Ceramic pottery
Unglazed pottery, biscuit, unglazed ware
Tin-glazed pottery majolica
Fine china
p>hard porcelain
terra sigillata
purple granulated, purple sand, terra-cotta
Technology< /p>
Intaglio
marking
vitrify
turning
forming
Stamping, stamping repousse
clay processing
carving
relief
muffle
p>Technology technology
silicon-oxygen bond
Technique, craft
Intermittent kiln intermittent kiln
Casting
Sgraffito
Continuous kiln
Carving, hollow piercing
Jigger
< p>TrailingGrinding
Burnishing, polishing
Cracked chip
Inlay
Ceramic china, capitalized as China, means China. Our ancestors and the ancestors of some countries and regions in the world, such as Egypt, India, Greece, Persia, and Southwest Asia, invented pottery in long-term practice. The making of pottery has a history of nearly 10,000 years. Since humans began to know how to make pottery, profound changes have taken place in all aspects. As Engels said, "The lowest stage of the barbaric age began with the application of pottery." ". On the basis of the continuous development and improvement of pottery technology, the Chinese invented porcelain. The invention of ceramics not only solved people's life problems, such as daily utensils, building materials, etc., but also provided artistic enjoyment.
The history of ceramics
Pottery is the source of porcelain, and porcelain is the flow of pottery. Ceramics with a long history are the starting point of ancient Chinese civilization. Clay is fired with a flame of 500 to 600 degrees to make pottery. The pottery is close to the earth, and the pottery pot is usually a water container, which is practical and simple. Porcelain clay is fired in a kiln at 1,200 to 1,300 degrees Celsius to make porcelain. Porcelain vases are mostly used for flower viewing and are beautiful and elegant. The attributes of pottery are more masculine and the attributes of porcelain are more feminine and feminine. The combination of pottery and porcelain, the blending of spirit and spirit, creates eternal stories and wonderful comedies.
Pottery belongs to words, and words are sung along with music. A dancing pottery bowl from Majiayao four to five thousand years ago is the most beautiful dancing spirit among pottery; porcelain belongs to poetry. Yes, poetry dances along with paintings. A secret-color glazed celadon bowl unearthed from Famen Temple is also filled with the most magical story in porcelain. China's immortal libretto is "Ode to Wind, Ya," and China's immortal poetry is Tang poetry. The Book of Songs, which is like pottery, and Tang poetry, which is like porcelain, are the most beautiful sounds of ceramics in Han hieroglyphics.
People who like pottery are more of artists who create beauty. In pottery, they find the soul of artistic creation; people who like porcelain are more of artists who appreciate beauty. In porcelain, they hear the rhythm of art. Soul. Pottery gave birth to porcelain, and porcelain grew from pottery. Ancient Chinese pottery traveled across the oceans with porcelain, spreading Chinese civilization and becoming famous all over the world. The pottery with masculine attributes first loved to expose its naked red, orange, white, gray, and black bodies. It loved to wear green glaze clothes that were close to nature, which always hinted at its close relationship with nature. Among the pottery, the most fascinating ones are Tang Sancai. Ancient people often said that women in the Tang Dynasty "beautiful because of their fatness". In fact, that kind of robust beauty is closer to the dignified beauty and simple beauty of men. Therefore, the beauty of the Tang Dynasty essentially belongs to the beauty of Tao. As long as there is a Tang Sancai in all the art of the Tang Dynasty, all the beauty of the Tang Dynasty will be highlighted. Porcelain with feminine attributes was also first covered with celadon glaze, such as the celadon of the Eastern Han Dynasty. After the pottery was exhausted by the Tang Sancai, it quietly retreated and gave way to porcelain. The most brilliant appearance of Chinese ancient porcelain actually came in the Northern Song Dynasty. Ru kiln porcelain from the five famous kilns of the Northern Song Dynasty embodies the most charming and subtle static beauty of oriental women. The elegant and ultimate cyan color shines with a feminine brilliance. Saying "you" again shows that women are like water. Therefore, the beauty of the Song Dynasty is essentially porcelain. All the beauty of the Song Dynasty can be encompassed by just one Ru kiln bowl.
