The growth of ceramic pen holder
Germination period: Southern and Northern Dynasties. Before the pre-Qin and Han dynasties, the foundation was hairpin, and there was no special object for inserting pens at that time. In order to prevent the pen from being messy, or to avoid soiling other items, the pen is cut into a sharp shape on weekdays and inserted in a bun after use, which is easy to occupy no space. In the Eastern Han Dynasty, the pen insertion was improved, and the shape was more vivid and delicate, and various decorative patterns were engraved on the body of the instrument.
Growing period: Tang, Song and Yuan Dynasties. The penholder circulated in the Tang Dynasty is very rare, but according to literature records, it has become an item arranged in the study during this period. For example, in Du Fu's poems, he once talked about the pen holder: "The pen holder is exposed to the window rain, and the bookmark reflects the gap."
Hydrological pen holder of Longquan kiln electric color mountain in Song Dynasty
It also involves Lu Guimeng's poem "Self-painting Clouds, Peaceful brushwork". In this period, it is not limited to wood materials, but the trend is diversified. For example, the coral pen holder appeared in Luo Yin's poem: "The coral pen holder is a real pearl, and he once wrote several poems with Wang Chen"; The penholder grew up in the Song Dynasty, and a large number of cultural relics were unearthed.
In Song Dynasty, the ink of Mi Fei Coral Post was handed down from generation to generation, and the coral pen holder was painted inside, with a peculiar fork shape as a whole. Zuo Shu wrote the word "golden sitting" and improvised a book: "There are three branches cast by Cao from Jinsha ... shame on having five colors." This is the earliest description of the image of coral pen holder. Ren Lei Copy in Song Dynasty can be divided into "ancient jade body" and "bronze rust body".
Blue and white porcelain Swiss animal pen holder in Yuan Dynasty
The pen holder in Yuan Dynasty advocated the mountain shape in Song Dynasty, and the materials were jade, monochromatic glaze and stone. In Yuan Dynasty, Liu Yin's pen container in the distant mountains recorded: "What is the ability to hold a pen, and the desk depends on the trace of the distant mountains. Seeing Taihua in the palm of your hand, the world is China. " Express your feelings with a mountain pen.
Ming Dynasty ceramic Yamagata pen holder
Cenling period: Ming and Qing dynasties. In the Ming dynasty, the study became the main place for literati to relax. Gao Lian, a dramatist in the Ming Dynasty, described in Gao Zi's Study: "There are long tables, Gu Yan, old bronze water pens and old kiln pens in the study." . According to records, at this time, the pen has become an indispensable tool in the study.
Its materials are double and diverse "coral, agate, crystal, carved rhinoceros, etc." , as well as traditional materials such as porcelain, jade and wood. The shape of the pen holder is "those jade with mountain shape ... those with bronze fly up and down" The shape of the pen holder in the Ming Dynasty was mostly mountain-shaped, with three peaks, five peaks or even more.
Qingganlong turquoise glaze wave pen holder
The penholder in Qing Dynasty is better than that in Ming Dynasty. The penholder in this period strangely emphasizes material, workmanship, spirit and beauty. Not only the materials are exquisite, the workmanship is exquisite, but also perfection is required. Jade, stone, purple sand, copper and silver, gold plating, wood, enamel and other materials. They are all selected, especially natural materials are the most precious.
Pen holder practical to beautiful price change
Pen holders before the Northern and Southern Dynasties were practical, mainly placing brush when painting and calligraphy. Although the Tang, Song and Yuan Dynasties were mainly functional, they endowed the pen container with profound connotations.
During the Ming and Qing Dynasties, great changes have taken place in penholders. The Ming dynasty advocated simplicity and solemnity, and the Qing dynasty was magnificent and heavy. Everything from porcelain to stationery is heavy. Whether emperors or generals pay more attention to their carving techniques and decorative patterns, the court momentum in this period is rich and colorful, with extremely wonderful auspicious patterns and exquisite skills, which gives people gorgeous but reveals the secular.
