasty porcelain has been increasing. China's Song Dynasty porcelain has been found in many countries in the east, south and west of Asia, as well as in Africa and coastal areas. During the Ming and Qing Dynasties, China porcelain was sold to many countries and regions in Europe, such as Holland, Germany, France, Portugal and Spain.

Some porcelains are completely fired according to the European favorite styles in shape and decoration, which has the characteristics of integrating Chinese and Western styles. For example, the turmeric pattern on porcelain is the national flower of Holland. It is particularly important to point out that the artistic style of painting on ceramics in the Tang Dynasty was more than 1 years earlier than Picasso, the representative figure of French modern painting. In 178, Bottger (1682-1719) fired white and transparent European hard porcelain. After German, France fired real porcelain similar to China. Wedgwood in England (173-1795) first adopted the decorative technology of steam engine and cliche transfer to push ceramics to the mass market at a low price. After the mass production of porcelain in Europe at the end of 18th century, the export of China porcelain to Europe was a spent force.

China ancient porcelain has a great influence on the production of Korean and Japanese porcelain. Since the Han and Tang Dynasties, there have been frequent cultural and artistic exchanges between China, China and Japan, and a large number of Japanese ceramics have been sold to North Korea and Japan. Especially in Song Taizu and Ming and Qing dynasties, the porcelain represented by Jingdezhen was sold to North Korea and Japan, and was welcomed by people from all walks of life. Influenced by China's blue-and-white and multicolored porcelain, Korea's Koryo and Li Dynasties successively successfully fired blue-and-white and multicolored porcelain with China's porcelain-making technology and Korean characteristics. In 1616, Japanese also successfully fired blue and white porcelain, and in 1643, they fired colorful porcelain very similar to China. By the Qianlong period, Japan had become a powerful ceramic country. China ceramics not only lost the huge traditional Japanese market, but also gained a strong rival for the export markets of Europe and West Asia.

1. Koryo celadon

Korean celadon. It refers to celadon produced during the 47-year period ruled by the Koryo dynasty from 918 to 1392. Since its appearance, Korean celadon has been used by nobles and courts. Korean celadon is deeply influenced by China porcelain. At that time, there was a close relationship between the Koryo Dynasty and the Song Dynasty, especially the import of China porcelain, which greatly promoted the emergence and development of Koryo celadon. Most of the Korean celadon in this period imitated Song porcelain, and its patterns and shapes faithfully followed the styles of Yue kiln, Ding kiln, Yaozhou kiln and later Ru kiln and Longquan kiln. According to Xu Jing, a well-known painter in the Song Dynasty, the book "The Picture of Xuanhe's Mission to Korea" records: "The blue color of pottery is called the color of beauty." He added, "Sister-in-law is fragrant and beautiful. There are crouching beasts on the top and lotus flowers on the bottom to inherit it. All the instruments are the best. "The rest are the ancient and secret colors of Yuezhou, and the new kiln wares of Ruzhou are similar. Here, Xu Jing compares Koryo celadon with Song Ru Ci and Yue Kiln porcelain. It can be seen that Korean celadon was precious at that time.

The glaze color of Koryo celadon is close to Longquan celadon, with pink and Fei colors as the main tones. The glaze is shiny, with fine stripes and black and white ornamentation. The popularity of blue and black in Korean celadon is still related to its ethnic origin. According to the "History of Korea", "China began with hoary head, and finally became different in wisdom. Its potential is based on water and wood, with black as its parents and green as its body. If the custom follows the soil, it will be prosperous, and if it goes against the soil, it will be disastrous. Customs, clothes, crowns, music and ritual vessels of the people, are also used for official purposes. In the future, all officials in civil and military affairs will wear black clothes and green hats ... Anyone who uses copper earthenware will follow the local wind. Follow it. " From then on, it is not difficult to see the root cause of the popularity of blue and black in Korean celadon.