After the five famous kilns of the Song Dynasty, blue and white began to appear in the Yuan Dynasty, just like folk village girls who were selected from rural beauty pageants to the palace. The red glaze, yellow glaze, blue glaze, multicolored, and pastel porcelain that later appeared in the Ming and Qing courts all have the characteristics of female beauty. Because the girls in the palace had extra time to dress up, the emperor ordered the porcelain officer Tang Ying and others to make batches of beautiful porcelain suitable for the queens, concubines, and nobles to please them. In the courts of the Ming and Qing Dynasties, the feminine beauty of porcelain was completely visualized and flamboyant, fluttering outside the high-walled and locked palaces. The most typical example is the Kangxi Beauty Drunken Willow Leaf Vase (cowpea red glaze). The petite and unsteady appearance is like a beauty walking gracefully with a three-inch golden lotus. Therefore, it can also be said that a Kangxi Beauty Drunken Willow Leaf Vase has developed the beauty of feminine porcelain to the extreme. In addition to being the favorite of princes and nobles, official kiln porcelain of the Ming and Qing Dynasties has also been favored by merchants from ancient times to the present. Because in the eyes of businessmen, porcelain is the same as beauty. In addition to being works of art, it is also a commodity that maintains and increases value. This is the biggest tragedy in the development of Chinese porcelain until the late Qing Dynasty.
From pottery to porcelain, craftsmanship has evolved, but art has degraded. Emotions have become more beautiful, but temperament has weakened. Because pottery is closer to nature and still retains the spirit of the earth, while porcelain wants to be closer to the sky, but it becomes noble and exquisite, especially thin-bodied porcelain, which is like a beautiful and unlucky woman, breaking at the touch. From pottery to porcelain, the roughness of men and the masculinity of men are gone, replaced by the delicacy and perfection of women. As the history of ancient Chinese civilization developed to the Qing Dynasty, even men had to wear long braids. This also confirms the sadness, poignancy, melancholy, and sadness of the development from pottery to porcelain... A piece of glazed pottery from the Han Dynasty , men’s greatness and simplicity, virility and courage, roughness and dreams, brilliance and plainness are all contained in it. A piece of colored porcelain from the Qing Dynasty embodies a woman's compassion and humility, tenacity and fragility, purity and beauty, passion and jealousy.
From pottery to porcelain, what have we gained as human beings on earth? What's missing? What has deteriorated? What evolved? This is worth pondering. For this reason, "burning wasteland with the spirit of pottery" is a poem, a cry, and a drumbeat, which always reminds us to return to simplicity and truly return to a green spiritual mentality and an environmentally friendly spiritual home.
First you see a mountain as a mountain, then you see a mountain as not a mountain, and then you see a mountain as a mountain. These are the three realms of mountain watchers. Similarly, first of all, ceramics are ceramics, then ceramics are not ceramics, and then ceramics are ceramics. These are also the three realms of ceramic collectors facing ceramic art works. The first one There are many realms where many people are still wandering; in the second realm, few and very few people are trekking; in the third realm, very few people dream of climbing.
In the artistic dreamland, ceramics are very solemn; in real life, ceramics are very ordinary. Solemnity and ordinaryness are both mountains and rivers, seas and mulberry fields, and they will evolve into each other. In the history of civilization, the complex between pottery and porcelain has made the world a colorful place. To appreciate ceramics, you must appreciate the taste and spirit. This is the true ceramic connoisseur and ceramic artist, not the ceramic merchant or ceramic appraiser. The pottery scrolls are exposed to the storm and thunder; the porcelain scrolls are exposed to the wind, flowers, snow and moon. The real life of ceramics is very confused, lonely and introspective. This may be the hidden true meaning of ceramics.