Chinese people began to pay attention to modern ceramics, and formed a scale of public opinion in the 1990s. Of course, strictly speaking, the origin of the development of modern ceramics in China is related to the earliest practitioners in the former Central Academy of Arts and Crafts (the predecessor of Tsinghua Academy of Fine Arts) and Jingdezhen Ceramics Academy in the late 70s and early 80s. 20 years ago, the older generation of ceramicists, such as Zhu Dainian, Yang Yongshan, etc., made useful attempts in the direction of modern ceramics, and produced a large number of young and middle-aged ceramicists, such as Lü Pinchang, Luo Xiaoping, Bai Ming, etc., with styles and genres of pottery. There are also a large number of young and middle-aged potters such as Lu Pinchang, Luo Xiaoping, Bai Ming, etc., with many styles and genres and increasingly diverse techniques. Most of them are college teachers, or have received higher education in the traditional ceramic art, therefore, China's ceramic art in the beginning of the college has a love affair.
However, the development of the academy alone was extremely limited, both in terms of conception and dissemination, and was also narrow in terms of academic level. In the 90's, the first is the 1991 "Beijing International Ceramic Symposium", followed by the 1995 "Jingdezhen International Ceramic Symposium", in May 1998 in Yixing organized by Luo Xiaoping and other people planning a larger scale, academic discussions more in-depth "98 China Yixing". In May 1998, the "98 China Yixing International Ceramics Symposium" was held in Yixing by Luo Xiaoping with a larger scale and more in-depth academic discussions, and in the fall of the same year, the "First Biennial Exhibition of Works by Young Chinese Ceramic Artists" was held at the China Academy of Art, curated by Liu Zheng and others, and also met the audience. "Beyond Clay--Chinese Contemporary Ceramic Artists Academic Invitation Exhibition" is also quite high level. These several important academic seminar exhibition, heralded the Chinese ceramic art is emerging, its scale and scope and influence is expanding to the whole society.
However, modern ceramics as a new thing there are many problems, these problems in a greater sense, to a greater extent, composed of the current situation of Chinese ceramics, more worthy of our discussion. Boiled down to the following questions, in order to readers to play.
One, "traditional" and "modern" gap
"Traditional" and "modern
The relationship between "tradition" and "modernity" is an endless topic in today's art field, pottery is not inconvenient. However, in many discussions about pottery from "traditional" to "modern", a very important issue has been neglected, that is, the function of pottery. It is not only related to the function and value of ceramic artwork, but also for the role of ceramics in the whole cultural system and the role of ceramics and the social positioning of the potter are very relevant. Only when the question of "what is modern ceramics for?" is corrected, rather than just the question of "what is modern ceramics for? such a question, not just "what does modern ceramics look like?"
Traditional Chinese pottery is attached to the pottery, "practical and try to beautiful" in a fairly long period of time to limit the development of contemporary Chinese pottery. In this concept, pottery can only belong to the arts and crafts, its function is only practical and ornamental. In this case, the potter's talent is more limited by the "making", can only be explored in the pursuit of design and formal beauty of the field, the potter is also closer to the craftsman, can not be integrated into the trend of modern art.
The role of modern ceramics is that it expands the artistic attributes of the original ceramics, so that the potter is not subject to the limitations of "ware-making", and can be engaged in the field of aesthetics and value criticism. He can not only continue to make a difference in the original design field, but also give full play to his nature as an artist, to carry out valuable cultural criticism against the reality, and thus get involved in sculpture, installations and other fields of art. It enriches itself and complements other art disciplines, thus enriching the hall of visual arts.
So, no matter how the traditional ceramics development have "ware" constraints. Modern ceramics development, in the understanding of the first thing to do should be the transfer of functional theory, so as to get rid of the "ware" and fixed shape of the dependence, and really towards a broader world.
This kind of disconnection can be dissolved through the conceptual change, and its existence is also the driving force of the continuous development of contemporary ceramics.