Song dynasty porcelain spray pen holder
The literati poets in this period still retained their unique literati temperament, but they also paid more attention to seal cutting. The decorative function of the study utensils was greater than the function, and the study utensils gradually became aesthetic handicrafts.
Porcelain pen container "heyday"
The Ming and Qing Dynasties were the heyday of the development of ancient Chinese penholders. The most prominent symbol is that the shape of the pen holder is doubly diverse, the materials are doubly rich, the craftsmanship is doubly exquisite, and the decorative patterns are doubly detailed. Materials include jade, ceramics, wood, stone, copper and silver, and new materials such as cloisonne are also selected.
Honeycomb Penholder for Shoushan Stone in Qing Dynasty
Modeling is not limited to mountain shape, bionic pen container is becoming more and more common, and literati favor natural conformal pen container. At the same time, the penholders in this period are no longer limited to practicality, but tend to appreciate the function, so they pay more attention to the beauty of decorative patterns.
designer
During the Ming and Qing Dynasties, the modeling design of Wanwen musical instruments was influenced by the traditional philosophy of "Taoism is natural" and "letting nature take its course". For the Ming and Qing Dynasties, pen holders cooperated with each other in modeling design, forming the idea of "natural philosophy". From a philosophical point of view, Laozi and Zhuangzi emphasize that nature is more important than wages. Under the promotion and influence of this natural philosophy, many scholars believe that literary works should express natural beauty and emphasize the artistic view of advocating aesthetic self.
Create new ideas
No matter from the individual characteristics of the pen holder or the aesthetic psychology of the viewer, the design of the pen holder is required to create a new way with a new angle and attitude, which will surprise and impress the aesthetic psychology of the viewer.
Pastel flower pattern pen holder
Therefore, successful pen works are always individual, original, changing and innovative. A pen container that you can't put it down and never tire of reading, besides high-quality materials and exquisite construction technology, it must also contain original ideas.
Method of writing letters
Composition should fully consider the correlation between graphics, graphics are not independent individuals, but must be interrelated to make the picture coordinated. Finally, there are bumps. Another level, also called virtual reality. The concave part is imaginary and the convex part is real.
Blue and white glazed mountain pen, bright.
Influenced by the traditional Taoist culture in China, emptiness and reality are the two most important elements in art. In composition, "emptiness" means blank space or "emptiness". And "reality" is a bulge, such as a mountain, a piece of water, a grass and a tree, as well as people, animals, decorative patterns and other physical forms. Virtual and real are interdependent, and proper use of virtual and real will form a dynamic, dense and hidden connection in the modeling of pen container.
China's traditional artifacts have profound and mysterious oriental characteristics, rich and magical texture, poetic and elegant artistic conception and delicate details, which make China's artifacts intriguing and beautiful. China's traditional art of utensils conveys and indicates the necessary atmosphere, interest, realm and style through morphological words, so as to meet people's aesthetic needs, that is, Su Dongpo's "mind on things" and "artistic conception", as a distinctive feature of China's traditional art, are fully exposed in the movement of utensil creation.
In the Ming and Qing dynasties, the aesthetic thought of "making utensils to be good" and the viewpoint of "Tao in utensils" were emphasized in learning art. As far as the pen holder in Ming and Qing Dynasties is concerned, it has various shapes, various materials, exquisite craftsmanship and exquisite decorative patterns, but this is far from enough as a work of art. In the pen holder's creative movement, it is necessary not only to satisfy the external formal beauty, but also to show the "artistic conception" conveyed by the pen holder, not floating in the external style, but to rise to the level of "Tao".
The literati's fascination with penholders not only pays attention to the material, shape, technology and decoration of penholders, but also pays attention to their "literary feelings", which also shows the creative thinking of "container carrying Tao" As the main part of the ancient concept of creation, "Tao is carried by vessels" has a significant influence on the development of the history of arts and crafts in China and the history of world design art. ..