Second, Li dynasty porcelain <; /STRONG>

Li dynasty porcelain refers to porcelain produced from 1392 to 1883. In the early period of Li Dynasty porcelain, influenced by white porcelain in China at the end of Yuan Dynasty and the beginning of Ming Dynasty, the glaze was deep, and the white porcelain burned was as white as snow. In the Li Dynasty, people advocated honesty and the Confucian concept of innocence was deeply rooted in people's hearts, so white porcelain ran through the whole Li Dynasty. Porcelain in the Li Dynasty can be roughly divided into three periods: from the first year of Taizu to the twenty-seventh year of Renzu (1392-1649). The middle period was from the first year of Xiaozong to the twenty-seventh year of Yingzong (165-1751). In the later period, from the 28th year of the British Emperor to the 2th year of the Emperor Gaozong (1752-1883). This book introduces a precious kind of colored porcelain jar in the official kiln of the Li Dynasty, with a height of 11.5cm, a diameter of 14.6cm, a bottom diameter of 12cm, a flat lip and a short circle. White glaze is applied to the inside, outside and bottom of the vessel, showing ivory white with fine lines. The glaze layer is fine and lustrous, the tire soil is white and delicate, and it feels heavy. There are six prominent dots arranged in a five-pointed star shape at the bottom, which is the symbol of official kiln products. On the front, there are three dragons flapping their wings in the clouds, and the dragon pattern is painted in black glaze. Ganoderma lucidum type colorful clouds are covered with bean green and light blue shades. This painting method is similar to China's fighting color. There are two bean green patterns on the edge of the outer wall of the utensil. The lion's head is embossed on both sides of the jar. The lion's eyes are round and bright, with a ring in his mouth. It is powerful and magnificent, and the blue and white color is green and bright, crystal clear and smooth. On the back, from right to left, the characters "I am boundless" are written in black lacquer. It fully embodies the level of official kilns in the late Li Dynasty, and its exquisite craftsmanship is a rare treasure. In the mid-Li dynasty, the glaze color of white porcelain was slightly cyan, and at the same time, white porcelain dyeing appeared, such as red in glaze and brown in glaze. At this time, the pattern of blue and white porcelain is childish with a pen, and the weak streamline can be concise to the point of cherishing ink as gold, which is similar to Jingdezhen folk kiln porcelain in the early Ming Dynasty.

Third, Imari Kiln and Wu Xiangrui Blue and White Porcelain and Others <; /STRONG>

In the sixth year of Ming Zhengde (1511), Japanese ceramist Dr. Goro Ito came to Jingdezhen, Jiangxi, China with Japanese envoys to study porcelain-making technology, and changed his name to Wu Xiangrui. Two years later, he returned to China and was called "Dr. Goro Ito Xiangrui" to show his memory of China. He opened a kiln in Imari, before Japan, and called Imari Kiln, which is one of the important porcelain kilns in the history of Japanese ceramic development. With the production technology of blue-and-white porcelain spread in this kiln, Japan called blue-and-white porcelain dyeing, which made an important contribution to its development. His works are generally characterized or written as "Wu Xiangrui" or "Dr. Five Lang Xiangrui" and "Made by Wu Xiangrui, a doctor of five Liang Dafu", which is called the Xiangrui School. The shapes, patterns and glaze colors of its wares are obviously influenced by China porcelain. Because the green materials used for firing blue and white were very expensive at that time, most of the blue and white porcelain wares produced in Imari kiln were used by Japanese emperors and royalty.

In the Qing Dynasty, Imari Kiln continued to burn blue-and-white porcelain wares, and a considerable number of exported porcelain wares were fired, among which the wares with the company's English abbreviation V·OC were fired for the Dutch East India Company.

China's porcelain-making technology has a great influence on Japanese ceramics. The blue-and-white and multicolored glazed porcelain fired in Japan not only absorbs the traditional ceramic technology of China, but also has the characteristics of Japanese porcelain-making.

Chapter IV Imitation Porcelain of China in Past Dynasties and Its Application