Second, the limitations of dissemination and acceptance
Many genres of modern art, after the reform and opening up, especially in the middle and late 80s, entered China like a storm. Although at that time the Chinese people did not know how to appreciate, some even produce aversion, however, objectively recognized the reasonableness of their existence, and from the concept of increasingly close to them. Modern ceramics did not catch up with the trend, and from the point of view of dissemination seems to have missed the golden time. From the current situation, many industry insiders also pointed out that modern ceramics only in a few porcelain areas and cities in the foundation of the better, such as jingdezhen, guangzhou, shanghai, etc., however, on the surface of the mass foundation is quite weak, did not cultivate a wide range of ceramics to appreciate the group, which is not conducive to the development of modern ceramics. We also note that due to the current Chinese daily-use ceramics and fine art ceramics industry is not prosperous, so even in the original has a deep tradition of many ceramic areas, the masses of its interest in ceramics is also weakening, this situation is very worrying.
On the other hand, the media, newspapers and magazines on the introduction of modern ceramics is sporadic, not a large scale, not to mention the specialized ceramics publications. Now bear the task of dissemination is some pottery studio, but their role has not been valued, insightful people pointed out that the overall development of a country's pottery is the prerequisite for the mobilization of folk forces, only the water can be boat high.
From the point of view of the recipients, Chinese people certainly do not lack of feelings for ceramics, however, really can not talk about their feelings for modern ceramics, because most of the people's views on ceramics are stuck in the traditional concept. Coupled with the poor dissemination, the appreciation of the taste of the natural hard to mobilize.
However, we have to see, modern ceramics in the spirit of modern art movement is connected, people can accept modern art can accept modern ceramics, it is only a matter of time.
Three, theory and practice of the disconnect
Theory and practice of the disconnect has become a very prominent problem in modern pottery. Pottery artist Xia Dewu said: "A group of people from Guangzhou Academy of Fine Arts invited a certain art critic from the Central Academy of Fine Arts to comment on modern pottery, and he could take modern art concepts and modern philosophy to comment on modern pottery. But I think this is far from enough." He pointed out that the reason why it is difficult to form modern ceramic art critics is that modern ceramics in China is not developed, and he thinks that theorists are very much needed. I have found a book called "modern pottery" in the library of the Central Academy of Fine Arts, in fact, the pottery in the book is only a modern "living person" doing pottery. Visible, modern ceramics in theory is quite scarce, can find the introduction of modern ceramics book is also quite small, and more irregular.
It seems that the modern pottery practice and theory of the disconnect in a considerable period of time, will become a headache. Theoretical talents need to be cultivated urgently, for which many potters proposed while practicing, while doing some theoretical research, which can be said to be helpless.
In addition, modern ceramics in the creation of the system, sales system, creative concepts and other aspects of varying degrees of problems, well from the words of contemporary ceramic artists we can appreciate a "long way to go, I will go up and down and seek" of the Chinese intellectuals unique ambition.
Modern Chinese ceramics although the road is long, with the development of the economy, it is bound to have a brilliant tomorrow!
From the existing archaeological data, it is not a problem to conclude that China's primitive pottery began about seven thousand years ago. The earliest colored pottery originated in the Yellow River Basin, Long its Jinghe River in Shaanxi, Weihe River and Gansu East is more concentrated. The first phase of the Didiwan culture in eastern Gansu was one of the earliest colored pottery cultures in the world, not only in terms of the shape of the vessels, but also in terms of the simple decorations that were painted on them. Pottery wheel technology had already appeared in this period, and pottery-making had become a specialized technology. The colored pottery of the Half-slope Culture was slightly later than that of the first phase of the Dadiwan Culture, and its decorations were slightly more complex, with geometric patterns dominating. In the Miaodigou culture centered on the border area of Shaanxi, Henan and Shanxi provinces, the pattern of colored pottery was more varied, reflecting deformed animal images with curved lines and strong slanting lines of dynamics. Fish, birds, pigs and human beings themselves, which are common in daily life, were used as decorative patterns. All of these motifs are vividly depicted and well laid out, making them masterpieces of primitive painting and reliable image data for the study of the history of Chinese painting.
The Majiayao culture, which is about 4,000 years old, is a branch of the Ancient Qiang group that developed from the Half-slope culture. The other two clades associated with it are the Hanshan Culture and the Mafang Culture, another glorious period after the Longshan Culture. The ceramics of the Majiayao culture type have a polished surface, which is smooth and well-proportioned, and are decorated with black monochrome colors. Decorative patterns to the full of the long, in bowls, plates, bowls, such as the open mouth of the inside of the object, are also painted with patterns. Ancient people, cave dwellers wild, life in the center of the work around the fishing and hunting diet, so the initial urgent need for invention are kettle urns and the like. Ceramics on the emergence of decorative, indicating that the level of human productivity has improved greatly, to solve the problem of fruitfulness outside, there is still room, so people began to meet the minimum needs outside, the pursuit of beauty performance.
