Poetry in decoration of the Chinese porcelain of the late Qing dynasty (1644-1911)

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GOVERNMENT OF THE RUSSIAN FEDERATION

NATIONAL RESEARCH UNIVERSITY HIGHER SCHOOL OF ECONOMICS

Educational Programme “History of Artistic Culture and the Art Market”

Direction of training, 46.04.01 “History”

The final qualifying work

Poetry in Decoration of the Chinese Porcelain of the Late Qing Dynasty (1644 - 1911)

Ма Chenxi

Москва 2019

Content

Introduction

Chapter 1. Poetry in Chinese arts

1.1 Poetry in Chinese painting

1.2 Poetry on Chinese ceramics

Chapter 2. Poetry in the decoration of Qianjiang ware

2.1 Introduction of Qianjiang ware

2.2 Painting genres and forms of Qianjiang ware

2.3 The application of poetry in the decoration of Qianjiang ware

Conclusion

Bibliography

Attachment

Introduction

China is one of the four great ancient civilizations with profound cultural and artistic accumulation. Poetry, calligraphy, and painting are acknowledged as the three perfections of Chinese art. Their role in Chinese painting has been widely recognized throughout the world, especially in literati painting, but their combination in other applied arts can also be seen.

Chinese ceramics is one of the most significant forms of Chinese art that has been developing since the Neolithic period. The Chinese Ceramic Society, Zhongguotaocishi, [ЦР№ъМХґЙК·] (The history of Chinese ceramics) -- Beijing: Cultural Relics Publishing House, 1982, 1. Due to the improvement of the ceramic production technique and the development of the society, both practical and artistic quality of ceramic products constantly improved. Drawing inspirations from other forms of art, the art of porcelain decoration was increasingly influenced by Chinese painting and had three upsurges during its evolution, in particular, the Tang dynasty for Changsha ware, Song dynasty for Cizhou ware and the Yuan, Ming, and Qing period for Jingdezhen Ware. Xu Jinfan, Chen Bin. Qianjiang Ware in the Late Qing Period. Shanghai: Shanghai People's Fine Arts Publishing House. 2011.p13

At the end of the Ming dynasty and the Qing dynasty, the integration of three perfections was finally accomplished in the decoration of porcelain objects. Xiao Xiang, Ciqishangdeshifenyuhuihua [ґЙЖчЙПµДК«ОДУл»ж»­] (Poetry and painting on porcelain)- Changsha: Hunan Fine Arts Publishing House. 2006, 181 But the porcelain that was most affected by the literati painting was emerged in the late Qing period, which is called Qianjiang porcelain. Literati painting is a kind of comprehensive art, which integrates literature, calligraphy, painting and engraving art. It is a concentrated expression of the artist's multi-faceted cultural literacy. The Qianjiang porcelain is distinguished by its integration of poetry, calligraphy, painting, seal and artist's name on one single piece of work.

Qianjiang ware first rose in Tongzhi Reign (1856-1875) of the late Qing period as a new type of painted porcelain, which features painting light-colored paintings on the plain body. It declined in the period from late Guangxu Reign (1871-1908) to the early Republic of China, with a life span of more than sixty years. Xu Jinfan, Chen Bin. Qianjiang Ware in the Late Qing Period. Shanghai: Shanghai People's Fine Arts Publishing House. 2011.p8 The name Qianjiang (lightly colored) derived from Huang Gongwang's light-colored (primary ochre) landscape paintings Ibid.. Huang is a great Yuan-dynasty artist who initiated Qianjiang painting techniques. Compared to the then brightly-colored enameled wares, the Qianjiang ware looks refreshing and elegant. Therefore, the Qianjiang porcelain painting is also called the literati painting on porcelain Ziwuyuan. Literati Painting on Porcelain. Hangzhou: Zhejiang University Press. 2006.4.p3.

Due to the frequent wars in the late Qing period, the imperial kiln in Jingdezhen declined. Many well-educated literati directly participated in porcelain painted decoration, some of them were the former imperial porcelain painter. Chen Jianxin etc. Qianjiang Porcelain Painting. Shijiazhuang: Hebei People's Publishing House. 2003.3.p9 Their works reflected the spiritual pursuit of scholar-artists, covering themes of landscape, figure, birds and flowers, and etc. The involvement of literati artists improves the work by eliminating the unnaturalness by the craftsmen. Its literary and artistic connotations are worth being researched and valued.

The application of poetry on porcelain is an important decoration method of Qianjiang ware. The role of poetry in the decoration of porcelain wares is as worth exploring as that in Chinese painting. However, Qianjiang porcelain is a rarely-noticed category of art. In the past one hundred years, little attention was paid on this kind of porcelain ware. By the end of the last century, some books about Qianjiang ware were published in succession and more scholars and collectors pay attention to this kind of porcelain. But most of the works focus on its production technique, painting technique and painting style. The role of poetry in decoration has been ignored to some extent.

Most monographs about Qianjiang ware are about the history and introduction of Qianjiang ware. The first monograph was published in 2000, the author Liang Jiyong is a leading collector of Qianjiang porcelain. In his monograph Chinese Qianjiang Porcelain Liang Jiyong, Zhongguoqianjiangcaici [’†Ќ‘ђуз­ІКґЙ] (Chinese Qianjiang Ware) -- Beijing: Wenwu Publishing House, 2000. he introduced the history of Qianjiang wares, main artists and attached his collection catalog. Many other publications are also in the form of monograph-catalog, like Literati Painting on Porcelain Ziwuyuan. Literati Painting on Porcelain. Hangzhou: Zhejiang University Press. 2006.4. by Ziwu Yuan. The history of Qianjiang porcelain, its artists, painting theme, ware forms, clay and glaze, mark are shortly introduced, accompanied with a catalog of 88 Qianjiang wares from the late Qing period and the early Republic of China.

