The perfect combination of paper-cut art and ceramic art
In the history of ceramics, Jizhou Kiln in the Song Dynasty directly used paper cutting to decorate ceramic products. Jizhou kiln is obviously different from other kilns in the Song Dynasty in terms of ceramic shape and specific decoration. Jizhou Kiln applied the art of paper-cutting to ceramic decoration, which was a pioneering work of the times; Jizhou Kilns paper-cutting butterfly bowl uses Jizhou Kilns original decoration that cleverly combines paper-cutting art with porcelain making technology, using paper-cutting and pasting, and then glazing and firing. , more characteristic of folk art. In addition, there are also black glaze carved porcelain decorations from Jizhou kiln that have the characteristics of paper-cutting. This kind of decoration also obviously has the artistic characteristics of paper-cutting, reflecting the phenomenon of paper-cutting being widely used. Jizhou kiln is unique. During the same period, other kilns also had ceramic decorations that combined paper-cutting and ceramic craftsmanship. Most of them showed the fashion of the times and local characteristics, and carried a strong local flavor.
Both Yaozhou kiln and Ding kiln have traces of paper-cut art participating in ceramic decoration, and they respectively drew on the techniques of paper-cut art. The ceramic decoration of Yaozhou kiln in Song Dynasty was mainly black glaze engraving. "The period after the mid-Song Dynasty was its heyday, with engraving and printing as the main decoration, especially the sharp edges and smooth lines of the engravings, which ranked first among similar decorations in the Song Dynasty." According to the "History of Chinese Ceramics", by the mid-Northern Song Dynasty, Yao Porcelain Engraving Maturely developed, the carvings have unique styles such as flexible and smooth lines, sharp blades, and rich decorative themes. The main white porcelain carvings of Ding kiln in the Song Dynasty were bamboo slices or knives used as tools for decoration. The lines carved on bamboo were wider, while the lines carved on the knife were thinner. Regardless of the thickness of the lines, they generally have a sense of smoothness, and bevels of different shades are carved on the lines, making the patterns show rich and varied changes. Either way, these engraved porcelain decorations possess the characteristics of paper cutouts, managing to detach the intended image from the porcelain surface. This is enough to show that in the production of folk ceramics, due to the mutual influence of culture, expression forms and expression techniques absorb each other. In addition, the art of paper-cutting is also widely used in brick-carved architectural accessories to decorate buildings. Yu County, Hebei Province, known as the cradle of mankind, is not only one of the hometowns of paper-cutting, but also the birthplace of folk culture that combines paper-cutting and ceramics. The brick carvings on the Temple of Wealth and Chongtai Temple in Yu County, Hebei Province are both examples of paper-cutting in ceramic decoration.do. The four brick carvings are exquisitely crafted and the patterns are clearly visible. The first, second and third paintings are all typical descriptions and depictions with the theme as the central content. They are auspicious decorative patterns with deer, phoenix and lion as the themes respectively; the fourth painting also uses deer, phoenix as the theme. Decorative carving patterns for content themes. These four paper-cut brick carvings all have relief elements on the basis of paper-cutting. They have distinct layers and exquisite carvings. They also reflect the characteristics of paper-cutting art in terms of the combination of subject and foil, and have a strong local style; in composition, they pay attention to the priority. The combination of looming theme interpretation and clear auspicious meaning contrast shows the creators unique ingenuity. If we look further afield, we will also find traces of many forms of paper-cutting art integrated into ceramic decorations. This may be an advantage in recording paper-cutting’s absorption of other cultural factors in the development of ceramic culture. evidence.
In Jingdezhen, the capital of porcelain, ceramic culture has accumulated more than a thousand years of history. The content of ceramic culture, the expression of ceramic culture, the methods and methods of expressing the content of ceramic culture, as well as the performance techniques and techniques have all reached perfection. historical height. Here, the most primitive ceramic production methods, extremely advanced production technology, and avant-garde artistic trends can all be found in the ceramic cultural phenomenon in practice. In Jingdezhen, the variety of exquisite porcelain has witnessed the advancement and development of the history of ceramic decoration. A kind of ceramic product that looks like a combination of paper-cutting and shadow puppets, with exquisite blue and white flowers, appears here. Exquisite patterns and round and flexible porcelains bear witness to the historical fact of the combination of ceramics and other traditional crafts: a complete collection of paper-cut patterns composed of crystal clear glazes and exquisitely fine holes, "under the action of light and shadow" "Stay away from the surface of the porcelain", and it is flexible under the light and shadow, and at the same time has a certain aesthetic style.
In the aesthetics of ceramic decoration, there is both the aesthetics of material culture and the aesthetics of non-material culture. “Beauty is inseparable from the accumulation of history. That is to say, the change of aesthetic orientation is inextricably linked with history at any time. Of course, the accumulation of history is not the repetition of history but the evolution and development of history. It only changes in the times. We can't see the appearance of the surface after being passed down from generation to generation, but the law of beauty is a deep-rooted objective existence. Especially in the era of sudden changes in design styles, we look at the inner laws of beauty from the perspective of 'accumulation theory', not just the tenacious vitality of a certain pattern. ." Paper-cut art has a profound impact on us. In addition to the visible form, it also has many non-material things, national culture, etc., all of which have a profound impact on us.
We know that any material and spiritual activities of human beings are always carried out under the influence of traditional culture, humanistic background, social habits and aesthetic consciousness. In this historical background environment, artistic activities will always have national characteristics. sexual color. Since the emergence of Tao in human history, Tao has provided the most concentrated material life resources for mankind. It was the cultural life object of people at that time.The central content of qualitative foundation. Here, there is clear information recorded in Chapter 8 of Volume 3 of "Memoirs" by Socrates' disciple Xenaphon: "He related beauty and utility. Beauty must be useful. The standard for measuring beauty is utility. If it is useful, it is beautiful." , Harmful and ugly." What he said was both thorough and concise. Putting aside the shape factor of pottery and looking at its practicality, pottery is beautiful. This kind of beauty is the most primitive pragmatic beauty of pottery. Paper-cut art appears when life requires it, expressing peoples pursuit and yearning for a better life. People use various contents and forms to express cultural implications, "depict" the essential spirit of life, and reflect a kind of local flavor. Ceramics not only embodies its practical functions, but also embodies its practical beauty, and carries the spirit of aesthetics. No matter in terms of shape, color, or decorative concept, it carries a pure aesthetic.