Hexi corridor around the horse factory type colored ceramics, the shape is generally smaller, some vessels left on the through the system of small holes, easy to carry reflecting the economic situation of this area of semi-agricultural and semi-pastoral. While in the semi-mountain colored ceramics appeared on the seed sowing humanoid motifs, indicating the development of agriculture and the progress of people's creativity.
In the primitive society, the text is not yet perfect and mature. Pattern images are highly intuitive and had iconic and decorative properties at that time, so the study of colored ceramic patterns will also provide corroboration to the study of ancient writing. Since ancient times, China has been a multi-ethnic country, in the primitive period, the clan tribes are more complicated, in the specific production conditions formed a unique aesthetic demand for cultural characteristics, they each have a representative of the iconic image of the clan culture, but also produces a spiritual cohesion of the force can not be underestimated. With the changes of the clan culture, pottery decoration also appeared different forms of content.
Throughout the technology and art of Chinese colored pottery, it lasted 4,800 years. In fact, its upper limit of the age is still a difficult to prove the mystery, with the archaeological excavation work eight continuously, may also appear different new understanding. As far as the existing information is concerned, it can be said that the primitive pottery is not only the treasure of China's ancient art, it also occupies an important place in the history of the world's culture and art, which is the valuable cultural heritage of all mankind, is an incomparably brilliant chapter in the history of human civilization.
Pottery art
Pottery art has become a synonym of Chinese civilization in a sense. However, when the Chinese potters are awakened from the words "traditional", "practical", "daily use" and so on to re-examine the world, they find themselves lagging behind. Indeed, modern ceramics is not only as a kind of arts and crafts closely related to people's daily life and exist, not just "practical", "beautiful", "economic", The concept of "generosity" can not be covered. It has been widely involved in the modern art movement with its unique artistic language, and has become a sharp weapon for artists to express their ideas and make cultural criticism.
Chinese people began to pay attention to modern ceramics, and formed a scale of public opinion in the 1990s. Of course, strictly speaking, the origin of the development of modern ceramics in China is related to the earliest practitioners in the former Central Academy of Arts and Crafts (the predecessor of Tsinghua Academy of Fine Arts) and Jingdezhen Ceramics Academy in the late 70s and early 80s. 20 years ago, the older generation of ceramicists, such as Zhu Dainian, Yang Yongshan, etc., made useful attempts in the direction of modern ceramics, and produced a large number of young and middle-aged ceramicists, such as Lü Pinchang, Luo Xiaoping, Bai Ming, etc., with styles and genres of pottery. There are also a large number of young and middle-aged potters such as Lu Pinchang, Luo Xiaoping, Bai Ming, etc., with many styles and genres and increasingly diverse techniques. Most of them are college teachers, or have received higher education in the traditional ceramic art, therefore, China's ceramic art in the beginning of the college has a love affair.
However, the development of the academy alone was extremely limited, both in terms of conception and dissemination, and was also narrow in terms of academic level. In the 90's, the first is the 1991 "Beijing International Ceramic Symposium", followed by the 1995 "Jingdezhen International Ceramic Symposium", in May 1998 in Yixing organized by Luo Xiaoping and other people planning a larger scale, academic discussions more in-depth "98 China Yixing". In May 1998, the "98 China Yixing International Ceramics Symposium" was held in Yixing by Luo Xiaoping with a larger scale and more in-depth academic discussions, and in the fall of the same year, the "First Biennial Exhibition of Works by Young Chinese Ceramic Artists" was held at the China Academy of Art, curated by Liu Zheng and others, and also met with the audience. "Beyond Clay--Chinese Contemporary Ceramic Artists Academic Invitation Exhibition" is also quite high level. These several important academic seminar exhibition, heralded the rise of Chinese ceramics, its scale and scope and influence is expanding to the whole society.
However, modern ceramics as a new thing there are many problems, these problems in a greater sense, to a greater extent, composed of the current situation of Chinese ceramics, more worthy of our discussion. Boiled down to the following questions, in order to readers to play.
