The cultural speciality of ceramics is not only that it reflects a wide range of social life, nature, culture, customs, philosophy, ideas, but also the way it reflects. It is a three-dimensional national cultural carrier, or a static national cultural dance. This is determined by the properties of the ceramic. A piece of work, no matter the subject matter or style, is like a note, beating, playing, synthesizing the melody of ceramic culture. These melody, some agitation, some deep, some enthusiasm, some reason, some colorful, some natural, constitute an unparalleled inspirational large-scale symphony of Chinese ceramic culture!
As one of the Chinese national cultures, the ceramic culture is nurtured, grown and developed in the national motherland. It expresses the creator's emotions, the fragrance of the earth, and the artistic image of the creator's heart and mind. With the national culture, it tells the story of a beautiful and vivid picture, showing the vast picture of social life, recording the joys and sorrows of the mortal beings, describing the development and changes of the nation's psychology, spirit and character, and moving forward with the joy and sorrow of the nation.
The pottery sculptures in the pottery of the Neolithic period record the desire of the ancestors to survive. The pottery pigs, cows, and dogs, imitating the animal image that comes from hunting or feeding, demonstrates the fierce struggle with nature and expresses the evolution and development of civilization. These works, which are realistic and realistic, are imagining the confusion, joy and struggle of the ancestors. The scene of rushing and calling in the wild and barbaric is heart-wrenching.
Pottery miracle Qin terracotta warriors and horses, the resolutely awesome general, the knight who is holding the bow and gazing at the commander, the infantry with a strong, sharp-browed anger, the archer who is holding the bow and looking ahead, and the god of the wind, The war horses, which were born together, formed a square array, flaunting the power, and bravely bravely reminiscent of the warring States era of the Jin Ge Iron Horse, which was full of smoke, and imagined the winds and clouds of the Qin army, swallowing the sun and the moon, sweeping the north and south of the river. Military power. Although it is a military array, it reflects the main theme of that era and vividly records the history of that period.
The Han Dynasty economy was restored, and all aspects of society were developed, showing different characteristics of the times from the Qin Dynasty. The content and artistic style of pottery and plastics have also changed. No matter whether it is a character or an animal, the scenes are not like the realism of the Qin Dynasty ceramics, and strive to be realistic and detailed, but focus on the overall Grasping the spiritual connotation of the object, paying attention to the characterization of the ecstasy, the truth of the details, emphasizing the role of the momentum and expression vocabulary in image shaping, showing an aesthetic style of boldness and flying, which is exactly The aesthetic characteristics of the Han Dynasty.
The style of "Tang Sancai" that expresses generosity, magnificence, grandeur, grandeur and grandeur is the vivid reappearance of the sound of the times, the splendid and magnificent, and the radiant sound of the Tang Dynasty. The fresh and fresh, it is the reflection of the aesthetics and philosophical ideas of that era. The glamorous and soft beauty of the Ming and Qing Dynasties is the result of social life and aesthetic concepts (Xiongiao's "Ceramic Aesthetics and the Aesthetic Characteristics of the Chinese Nation"), Reform and Opening up The future heroes and unrestrained are also the result of the comprehensive role of politics, thoughts, ideas and life in this period.
Therefore, a history of Chinese ceramics is an image of Chinese history and an image of Chinese national cultural history.