One of the most important catalogs is Qianjiang ware in the late Qing period Xu Jinfan, Chen Bin. Qianjiang Ware in the Late Qing Period. Shanghai: Shanghai People's Fine Arts Publishing House. 2011. by Xu Jinfan and Xu Bin. On the basis of many years of extensive collection and systematic research, this monograph comprises the most systematic collection of the fascinating Qianjiang porcelain works, the most complete list of Qianjiang porcelain artists and the most abundant materials. It is an instrumental monograph-catalog of Qianjiang porcelain with artistic and academic characteristics. It is a reference book that provides readers with high authority in the process of artistic appreciation and academic research. A large number of clear pictures of the work bring great reference value to the research.

Some monographs are about admiration, identification, and collection of Qianjiang porcelain wares. Chinese Literati Calligraphy and Painting on Porcelain Cheng Hao. Chinese Literati Calligraphy and Painting on Porcelain. Guangzhou: Lingnan Fine Arts Publishing House. 2017. by Cheng Hao is a summary of the experience of collecting Qianjiang porcelain in more than twenty years. In addition to the introduction of Qianjiang porcelain and the catalog of his private collection, the history of applying poetry and painting in porcelain decoration and the principles of admiring and collecting Qianjiang wares are also included in this monograph, but these principles are mainly from the perspective of techniques and materials.

In Identification and Collection of Qianjiang Ware Wang Tiezhu. Qianjiangcaidebianweiyushoucang [Зіз­ІКµД±жО±УлКХІШ](Identification and Collection of Qianjiang Ware)-. Beijing: Chinese Bookshop. 2011.10, the author illustrated his principles of admiration Qianjiang porcelain wares from the perspective of painting. He separately explained the appreciation standards of landscape, bird-and-flower and figure paintings, mainly from the perspective of painting style and technique, the application of poetry is not involved.

Qianjiang Porcelain Painting Chen Jianxin etc. Qianjiang Porcelain Painting. Shijiazhuang: Hebei People's Publishing House. 2003.3. is also a monologue with a catalog of abundant works. The words part of the book briefly introduces the artistic characteristics and appreciation knowledge of the Qianjiang porcelain, and explains its artistic value and collection value by discussing the process of combining porcelain, calligraphy, and painting, and analyzes some of the works listed in the book in detail.

About the application of poetry and painting on porcelain, few works are specifically dedicated to this subject. Poetry and Painting on Porcelain Xiao Xiang, Ciqishangdeshifenyuhuihua [ґЙЖчЙПµДК«ОДУл»ж»­] (Poetry and painting on porcelain)- Changsha: Hunan Fine Arts Publishing House. 2006 by Xiao Xiang is one of the rare works. This book closely links ceramic history with literary history, painting history, calligraphy history, and folklore, and summarizes the characteristics of poetry and painting on porcelain at various stages with the help of abundant illustrations.

About Poetry, Calligraphy and Painting on Ceramics Xu Feng, Luntaocishuhua, [ВЫМХґЙК«Кй»­] ( About poetry, calligraphy and painting on ceramic) -- Huhehaote: Yuanfang Publishing House, 2005 is a collection of theses about the relationship between ceramics and calligraphy, poetry, painting, literature, and folklore. It provides a lot of reference materials but as for the case of Qianjiang porcelain in the late Qing period, this book briefly mentions it and quickly skips to the Republic of China.

The History of Chinese Ceramics The Chinese Ceramic Society, Zhongguotaocishi, [ЦР№ъМХґЙК·] (The history of Chinese ceramics) -- Beijing: Cultural Relics Publishing House, 1982 by the CCS is a masterpiece comprising almost every aspect of every kiln and their productions of every period. In this book, the whole process of ceramic's development is observed, including the evolution of painted decoration. However, the decoration part is too fragmental and not systematical enough.

Decorating porcelain with poetry cannot be regarded as a random activity, it reflects the evolution of porcelain culture and art. Even if it seems quite random, it is the result of a certain trajectory. To find out the rules hidden behind can help us understand the ceramic art and accomplish new development and innovations in the art of ceramic decoration. Besides, this phenomenon is unique around the world. So, to know more about the application of poetry in porcelain decoration is beneficial to understand the cultural connotation and artistic quality comprised in porcelain, which is also a rather important aspect in admiration and collection Chinese ceramic wares besides material quality, shape, date, manufacturer and other information.

The novelty of this work lies in that there are many monographs and dissertations about the application of poetry in the decoration of porcelains from other periods such as Kangxi, Yongzheng and Qianlong Reigns of Qing dynasty, but that of Qianjiang wares has been seldom researched. This work is going to address the gaps and thereby advance the knowledge in the field of application of poetry in porcelain decoration.

The aim of this work is to research the application of poetry in the decoration of Qianjiang wares, comprising its format, content, relationship with the painting and etc.

The main tasks are as followings: 1) To expound the relationship of poetry and painting in Chinese painting 2) To study the history of the application of poetry in the decoration of ceramic wares 3) To study and analyze forms and decorations of Qianjiang ware with examples. 4) To generalize the application of poetry in the decoration of Qianjiang ware. 5) To analyze the uniqueness of the application of poetry in the decoration of Qianjiang ware.