One, "traditional" and "modern" gap
"Traditional" and "modern
"Traditional" and "modern" relationship in today's various art fields are an endless topic of contention, ceramics is not inconvenient. However, in many discussions about pottery from "traditional" to "modern", a very important issue has been neglected, that is, the function of pottery. It is not only related to the function and value of ceramic artwork, but also for the role of ceramics in the whole cultural system and the role of ceramics and the social positioning of the potter are very relevant. Only when the question of "what is modern ceramics for?" is corrected, rather than just the question of "what is modern ceramics for? such a question, not just "what does modern ceramics look like?"
Traditional Chinese pottery is attached to the pottery, "practical and try to beautiful" in a fairly long period of time to limit the development of contemporary Chinese pottery. In this concept, pottery can only belong to the arts and crafts, its function is only practical and ornamental. In this case, the potter's talent is more limited by the "making", can only be explored in the pursuit of design and formal beauty of the field, the potter is also closer to the craftsman, can not be integrated into the trend of modern art.
The role of modern ceramics is that it expands the artistic attributes of the original ceramics, so that the potter is not subject to the limitations of "ware-making", and can gallop in the field of aesthetics and value criticism. He can not only continue to make a difference in the original design field, but also give full play to his nature as an artist, to carry out valuable cultural criticism against reality, and thus get involved in sculpture, installations and other fields of art. It enriches itself and complements other artistic disciplines, thus enriching the hall of visual arts.
So, no matter how the traditional ceramics development have "ware" constraints. Modern ceramics development, in the understanding of the first thing to do should be the functional theory of the transfer, so as to get rid of the "ware" and fixed shape of the dependence, and really towards a broader world.
This kind of disconnection can be dissolved through the conceptual change, and its existence is also the driving force of the continuous development of contemporary ceramics.
Second, the limitations of dissemination and acceptance
Many genres of modern art, after the reform and opening up, especially in the middle and late 80s, entered China like a storm. Although at that time the Chinese people did not know how to appreciate, some even produce aversion, however, objectively recognized the reasonableness of their existence, and from the concept of increasingly close to them. Modern ceramics did not catch up with the trend, from the perspective of dissemination seems to have missed the golden time. From the current situation, many industry insiders also pointed out that modern ceramics only in a few porcelain areas and cities in the foundation of the better, such as jingdezhen, guangzhou, shanghai, etc., however, on the surface of the mass foundation is quite weak, did not cultivate a wide range of ceramics to appreciate the group, which is not conducive to the development of modern ceramics. We also note that due to the current daily-use ceramics and fine art ceramics industry in China is not prosperous, so even in the original has a deep tradition of many ceramic areas, the masses of its interest in ceramics is also weakening, this situation is very worrying.
On the other hand, the media, newspapers and magazines on the introduction of modern ceramics is sporadic, not a large scale, not to mention the specialized ceramics publications. Now bear the task of dissemination is some pottery studio, but their role has not been valued, insightful people pointed out that the overall development of a country's pottery is the prerequisite for the mobilization of folk forces, only the water can be boat high.
From the point of view of the recipients, Chinese people certainly do not lack of feelings for ceramics, however, really can not talk about their feelings for modern ceramics, because most of the people's views on ceramics are stuck in the traditional concept. Coupled with the poor dissemination, the appreciation of the taste of the natural hard to mobilize.
However, we have to see, modern ceramics in the spirit of modern art movement is connected, people can accept modern art can accept modern ceramics, it is only a matter of time.
Three, theory and practice of the disconnect
Theory and practice of the disconnect has become a very prominent problem in modern pottery. Pottery artist Xia Dewu said: "A group of people from Guangzhou Academy of Fine Arts invited a certain art critic from the Central Academy of Fine Arts to comment on modern pottery, and he could take modern art concepts and modern philosophy to comment on modern pottery. But I think this is far from enough." He pointed out that the reason why it is difficult to form modern ceramic art critics is that modern ceramics in China is not developed, and he thinks that theorists are very much needed. I have found a book called "modern pottery" in the library of the Central Academy of Fine Arts, in fact, the pottery in the book is only a modern "living person" doing pottery. Visible, modern pottery in theory is quite scarce, can find the introduction of modern pottery book is also quite small, and more irregular.
In addition, the modern ceramic art in the creation of the system, the sales system, the creation of the concept of varying degrees of problems, well from the words of contemporary ceramic artists we can appreciate a "long way to go, I will go up and down and seek" of the Chinese intellectuals unique ambition and grandeur.
Modern Chinese ceramics although the road is long, with the development of the economy, it is bound to have a brilliant tomorrow!
