The Aesthetics of Chinese Ceramic Painting: A New Approach

LUO Qing

( Chinese National Academy of Arts, Beijing 100027, China )

The Aesthetics of Chinese Ceramic Painting: A New Approach

LUO Qing

( Chinese National Academy of Arts, Beijing 100027, China )

The unique aesthetic feature of the painted Chinese ceramic patterns could be observed and described with the following three aspects: the Cycling Mode of Thought, the Temperature Mode of Thought and the Participation of the Viewer. The main features of the ceramic artists of the twentieth century are as follows: (1) a brand new weltanschauung has been born; (2) geographically, Chinese artists have been moving continuously toward the southern part of China; (3) Chinese ceramic artist with new subjects corresponding with new techniques have traveled into countries East and West around the world.

the Cycling Mode of Thought; the Temperature Mode of Thought; the Participation of the Viewer; ceramic artists

"East is East and West is West, and never the twain shall meet." More than a century ago, Rudyard Kipling (1865-1936), a famous English writer, winner of the Nobel Prize of Literature, asserted his strong belief without any reservation and hesitation. Echoes of the rebutters and defenders ensuing after this controversial remark have also lasted one hundred years or so. However, none of the discussants is aware that the meeting ground of the East and West has already been frmly founded since the 12th century with the exportations of Chinese ceramics to the Middle East and the European countries in great quantity and excellent quality.

Chinese ceramics are not only carriers of daily utilitarian use with various pragmatic purposes but also vehicles of fine arts with high ideas and sophisticated aesthetics. The origin of Chinese ceramic painting could be traced back to the Neolithic times, enjoying a history about five or six thousand years, ahead of that of the Chinese ink-color painting, and it falls into the following three categories: (1) decorative graphic patterns, (2) narrative records, and (3) lyrical expressions.

Of all the aspects of the art of ceramics, the graphic patterns brushed on the various ceramic shapes derived their primal inspirations from the combination of inkcolor painting and folk art traditions occupying a unique position in the realm of Chinese art. They had developed and acquired their own subjects, themes, techniques andaesthetic principles through the periods of the Tang and Sung Dynasties and culminated their performances in the Yuan, Ming and finally reached the zenith in the Qing Dynasty.

The unique aesthetic feature of the painted Chinese ceramic patterns could be observed and described with the following three aspects:

The first aspect is what I called the Cycling Mode of Thought adopted by the ceramic painters which can be traced back to the primeval times with the appearance of Neolithic potteries. As we know, the patterns executed on the ceramic shape which is often a round one can begin at any point as the artist chooses. Nevertheless, after the patterns are completed, the beginning and the end will join each other into one with both the starting and ending points vanishing into a harmonious whole. Due to this particular ceramic painting characteristic, a new aesthetic principle shared by both graphic construction and verbal structure followed by artists, writers and poets was born in the 6th century and culminated in the 13th century. It is named "Qi起、Cheng承、Zhuan轉(zhuǎn)、He合" that can be roughly translated as "Rising, echoing, turning, and uniting ".

The second is the Temperature Mode of Thought. The pattern painted in glaze on the ceramics must be fred and crystallized at a high temperature whose slightest change in degrees will result in very different final effects on thedesignated painted pattern. The temperature will also bring accidental effects to the glazed painting with a surprisingly autonomous extemporization. This unique feature and concern of the ceramic artists are by all means beyond that of the painters of canvas and paper.

The third is the Participation of the Viewer. Once the painted ceramic has been completed and displayed, the viewer and displayer will have to decide which side or from what point of view and what angular field should the designated work of art be confronted or displayed. Of course, the round shape ceramic can also be shown on a carrousel plate with an ever changing view of 360 degrees. In the mean time, a finished ceramic product could invite its viewers of all ages to inscribe anything they like with markers which can be easily erased in no time.

In the past one hundred and seventy years, since the Opium war of 1840, Chinese society has been moving from an agrarian one to an industrial one, and in the recent two decades, at a dazzling speed, marching toward a postindustrial condition. Chinese civilization has undergone more or less the similar trends correspondingly and has demonstrated a miraculous adaptability in the internal political reformations.

Chinese ceramic painting as one of the most poignant art forms in Chinese civilization has witnessed and recorded these cultural changes and intellectual transformations with many a great artist and artistic performances.

The main features of the ceramic artists of the twentieth century are as follows:

(1)A brand new weltanschauung, a novel worldview, which is completely different from that of the artists of the nineteenth century, has been born. A scientifc solar system and a more comprehensive global view are being substituted for the sino-centric conception and the ancient mythological world.

(2)Geographically, Chinese artists have been moving continuously toward the southern part of China, from the Yellow River region to the Yangtse River area, to the chiangnan region of China, and then to the big cities along the coastal line.

(3)The "Traditional China" or the "Agrarian China" has been smashed by the invading industrial society from the West in the late 19th century and broken into pieces like a cracked mirror whose dismembered parts were scattered not only in China proper, but following the footsteps of overseas Chinese, traveled and disseminated into many a Western country in various diasporas all over the world. Chinese ceramic artists with new subjects corresponding with new techniques have traveled into countries East and West around the world. A new china, or rather many new "chinas" were born in these broken mirrors, especially after World War II. They appeared in Singapore as well as in the big cities of West Europe and North America. And more recently, they emerged miraculously in Canton and Shanghai areas as well. Images and insights of Chinese artists and Chinese culture refected in these broken pieces of mirrors, both relevant and irrelevant, are at once united and independent.

Multiple approaches of aesthetics and techniques have been adopted by the artists in their paintings to show the varieties of historical phases experienced by the Chinese people both in China and around the world.

There is pastoral lyricism incorporated with urban modernism, cynicism blended with good humor, and criticism and satire fused with universal love and understanding. The graphic language in the paintings is mixed with the verbal language of poetry executed in fine calligraphy performed in the form of inscriptions. The two are integrated with new aesthetics shown in rearranged compositions with a symphony of leaner movements intertwined with a carnival of colors.

These ceramic paintings are traditional and modern or postmodern at once. A marvelous combination of societies of agriculture, industry and post-industry moves side by side braving the turmoil and vicissitude of different national and international climates.

2013-09-25。

2013-09-30。

羅青(1948-)，男，教授。

Received date:2013-09-25. Revised date:2013-09-30.

Correspondent author:LUO Qing,male,Professor.

E-mail:lochingche@yahoo.com.tw