The object of the work is Qianjiang porcelain and the subject of the work is the application of poetry in the decoration of Qianjiang porcelain wares and the relationship of poetry and painting in porcelain decoration.

Mainly research approaches applied in this work are the comparative method, the formal-stylistic method, and the iconographic method. In addition to these approaches, sources like interviews with masters and photos of porcelain in the museum and in networks will be used.

The work consists of two chapters, the first chapter is devoted to the socio-historical outline, I will outline the history of the application of poetry in Chinese painting and in the decoration of ceramics to illustrate the possibility of Qianjiang ware to combine poetry and painting in surface decoration. The second chapter is devoted to Qianjiang porcelain, I will analyze quite a few subjects and try to find the characteristics of applying poetry in the decoration of Qianjiang wares by summarizing and comparing with previous porcelains and Chinese painting.

Chapter 1. Poetry in Chinese arts

Chinese poetry and painting are one of the highest forms of Chinese art. Since Su Shi, a famous artist of North Song dynasty put forward the assertion that "there is painting in poetry and poetry in the painting" and "the unity of poetry and painting", the relationship between poetry and painting has become an eye-catching issue. Some people call poetry "sound painting" or "invisible painting", and painting "visible poetry" or "silent poetry". At the same time, the ancients also tried to put this idea into practice, which resulted in a large number of artistic creation practices integrating poetry and painting.

Chinese painting is the first form to explore and practice Chinese poetry and painting aesthetic. From the northern Song dynasty, the painting was regarded as an important part of culture and life. Scholar-officials who are good at literary and calligraphy became the main painters of art. Chinese painting began to integrate calligraphy, literature, and art, so as to express the painter's subjective interest. Literati painting is produced under such concepts. The literati directly integrated poetry and painting into one picture, abstracted the painting and embodied the poem, and reached a new aesthetic pattern of poetry and painting, becoming one of the most mature art forms in the aesthetics of Chinese poetry and painting.

The birth of ceramic poetry and painting is closely related to poetry and painting in Chinese painting. Poetry and painting art were born in Chinese painting, which greatly influenced the aesthetics of traditional Chinese art and the production of traditional Chinese crafts. Since Tang dynasty when the painted decoration of Changsha kiln ceramics began to be incorporated into painting, literature, and calligraphy, the ceramic poems and paintings have been explored, tried and developed for at least seven hundred years under the aesthetic influence of Chinese poetries and paintings. Nowadays, ceramic poetry and painting have well extended the boundary of Chinese poetry and painting art and become a very typical art form in the field of Chinese poetry and painting art.

This chapter will carry on the theory and the development course combing to the poetry and painting art. In the first part, the study on the characteristics of Chinese and western poetry and painting art is summarized theoretically, and the development process of poetry and painting in Chinese painting is elaborated, especially the birth of literati painting. In the second part, the development of ceramic poetry and painting will be summarized.

1.1 Poetry in Chinese painting

Research overview of Chinese and western poetry and painting art

On the relationship between poetry and painting, both Chinese and western literary theories have had wonderful discussions. Before the 18th century, both China and the west attached great importance to the unity and connection between poetry and painting. After the 18th century, the west gradually emphasized the heterogeneity of poetry and painting. Lessing, a representative of the German enlightenment movement and a famous literary theorist, put forward the heterogeneity of poetry and painting with rich examples and moving eloquence, that is, "heterogeneity of poetry and painting". Benamou, M, “Wallace Stevens: some relations between poetry and painting,” Comparative Literature, 1959. 11(1), 47-60. China has always advocated the "unified theory of poetry and painting".

This section will mainly focus on the study of Chinese and western poetry and painting art, trying to sort out the theoretical framework for Chinese poetry and painting art.

Research overview of western poetry and painting

There are great differences between western poetry and painting. The development of western poetry is closely related to literature and art. In the beginning, there was a poetic analogy. But the most is tended to poetry and painting heterogeneity. Comb from the above about the relationship between western poems and paintings, although the notion of poem picturesque has been very popular in the eighteenth century ago, it does not mean the meaning of poetry and painting is a kind of the same relationship. There is an extended relationship between poetry and painting analogy, or a relationship of equality, which mainly comes from them is to imitate art, in terms of materials and the performance effect is the same, that is to say painting usually from -- especially epic poem, legend in the history of the materials. It is in the space of the narrative, and poetry in sufficient detail to make the reader form a precise and vivid picture in your mind, they are consistent on the effect of appreciation.

Leonardo Da Vinci once said: "the difference of character: ` painting was mute poetry, poetry is a blind man. Both can imitate nature to the best of their ability, and both can be used to illustrate moral mores. Baudelaire said in his aesthetic essay painting - the beauty of painting depends on color and form; It resembles poetry only in that it produces in the reader all the same impressions of painting.

Research overview of Chinese poetry and painting

The development of Chinese poetry was first related to the expression of emotions and was closely related to music art, dance and other expressive arts. Chinese poetry, such as chu Sao Han Fu, song ci yuan qu, accompanied by a strong sense of rhythm. There are few pure lyric poems in China. Such as Hanyuefu · shangye. This is a direct lyric poem recognized by the academic circle, but even so, the poem still uses a series of images such as "mountain", "river", "winter thunder", "summer snow" to express feelings. Most of the poems are lyric by scene, melting into the scene, scene blend, so "there is painting in the poem". The scene depicted in Chinese painting is a scene in which the mind and the object are looking at each other and the object and myself are one. It is a scene from "the bamboo in the eye" to "the bamboo in the heart" and then to "the bamboo in the hand", permeating the subjective interest. Therefore, "there is poetry in the painting".