The world of artifacts, more decorative. Chinese ceramics in the thousands of years of development, decoration and ware closely linked to the formation of a unique style of ceramic culture. In people's aesthetic diversification today, as China's thousands of years of history and culture of ceramic art is more and more favored by people, modern ceramic art decoration in the traditional ceramic art decoration on the basis of the update and development, not only promotes the modern ceramic art decoration in the direction of the creation and the form of expression, the expression of the method of expanding to a higher realm of art, and appeared in the "hundreds of flowers competing for color, all the images coexist". And there is a "hundred flowers competing for color, and the coexistence of elephants" situation, its new concept, peculiar creativity, rich materials and superb production techniques to form a unique form of craft painting. Modern ceramic art decoration more emphasis on the works of the human spirit and psychological effects, and artists with their own design concepts, more new connotations into the ceramic art decoration works.
On Chinese traditional culture: traditional culture refers to the sum of material culture and spiritual culture created by previous generations. China's rich and colorful excellent traditional culture faster and faster by the attention of society as a whole, the connotation of traditional Chinese culture is multi-faceted, traditional Chinese culture contains 1, conceptual culture (ideological theories, traditional conceptual culture is mainly Confucianism, Taoism, Legalism and Buddhism); 2, historical artifacts (cultural relics including artifacts and works of art, such as pottery, porcelain, bronzes, jades, gold and silver, lacquerware, bronze mirrors, money; calligraphy and paintings); 3. social systems, the so-called institutional culture; 4. ancient books on literature, history, medicine and health care, agronomy, astronomy and calendars, and so on. From the Chinese traditional culture can be seen, the Chinese people with their own hard work and wisdom to create a long and continuous history and rich and colorful civilization. Chinese traditional culture is rich in content and diverse in expression. Chinese traditional culture has the spirit of humanity, nature, odd and even, and meeting.
Ceramic art decoration with its exquisite patterns, rich colors, unique craftsmanship, exquisite production techniques, peculiar creativity and a new concept, forming a unique form of craft painting. Formed a unique ceramic culture. Ceramic art decoration creation process has always been throughout the art of aesthetic creation, aesthetic creation, aesthetic acceptance of the three links. In the history of cultural and artistic development of human society and economic development, ceramic art decoration occupies an extremely important position, ceramic art is profound, far-flung, ceramic art is ceramic culture messenger. Ceramic art decoration presents to people is a ceramic culture spirit. People in the labor to create a culture, culture and shape people, ceramic art is not only a material product, but also a spiritual product, but also a cultural product. Ceramic art decoration after a long period of practice, the formation of a unique ceramic culture.
Spring and Autumn and Warring States period, the pottery is mainly towards the construction of pottery and meditation with the development of two directions. At that time, all the marquis states were greatly constructed, in urgent need of a large number of ceramic materials, which promotes the craft level of architectural ceramics. During the Qin and Han Dynasties, the "Qin Brick and Han Tile" became the best story of pottery making art. The Terracotta Warriors unearthed near the Mausoleum of the First Emperor of Qin on the outskirts of Xi'an, Shaanxi Province, were huge in size and numerous in number, which vividly reflected the real appearance of the Qin soldiers who were swarthy and majestic. The three colors of the Sui and Tang dynasties are also treasures of pottery.
From the Shang and Zhou to the Han and Tang periods of pottery modeling, it is more reflective of people and society, people have become the main body of the pottery modeling, ceramic art decorations reflecting the life of the world in a thousand different ways, pottery reflects people's understanding of nature and human beings themselves in-depth, reflecting the humanistic spirit of the culture of the Han and Tang dynasties.
Wei Jin and North and South Dynasties of China, entered the porcelain era. Sui dynasty, China kiln workers burned white porcelain, Sui dynasty, this great achievement, changed the celadon dominated the situation, to Xing kiln white porcelain is the most famous, there is a "class of snow" reputation, creating a "southern blue and northern white" new pattern. The Yue kiln, known as "the crown of all kilns", created the peak of Chinese celadon art in the Tang Dynasty, and Lu Guimeng, a poet of the Tang Dynasty, once wrote a poem praising: "The Yue kiln was opened by the winds and dews in the ninth autumn, and captured the emerald color of a thousand peaks". He described the Yue kiln celadon "a thousand peaks of green color", it is the Yue kiln porcelain verdant glaze characteristics of the poetic portrayal.
