The Linguistic Study of Gong Xunming's Ceramic Painting Art

By Jingyi, Sun; Lun, Wang et al. | Canadian Social Science, January 1, 2014 | Go to article overview

The Linguistic Study of Gong Xunming's Ceramic Painting Art


Jingyi, Sun, Lun, Wang, Xiaoping, Yu, He, Zi, Canadian Social Science


Abstract

Gong Xunming is an artist who devotes to ceramic painting art and sticks to his artistic pursuit. His innovation and exploration in ceramic painting art are forever vigorously progressive. Gong commits all his efforts to seek for artistic innovation and newer, higher objectives, without hesitation and never off the track. He shakes off the bondages of nature and traditions. Everything in his paintings faces the sharp contradiction between reality and imagination. His technique of balancing colors gestates the potential genes for modern and future styles. Gong transforms the natural images into abstract ones, and makes them the language to express surreal forms. The new style of his works represents new artistic language and a new world view.

Key words: Artistic language; Ceramic painting; Ceramic phraseological revolution

INTRODUCTION

In China nowadays, especially in Jingdezhen (which is entitled the capital of ceramics), ceramic art has been universally spread. The Jingdezhen dwellers have been unbelievable perseverance in the historical narration of ceramic materials and crafts. Nevertheless, jn Jingdezhen, even in China, the ceramic history is only , , . , , -, ... . . . . ,, about materials and crafts, with no involvement in the spiritual aspect. On the one hand, it is because the main concern of Jingdezhen's ceramics is shaping crafts and folk decorations; on the other hand, from the beginning - T. . > , * , * . . ^ . of Jingdezhen s ceramic making, only the techniques are handed down from ancestors, no ceramic thought is inherited. Even during the whole Chinese history, there is no cu[tural methodology of spiritual history coming down in one continuous line. The problem left behind by history is so compieX5 so huge a time span that it is extremely hard t0 make out a distinct and effective skeleton concerning ceramic spiritual evolution or absolute ceramic art.

Because, as generally acknowledged, the academic spirit respects the historical reality, the historical basis of ceramic painting has t0 make a breakthrough in the phraseoiogicai relationship between ceramic decorations and materials! which should be universally acknowledged,

A The history of ceramic painting. In the development of ceramic history, to draw on ceramic materials has neyer been m i"dependent painting category, Dated back to 12 000 years ag0> either omamentation of rope flgure or the totems based on witchcraft and primitive sacrifice were mostly not painted on potteries. were close to the art of carving and molding. For the painted ornamentation, the technique used was similar ">that °f strictly speak:ng't0,pain* ornamentation on primitive potteries spiritually overlapped with primitive painting. So it cannot independently be regarded as phraseological standard of ceramic painting, but can be looked upon as the spiritual origin of it.

Although to paint omamentation on primitive potteries be called ceramic painting, it was only one mean of ceramic decoration. From the early pottery with omamentation of rope figure to mechanical molding and kilned porcelain, human beings showed very serious self-discovery, and contributed their self-discovery to God's mighty power. The Chinese philosophic analysis was the earliest to put forward the harmonious unification between self-nature and divinity, which means the philosophic unification between heaven and human. This indicated the inchoation of Chinese culture, i.e. the beginning of recognizing the nature of civilization.

Ceramic painting and decoration were popular from the Northern and Southern Dynasties (420-589AD) to Tang Dynasty (618-907AD), but they were very simple. In Tang Dynasty, wheat straws stained with blue pigment were used to paint ornamentation by dotting. Some scholars recognize it as the original form of blue and white porcelain, but this opinion is questionable.

From a certain angle, however, during the history of ceramic painting and decoration, blue and white ceramic system was the first to come out. …

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