The development of traditional Chinese painting was first related to realism and representation and was closely related to political events, religious stories, natural scenery, and other specific events. However, in the early development of Chinese painting, the painter paid attention to the expression of subjective feelings. Therefore, for example, Gu Kaizhi's theory of writing god in the form in the Eastern Jin dynasty, the picture pays attention to vivid charm. Gu Kaizhi, a painter in the Eastern Jin dynasty, first put forward the theory of "writing god in the form", which required painting to express the inner spirit of the character object through the external characteristics of the character image. Zong Bing's theory of "Chang Shen" of mountains and rivers, on the basis of pursuing the likeness of the objects depicted, further developed into the pursuit of expressing the subjective feelings of the subject of painting.

By the Song dynasty, painting emphasized the expression of subjective personality and taste and the "spirit likeness". Su Shi said: "on painting to likeness, see and children in the neighborhood," that painting should be expressive freehand. In the Qing dynasty over, Hun Shou proposed the creation of the simulation standard. In modern time, Huang Binhong, Qi Baishi, and so on are proposed on the basis of inheriting traditional painting between like and don't like theory. Both the negative abstraction and no pure realistic representation. Chinese painting with intuitive without the modeling lifelike shape of image expression in painting subject emotional interest. It is a harmonious unity of vibrant natural objects, subjective mood, and taste. The so-called "painting is based on the idea, and the idea comes from the spirit", Chinese painting contains the more humanistic spirit.

In terms of specific creation, Chinese painting adopts the scatter perspective method. Instead of observing nature at a fixed point, the painter is immersed in the process of evolution. "the body is fixed, the eye is thick, the form is written, and the appearance is colored". The focus, the Angle of view any transformation, can put different time and space objects on the same picture, can make a bird 's-eye view of the panoramic description, it can be contained in the ruler, the Vientiane of the world on the silk element, such as Xia Gui's the Yangtze river map, Zhang Zeduan's Qingming river map. In composition, Chinese painting emphasizes the combination of fact and fiction.

Chinese painting carefully sets aside many voids in the picture, which can be either tangible or intangible. The sky, clouds, water, mountains, fog, in the painting cannot brush, into virtual. This can also be in the background of the real image contrast, virtual for real. It is because of the empty space in the painting that the poem "takes advantage of the empty space" and "space" in the painting that the poem and the painting can truly integrate from form to content.

The aesthetics of Chinese poetry and Chinese painting both reflect the cultural pursuit of traditional Chinese art aesthetics. Chinese poetry and painting share a common pursuit of the essence -- grasping and realizing the life and spirit that contain all things in the world. "The painter, the painter. To measure things to their truth. Here, truth is the same meaning. Chinese poetry and painting represent the highest state of mind that is deeply and silently integrated with the infinite nature of space. Therefore, poetry and painting in the form of expression is often beyond the perceptual concrete, not stay in the individual image, emphasis on "spirit", light "shape", emphasis on "freehand", light "realistic", the pursuit of the meaning of the words, as the image of the image. The painter uses scatters perspective, like the vast and extensive universe spirit in the pen. Chinese painting is beyond the boundaries of time and space. Poetry is ethereal and implicit, pursuing "not a word, all the romantic". The combination of poetry and painting is inevitable.

The combination of poetry and painting

The combination of poetry and painting is the embodiment of traditional aesthetic pursuit. Different from the western abstract logical reasoning based on the delivery of art classification, the discussion on the relationship between poetry and painting in ancient China started from specific poetry and painting, expressing their opinions on the content, the way of infection, etc., which is a kind of discursive and perceptive comprehension. One stark illustration is Li Zhi's “Burning Books- Poetry Painting” from Ming dynasty. Quoting from the text “ Du Zi Mei Yun: flower extends far into the dense forest, layers of a mountain amid the fleecy cloud ', painting exist in the poem, and the poem itself presents as an image. However, such a description appears sporadic and fragmented, lacking a systematic and in-depth explanation. Bush. 12

Since the beginning of 1920 s, a group of scholars who studied abroad began to pay attention to the connection between Chinese poetry and painting from an aesthetic and artistic angle. With their years of intensive academic training and international vision, they produced a series of important scholar works that had a huge influence and inspiration for the subsequent studies on poetry and painting. The chief representative Zhu Guangqian and Zong Baihua, Qian Zhongshu, etc. Teng gu's poem and painting, written in 1920, had earlier focused on the traditional issue of the identity relationship between Chinese poetry and painting, affirming that "the description, content, and result of poetry and painting are similar". "Poetry and painting, in other words, are literature and fine arts, which are two elements but at the same time one".

The integration of Chinese poetry and painting is due to the innate factors such as the visual identity of writing and painting, the medium of ink and paper and calligraphy, and the acquired factors such as the common social function and aesthetic pursuit of poetry and painting, but the most profound and fundamental reason lies in the sophisticated cultural thoughts of the Chinese's tradition. The cosmological view of time and space, the artistic view of insensitivity, and the cultural view of unity make Chinese poetry and painting converge inevitably. On the basis of Confucianism, Taoism and Buddhism, the literati who wander between the two poles of life connect poetry and painting both in style and content.