Song, Yuan period of porcelain in the technology to reach a higher level. Song Dynasty is the traditional Chinese porcelain art to achieve the highest aesthetic state of the times, but also "the spirit of jade" and jade-like qualities embodied in the most profound times. Jun, Ru, official, Brother, Ding five kilns made excellent achievements, so that China in the human porcelain on the peak of excellence. It is the ice and jade like elegant, calm character, become the later generations of porcelain industry obsessive pursuit of aesthetic style.
The Ming and Qing dynasties in the Song and Yuan porcelain technology, based on the peak of the porcelain industry. Yongle years of white porcelain clean as jade, thin as paper, giving people a sweet feeling; Yongle years of blue and white porcelain is also very distinctive. During the Xuande period, the blue and white porcelain reached the point of perfection. The Ming Dynasty also made brilliant achievements in high-temperature monochrome glazes. Sacrificial red is found in Chenghua, which is bright red and eye-catching, and sacrificial blue is made from cobalt oxide, which is a pure blue color. Xuande years of sacrificial blue porcelain is particularly exquisite. Porcelain in the Qing dynasty in the middle and late Kangxi development. Kangxi period of blue and white decoration using Western painting techniques. Yongzheng, Qianlong period of colored glaze porcelain development is the fastest, Yongzheng period to Qingli Mei long, Qianlong period to the rich and magnificent for the characteristics. During this period of firing of antique kiln boutique, regardless of decoration, modeling, paragraph are enough to mess with the real point.
Tracing the ceramic products of various periods of Chinese history, ceramic decoration has two main characteristics: one is suitable for ceramic vessels in the form of pattern decoration; the other is in the form of Chinese painting on ceramic vessels in the form of craft conversion expression.
3, ceramic art decoration in traditional Chinese culture expressed in the humanistic spirit
Ceramic art decorative forms from the Tang, Song, Yuan, Ming, Qing Dynasty to the modern era can be divided into two categories: one type of painting in the sense of writing, the other type of brush painting. These two forms of painting and decoration are the characteristics of the development of Chinese painting art period in the presentation of ceramic products. Changsha kilns in the Tang dynasty underglaze color painting of flowers and birds, is the Tang dynasty flower and bird painting art has been a fairly high level of the period, the technique is mature, smooth brushwork, a breath of fresh air, natural and vivid, is the Tang dynasty folk flower and bird painting art style. And the Song dynasty ceramics engraved flower fine are reflected in the bird and flower painting style is transformed into a fine brush painting of the heyday. Also for the Yuan blue and white, Ming and qing dynasty ceramic brushwork ancient, pastel colors have laid the foundation for the emergence of. Ceramic art decorative forms of both writing and brush painting are unique to China's painting art decorative forms in ceramics performance. Ceramic art decoration reflects the historical influence of China's humanistic painting, the formation of China's ceramic decoration unique artistic style.
Ceramic art decoration is an important part of China's outstanding culture, it is the valuable wealth of our nation. Chinese porcelain, from the Sui and Tang dynasties began to circulate to the outside world, Song, Yuan, Ming and Qing dynasties, porcelain as an important commodity marketing nationwide, to the world, ceramic art decorations as commodities in circulation at the same time, but also in the continuous dissemination of China's ceramic culture, promote the development of Chinese culture, so China has been known as the "porcelain country," the name, reputation around the world. Global reputation. Porcelain technology from generation to generation have inherited and innovation, China's production of ceramics with different characteristics, to meet the people's living and aesthetic needs, and foreign economic and cultural exchanges are playing an important role.
Ceramic art decoration on the Chinese culture and the world cultural development of the exchange has played a kind of communication bridge and link role. For the prosperity and development of Chinese culture and world culture has made great contributions.
China is one of the world's several ancient civilizations with a long history, has made many significant contributions to the progress and development of human society. The achievements made in ceramic technology and art are of special importance.