The integration of Chinese traditional poetry and painting has gone through a development process from the initial mutual reference, mutual influence and mutual penetration to the gradual unity of content and artistic conception, and finally the comprehensive integration in terms of style and content. It presents four basic characteristics: " From the point of view of the transformation and blending from poetry to painting, poetry 'comes from good thinking and can be painted'. In other words, painting can be written in terms of its poetic scenery, "that is, the form of poetic painting;" from the perspective of the transformation and blending of painting to poetry. The so-called' to help the poet express their thought', the so-called 'poet's words are extremely exquisite, the so-called 'scroll can make people write wonderful poetry", that is, the form of painting poetry; poetry into imagery, and painting from the form to the content of the comprehensive integration, That is, the form of literati painting.

These three forms do not undergo parallel development. Before the Han dynasty, poetry and painting were in a relatively shallow period of mutual infiltration and integration. From the Wei and Jin dynasties to the Tang dynasty, poetry and painting gradually formed a clear integration, poetic painting, painting poems tend to develop into proper shape; after the Song dynasty, especially since the Yuan dynasty, the integration of poetry and painting reached a highly complete and mature stage, marked by the emergence of literati painting. Under the enlightenment of image poetry and the basis of poetic painting and painting poetry development, literati painting reached the zenith of integrating poetry and painting.

1.1.2.1 Drawing close to poetry -- Poetic painting (Shiyihua)

Poetic painting is a kind of painting created with the content of poetry or the artistic conception of poetry or the theme of fine sentences. Such paintings are rich in poetic imagery. Although there is no poetry in this kind of painting, its conception, brushwork, and color are quite poetic.

Poetic painting originated very early in the Han dynasty, according to the poetry content or ideological connotation of the poetic painting. Such as Zhang Hua from Jin dynasty, praised the verisimilitude of his paintings in his natural history - one can feel the heat of painting Yunghan figure, while another can feel the coolness of painting north wind figure, which is both poetic and pictorial, setting a poetic painting precedent.

During the Wei, Jin, southern and northern dynasties, poetry, myths, and legends became the inspiration for paintings, and poetic painting became an artistic type, which was pursued by scholar-officials. As the earliest collection of poems, the book of songs is the main subject of this kind of painting. At the same time, all kinds of poems, myths, and legends are also the main source of inspiration for poetic painting, such as Gu Kaizhi's ode to the god of Luo. During this period, Gu Kaizhi's poetic paintings were the most representative. He paid special attention to the poems of Ji Kang and Cao Zhi, and often painted on the theme of their poems. His surviving poetic paintings are based on Zhang Hua's poem "female history chapter", in which poems are copied, illustrated vividly. The most especially commendable painting is his Ode to the god of Luo based on Cao Zhi's poem Ode to the god of Luo.

Cao Zhi used a variety of rhetorical devices in his works to sing the Luoshui goddess, who was noble and clean, and depicted the figure, appearance, dress, and behavior of the god of Luoshui in a delicate and vivid way, showing the graceful and graceful manner of the god of Luoshui. Ode to the god of Luo is based on the plot of a fairy tale, the ode to the god of Luo. Cao Zhi's manner was full of melancholy. The whole painting, with its complexity and simplicity, vividly depicts Cao Zhi's infatuation with the god of Luo, showing his loneliness, purity, and transcendence. This poetic painting fully demonstrates the charm of painting art to the concrete expression of poetic conception, further embodies the integration of poetry and painting, and expands the theme of the painting.

In the Tang dynasty, the subject matter of poetic painting was not limited to myths and legends, or the transmission of poetry, but extended to the private field. A Tang dynasty painter, Yan Bozi - also called Zhang Zhihe, once based on a good friend Yan Zhenqing poetry painting poetry.

In the Song dynasty, poetic painting became a mature genre and was often used as an examination topic in the academy. Under the article “Guo Xi” of volume 11 of Xuanhe pictorial works, his "poetic landscape picture ii" is recorded. In addition, Li Gonglin painted Gu Yuan's "nine songs", and painters such as Ma Hezhi, Ma Yuan, Zhao Kui, and Mou Yi directly took the poetry of the poet's poems for painting creation. These paintings are not simply plain and empty plain narration from the poetry text, but with the help of the objective image of just the right performance of the ideological content of the poem, precisely elucidation of the original meaning of the poem, concise composition, elegant pen, vivid characters, the whole picture elegant, out of the vulgar, innovative.

In the Yuan dynasty, there appeared the phenomenon of painting self-create poems. In the Yuan dynasty, Zhu Shuchong composed poems and then drew pictures based on them. In the Ming dynasty, Zhu Cunli commented, every poem is beautifully copied and is free to be painted.

In the Ming dynasty, poems and paintings were not only based on poetry but also combined with original poems and articles to be published in a book.

In the Qing dynasty, the book of poetry and painting from the Ming Dynasty was prevailing. For example, the mountain rain in Wu Shan-tao's book of poems is about to come to the picture (Qing dynasty). On the right is a self-inscription. Both the painting and the poem are from songs of Tao Yuanming, which is used to express his feelings of being an immigrant.

Poetic painting is a basic form of integration of poetry and painting, which not only expands the influence of ancient poetry but also broadens the subject matter of painting, deepens the artistic conception of painting and improves the expressive force of painting. Painting with poetry is not simply the repetition of poetry and illustration of poetry, but the re-creation of the art of painting. This requires the painter to have superb literary accomplishment and artistic accomplishment, on the basis of a deep understanding and accurate grasp of the connotation of poetry, to put the poetry into painting conception, poetic beauty into painting beauty.

Poetry draws close to painting -- painting poems (Tihuashi)

Painting poems refers to poems written on or off the subject or object of a painting.

In the warring states period, there was a style of painting poems, called "picture poems (Tushi)". The origin of painting poems can be traced back to Qu Yuan. According to Wang Yi, the poem, preface to heavenly questions, records that Qu Yuan was exiled that year. Then, he came to the ancestral temple of the first king of Chu and GongQing temple, saw pictures on the walls of heaven and earth mountain gods and ancient sages, etc., deeply touched, and wrote the heavenly questions. This can be verified by the sentence, white slough baby burial, in the description of the mural in heavenly questions.

The rise of "painting praise (Huazan)" in the Han dynasty provided a possible reference for painting poems. painting praise (Huazan) was originally an illustrative text inscribed on the mural of the portraits of ancient sages, virtuous ministers, philosophers, and current heroes. In the Eastern Han dynasty, the name of its official was used by the emperor.

During the Wei, Jin, southern and northern dynasties, painting poems were born, most of which are written to praise the screen. For example, written by Xiao Jinji in the Northern Qi dynasty, Screen begins by appraising the screen picture through historical facts and expound the heart by describing the image of the screen.

With the high development of poetry in Tang dynasty, painting poems took shape formally. This period formed a plethora of painting poems (TiHuaShi) creation. There are a lot of poets not only for art sense, in the description of Li Bai, Du Fu, Wang Wei, etc., The number of works and painting poems was also very significant - from Li Bai in Tang Dynasty, to Jin Hao in the five dynasties, over one hundred and thirty painting poems were written by more than seventy poets, this figure as painting poems in-depth study, also in constant growth. What's more, these painting poems, like other poetry works of the same time, have a lofty style and beautiful artistic conception, with Li Bai and Du Fu as outstanding representatives. Li Bai and Du Fu wrote dozens of painting poems by virtue of their outstanding poetic talent and sensitive perception of the art of painting. Li Bai's painting poems are as vigorous and elegant as his other poems. Bush, S., & Shih, H. Y, Early Chinese texts on painting (Hong Kong University Press, 2012) (Vol. 1) His poem, high cliff waterfall from Cui mountain, is full of heroic and elegant ink, outlines the strange landscape of the waterfall and the momentum of flying.

In the Song dynasty, with the appearance of literati painting, painting poems reached an unprecedented scale. In the poem Mouyu, this concept is illustrated clearly - before tang dynasty, the painting poem never exists. It is Mr. Du Fu who opens this system. In the Song dynasty, there are a lot of painting poems. The famous poet in Song dynasty, Su Shi alone wrote more than 100 poems. Bush, S, The Chinese Literati on Painting: Su Shih (1037-1101) to Tung Ch'i-ch'ang (1555-1636) (Vol. 1), (Hong Kong University Press, 2012), 30 Their painting poems not only intoned pictures but also directly elaborated the meaning and theory of painting and put forward many important painting aesthetic thoughts. Ouyang Xiu wrote in the poetry of turning a wheel - the ancient painting does not paint the form, poetry about the wintersweet chant things without hidden feelings. Those who are too proud of themselves are few. He further developed Gu Kaizhi's idea of divination, advocated that painting should be "self-satisfied", combined poetry with painting from the point of view of "meaning", and pointed out the view that "seeing poetry is like seeing the painting". In his painting poems, Su Shi put forward the theory of painting, such as the uniformity of poems and paintings and "there is painting in poetry and poetry in the painting". Bush, 33 Before this, painting poems were all inscribed outside the painting. The ink bamboo pictures of song dynasty were mostly inscribed with other poems. Su Shi was the first one to put poetry at the end of the picture scroll. Bush, 39 He not only connected poetry with painting in theory but also connected poetry with painting in creative practice.

The creation of painting poems in the Yuan dynasty came into a flourishing period. Many talented artists of poetry, calligraphy and painting have emerged, such as Zhao Mengfu. Painting poems, especially picture poems, developed into a flourishing period in Ming dynasty. Bush, 120 Painting poems became more popular and became an important feature of literati paintings, gradually replacing the dominant position of painting poems beyond the painting.

Painting poems reached their peak in the Qing dynasty. To put poems into painting put poetries, calligraphy, painting three into one, which is regarded as the main form of painting in the Qing dynasty. Four monks in Qing dynasty, "Jinling eight", eight eccentrics in Yangzhou are painting poems. In particular, the "four gentlemen" artists, like Zheng Banqiao who specialized in painting plum, orchid, bamboo, chrysanthemum, pick one topic for each painting to illustrate themselves with rich poetry and vivid painting. Bush. 180 Zheng Banqiao was good at painting and chanting bamboo. The bamboo on the picture was the symbol of his personality, and the poem on the picture was the true confession of his heart.

Although painting poems are created from the sense of painting and have the characteristics of "painting in poetry", and even written on the picture, they become an integral part of the painting, but in essence, they are poems in art. From the subject of painting poetry creation, the creators of painting poems were mainly poets and painters. From the subject matter of painting poems, the most prominent one is landscape painting, followed by flower, bird, bamboo and stone painting, among which pine, plum, orchid, bamboo and chrysanthemum are the most prominent, and the other is figure painting. From the overall content of painting poems, there is a representation and performance of the artistic conception of painting, that is, poetry to painting, and then poetry to enhance the painting, until poetry to broaden the painting. Painting poems are the comprehensive integration of poetry and painting from content to form, and the highest form of the integration of poetry and painting, which is embodied in the creation of literati paintings.