After liberation, a large number of beautifully crafted colored ceramics were unearthed at the prehistoric site of Xi'an's Bianpo, which is breathtaking. According to legend, Yao passed the world to Shun, who passed it on to Xia Yu, who then passed it on to his son, starting the so-called "family world". The Xia dynasty was passed on to Jie, who was tyrannical and unruly, so Shang Tang put him down and made himself emperor, so the world was won by conquests, starting with Tang. Shang ruled the world for more than 600 years (around 16th century BC - 11th century BC) until King Zhou. He was then conquered by King Wu, who committed suicide, and the world came under the Zhou Dynasty. The Zhou Dynasty ruled roughly from the 11th century BC to 221 BC, with de facto effective rule ending in 771 BC. The period from 475 BC to 221 BC is known as the Warring States Period. By 221 BC, the Qin Dynasty had risen to power, and the great unification of China had begun, but the Qin Dynasty lasted only until 206 BC, when it was replaced by the Han Dynasty. During these thousands of years, in addition to daily food and drink utensils, the objects used in rituals and ceremonies were also greatly developed. During the Han Dynasty, which lasted from 206 B.C. to 220 A.D., artists and craftsmen were no longer working with materials such as jade and metal, and ceramics were more precisely emphasized. During this period, firing techniques were developed, harder glazed pottery became common, and the Chinese character for porcelain began to appear. At the same time, through the Xinjiang, Persia to Syria through the commercial routes, China and the Roman Empire began to interact, prompting cultural exchanges between the East and the West, from this period of ceramics can also be seen in the beginnings of foreign influence. Buddhism was also introduced to China at this time.
Six Dynasties period (220 AD - 581 years), the rapid emergence of Buddhist art on ceramics also had a corresponding impact on this season's work on the modeling left obvious traces. The Sui dynasty seized power in 581 A.D., ending the long division between north and south, but it ruled only until 618 A.D. when it was replaced by the Tang.
The Tang Dynasty (618 A.D. to 970 A.D.) is categorized as one of the great periods in the history of Chinese art. Ceramics technology improved dramatically, and many fine porcelain varieties appeared in large numbers, even using today's technical standards of measurement, they are considered to be truly high-quality porcelain. The end of the Tang Dynasty chaos, heroes rise, followed by a dynasty to fight for the situation, that is, the Five Dynasties, this situation lasted until 960 AD. Years of war but a new breed of ceramics - Chai kiln porcelain, the texture of the excellent is widely celebrated, but the heirloom is extremely rare.
The ceramics industry flourished during the Song Dynasty (960-1279 AD) and began to export to Europe and the South Seas. To Jun, Ru, official, Gao, as represented by the many famous kilns with their own characteristics in all parts of the country, the product in color varieties increasingly rich. Due to the invasion of the (Liao) Khitan and (Jin) Jurchen tribes in the northeast, the Song rulers were forced to move south, and were later destroyed by the Mongols. With the establishment of the Yuan Dynasty in 1280 A.D. and the emergence of the Jufu kilns, Jingdezhen began to become the center of China's ceramic industry, and its reputation spread around the world. The white porcelain produced in Jingdezhen contrasted with the blue underglaze decoration, and blue and white porcelain became a popular culture throughout history. The Ming Dynasty ruled from 1368 until 1644. During this period, Jingdezhen's ceramics manufacturing industry was the absolute best in the world, standing out in terms of craftsmanship and artistry, with blue and white porcelain in particular reaching the peak of excellence. In addition, the Dehua Kiln in Fujian, the Longquan Kiln in Zhejiang, and the Magnetic Kiln in Hebei were also renowned for their quality ceramics in their own distinctive styles. With the death of the last emperor of the Ming Dynasty by suicide, Li Zicheng led a peasant uprising into Beijing in 1644 AD. From Wu Sangui called the Manchu army into the Qing dynasty to the Qing dynasty in 1911, the Qing dynasty ruled for more than two hundred years. Among them, Kangxi, Yongzheng, Qianlong three generations is considered to be the entire Qing dynasty under the rule of the ceramic industry's most brilliant period of time, craft technology is more complex products have appeared a variety of color glazes and glaze color is exceptionally rich. To the late Qing dynasty, government corruption, national decline, people's poverty, China's ceramic manufacturing industry is deteriorating. After the establishment of the Republic of China, around the establishment of a number of ceramic research institutions, but the product in addition to inheritance of previous generations, is a simple copy of some foreign designs, no development can be said. At the beginning of the Republic of China, the warlord Yuan Shikai attempted to restore the imperial system, had made a number of special "Hong Xian" years of recognition of the porcelain, this batch of porcelain in the technology can not be said to be not fine, to pastel-based, old style. As a result of frequent civil wars, foreign invasions, people do not want to live, the entire ceramic industry is also a total defeat, until the establishment of new China, did not appear to let the world's attention to the product.