Uniformity of poetry and painting -- literati painting

About the definition of literati paintings, Su Shi, a famous art theorist in Song Dynasty, put forward the philistines, scholar ` s painting. Dong Qichang proposes the literati paintings. Both are a different expression of the same concept. Teng Gu, the professor of history of Chinese art, defined literati painting in a broad sense. He listed three characteristics:

First of all, the artist was scholar-official, different from the painter. As far as the status of artists in the painting itself is concerned, it can be proved by citing examples from the six dynasties and the Tang dynasty.

Secondly, art is regarded as a way of expression during the elites` leisure time. As far as aesthetic theory is concerned, it can be illustrated by the discussion of Wu Zhen, who elaborated the artistic discussion starting from the Song Dynasty.

Thirdly, the artistic style of literati artists is different from that of courtyard painters. When it comes to style, the works of the late Ming dynasty define literati painting.

These three definitions clearly show the evolution stage of literati painting.

Early Chinese painting was mainly a kind of illustration art, which gradually developed into an art style like calligraphy or poetry. During and before Tang dynasty, writers were concerned about how to reproduce faithfully. After the Tang dynasty, literati painting became a school of painting. Zhang Yanyuan stated in The six methods on painting records of famous paintings in past dynasties that the author of painting should have various cultural literacy and poetic accomplishment. With the participation of literati who are well versed in poetry and prose, the function of painting lyric expression can be developed, and the focus of painting art can be transferred from the objective representation to the subjective expression of the painter.

Throughout the development history of Chinese painting, literati painting began in the Han dynasty. Painting gradually expanded from artisan dominance to literati participation. By the Tang dynasty, a considerable number of artists into the official career, painting culture has become a major feature of the privileged class. Therefore, Zhang Yanyuan said only the sage can become a good painter. In Tang dynasty, there was no differentiation between officials' painting and professional painters' painting.

Literati art theory appeared in the northern Song dynasty. At this time, the literati painters realized their elite role, advocated the connection among art, calligraphy and poetry, and emphasized the identity difference between the literati and painters. In the northern Song dynasty, the literati and painters were first and foremost a social class, rather than a group of people with a common artistic goal, theme and style. Therefore, in the genre of literati painting, a variety of themes and styles coexist in the Song dynasty.

In Yuan dynasty, painting became a necessary accomplishment for the literati. Zhao Mengshun, Wang Mian and Ni Yunlin were famous writers and poets in Yuan dynasty. Poets such as Yang Weizhen, Zhang Yu, Yu Ji, and Liu Guan are also good at painting. Almost all the painters in Yuan dynasty had collected poems and essays, and almost all the writers had poems and essays on paintings. Bush, S, The Chinese Literati on Painting: Su Shih (1037-1101) to Tung Ch'i-ch'ang (1555-1636) (Vol. 1), (Hong Kong University Press, 2012), 119 No other period was so closely connected with poets, scholars and painters as Yuan dynasty. It was an era when poetry and painting merged from form to content, and it was also a time when literati painting combined poetry, calligraphy, painting and printing. Chen Chuanxi, Zhongguohuihuameixueshi, [ЦР№ъ»ж»­ГАС§К·] ( The History of Chinese Art Painting Aesthetic) -- Beijing: People's Fine Arts Publishing House, 2000, 252

Among them, Zhao Mengshun's theory of "ancient meaning" proposed that "it contains the era atmosphere of personal spiritual expression, and this innovative expression of personal characteristics guides the painting trend of the four masters of the Yuan dynasty and also provides the only method for the literati painting of Dong Qichang in the Ming dynasty. Dai Lizhu, Shiyuhuazhiyanjiu [К«Ул»­Ц®СРѕї] (Poetry and Painting Research) --Taiwan: Academia Bimestris Publishing House, 1993, 9-10 However, his proposal of "painting and calligraphy in the same way" opens up a channel for poetry and calligraphy to enter the painting. In Yuan dynasty, the four masters closely combined painting with poetry and calligraphy which made it a part of the painting composition by means of writing. This phenomenon became the essential spirit of later literati paintings and made the combination of brush and ink charm and poetry, calligraphy and painting more perfect.

In the Ming dynasty, under the guidance of Yangming philosophy, scholars paid more attention to individuality in painting. The study of the mind did not make the scholar-officials' psychology more closed, but on the contrary, opened the floodgates of the heart and emotion, inspiring a rebellious ideological trend of pursuing individual liberation. Ge Zhaoguang, Chanzongyuzhongguowenhua [мшЧЪУлЦР№ъОД»Ї] ( Zen and Chinese culture) -- Shanghai: Shanghai Publishing House, June 1986, 73 Painting and calligraphy were mean to amuse themselves which became the social atmosphere. Shen Zhou and Wen Zhengming combined poetry, calligraphy, and painting more closely. The literati painting dominated by them occupied the mainstream position in the painting circle.

"Poets have been painters since ancient times". Literati who are good at poetry and painting created literati painting, also created the highest integration of poetry and painting from form to content. Xu Fuguan, Zhongguoyishujingshen [ЦР№ъТХКхѕ«Йс] (Chinese Arts Spirits). -- Shanghai: East China Normal University Publishing House, 2001, 294 They use the artistic conception of the poem to paint, the picturesque view of a painting to write a poem. With calligraphy, the whole artwork combines with the painting and poem so that the three reflect each other.

1.2 Poetry on Chinese ceramics

The emergence and combination of poetry, calligraphy, and painting in ceramic decoration is a long process. During this long period of time, poetry, calligraphy, and painting, on the one hand, kept developing and ripening, on the other hand, gradually penetrated into the decoration of ceramic product. At the same time, Chinese ceramics gradually developed and ripened, became a better carrier for poetry, calligraphy and painting, and absorbed nutrients in the art of poetry, calligraphy, and painting. At last, in the late Qing dynasty, Qianjiang ware, the decoration of which is commonly known as “literati painting on porcelain” Cheng Hao. Ciqishangdewenrenhua[ґЙЖчЙПµДОДИЛ»­]Chinese Literati Calligraphy and Painting on Porcelain.-Guangzhou: Lingnan Fine Arts Publishing House. 2017. P27, came into being. Poetry, painting, and calligraphy ideally blended together not only on paper, but also on porcelain.

Like many labor utensils and daily wares, at the beginning ceramic was also produced to meet people's daily use requirement, and its size and shape were always designed for the convenience of use. However, because of social development, the improvement of people's cultural awareness and knowledge, and the improvement of their aesthetic appreciation ability and creative ability, ceramics became more and more refined and attractive, gradually combined the artistry and practicality together.

The earliest ceramic decorations are primitive patterns on primeval potteries during the Neolithic period before Yangshao culture (5000 - 3000 BC). Xu Feng, Luntaocishuhua, [ВЫМХґЙК«Кй»­] ( About poetry, calligraphy and painting on ceramic) -- Huhehaote: Yuanfang Publishing House, 2005, 11 These patterns were rather simple, such as abstract lines, spots or circles in various sizes. Some were directly influenced by human life experience. For example, weave pattern was created when wet unburnt pottery was put on a woven mat and some patterns were left when being tapped. These primitive patterns probably emerged by coincidence, not out of aesthetic needs. Li Lin, Zhongguogudaiwenzizaitaocizhuangshiyishuzhongdebiaoxianyanjiu [ЦР№ъ№ЕґъОДЧЦФЪМХґЙЧ°КОТХКхЦРµД±нПЦСРѕї] (Ancient Chinese words in ceramic decorative art), 2016, 15 Real decorative ceramic patterns began with painted pottery, which emerged during the Neolithic period of the Yangshao culture. The basin with fish patterns and human face (fig.1.2.1) is one of the oldest evidence of painting on pottery. This is a terracotta basin with a wide rim. On the inside, there are black painted decorations of two opposing faces and two fish. Fish design, net design, facial pattern, ripple pattern, triangle pattern and other patterns can be found on many potteries of that period. During the next centuries, decorative patterns became more and more various, besides simple patterns such as geometric patterns, animal patterns, botanic patterns, and human patterns, the ceramic decoration was affected by religion. “Buddhism began to be introduced into China in the Han Dynasty, and Buddhist art followed. Lotus, as one of the Buddhist art subjects, often appeared on the porcelain of the Southern Dynasties (420 - 589). Many decorations are inspired directly by religion. During this period the artistry of decoration began to combine with ideology.” Xu Feng, Luntaocishuhua, [ВЫМХґЙК«Кй»­] ( About poetry, calligraphy and painting on ceramic) -- Huhehaote: Yuanfang Publishing House, 2005, 11

While before Tang dynasty (618 - 907), patterns were always engraved, incised or printed or stuck on porcelain rather than painted. The Chasha kiln of Tang initiated underglaze porcelain painting The Chinese Ceramic Society, Zhongguotaocishi, [ЦР№ъМХґЙК·] (The history of Chinese ceramics) -- Beijing: Cultural Relics Publishing House, 1982, 140, which means pigments are directly applied to the unglazed ceramic. This technique greatly enriched painting decoration and stimulated the development of ceramic decoration. During this period, decoration on porcelain was allowed to get rids of rigid patterns, which was partly replaced by paintings in the following dynasties.

Both calligraphy and poetry on porcelain originated from the inscription on ceramic. The inscription at the beginning was to record the manufacturers of the products. In order to make the writing of inscription be on the same high level as the quality of the ceramic ware, or to demonstrate the high quality of the ware, or to protect the reputation of their workshop, or to appeal more customers, or to enhance competitiveness in the market, the owners or craftsmen paid great attention to calligraphy of inscriptions. Xu Feng, Luntaocishuhua, [ВЫМХґЙК«Кй»­] ( About poetry, calligraphy and painting on ceramic) -- Huhehaote: Yuanfang Publishing House, 2005, 17 what's more, refined decoration also required matching writing effect, which makes calligraphy a rather important part of the art of ceramic.

However, words appeared on ceramic far earlier than inscriptions. Before the invention of Chinese characters, on ceramic vessels of the Neolithic era, several primitive symbols were found. According to Guo Moruo, “incised symbols on painted ceramics can be surely regarded as the origin of Chinese characters or the remains of primitive Chinese characters.” Xu Feng, 17 A primitive character on a vessel (fig.1.2.2) produced more than three thousand years ago consists of primitive images. In the opinion of Yu Xingwu, a famous paleographer, “the upper circle like a sun, the medium crescent like a cloud, the lower image like a mountain… clouds above the mountains support the rising sun, this is a scene in the early morning. So in my opinion, this is a primitive ’U(dan, dawn).” Yu Xingwu, Guanyuguwenziyanjiuderuoganwenti, [№ШУЪ№ЕОДЧЦСРѕїµДИфёЙОКМв] (Several questions about the research of paleography) -- 1973 In short, before Qin dynasty (221 - 201 BC), on some ceramics have primitive writing characters.