"The embryo draws the outline of a blue-and-white pen, and the peony depicted in the bottle is like your initial makeup. I know Ran Ran sandalwood through the window, and the pen on the rice paper is half put aside. The charm of the glazed picture of a lady is hidden, your charming smile is in bud, and your beauty is floating away. In the place where you can't go, colorful koi fish jumps on the bottom of the bowl, copying the style but missing you, and you are hiding in the kiln. Outside the curtain, the plantain provoked showers, and the knocker provoked verdigris, but I passed by Jiangnan town to provoke you. In the splash-ink landscape painting, the sky is blue and foggy, and I am waiting for you. Smoke curled up from the kitchen stove, across the river, and at the bottom of the bottle, Han Li imitated the elegance of the previous dynasty, just as I foreshadowed to meet you. " Jay Chou's Blue and White Porcelain is popular all over the country, and the lyricist Fang Wensheng is also well known, and the lyrics are full of it. The melody of this "Blue and White Porcelain" is gentle and euphemistic, elegant and refined, which makes my mind full of misty rain in the south of the Yangtze River.
First, the classical images in blue and white porcelain.
Blue and white porcelain, peony, sandalwood, rice paper, glaze color, ladies' figure, peony, koi fish, copying Song Dynasty, kiln burning, embroidery needle, bronze green knocker, plantain outside rain curtain, Jiangnan town, splash-ink landscape painting, Han Li and so on. Lyrics use these words with unique China characteristics to describe a very romantic and wonderful picture, full of strong China culture. These familiar scenes or things are an important embodiment of China's traditional culture.
1, the graceful artistic conception of classical literature outlined in misty rain is coming.
According to legend, the Ru kiln in the Song Dynasty was dedicated to the royal family of the Song Dynasty. When the kiln official asked Song Huizong to name its color after firing Ru kiln porcelain, the royal family of Hui Zong approved: "Rain breaks the blue clouds, so color makes the future." This sentence was said by Chai Shizong of the Zhou Dynasty after the Five Dynasties. From then on, azure is the color name of Ru kiln porcelain. According to Vincent Fang's explanation, "the reason why misty rain replaces rain is purely because misty rain has a beautiful artistic conception." And I use the phrase "sky blue and misty rain" to counter the vernacular saying "I am waiting for you", and I use the word "wait" one after another to emphasize that the most powerless helplessness in love is "wait". To put it another way:' Where can we ordinary people grasp the vagaries of the weather? If you want to see the pure blue washed by rain, you can only wait patiently for the sudden rain to stop naturally, just as I can only passively wait for you who will never appear. ""The expression of this image has a lot to do with the implicit beauty of our traditional culture in China.
The use of the word "provoke" is also very particular in the traditional culture of China. Huineng, the sixth ancestor of Buddha, has a famous prophecy: "Bodhi has no trees, and the mirror is not a stage; It turns out that when there is nothing, where can dust be produced? In fact, where the dust is caused can also be written as "where is it dirty" or "where is it dirty? "But because the meaning of touch dyeing is not as strong as" provoke ",touch dyeing is just a word that comes into contact with other things, while the word" provoke "has the meaning of uninvited and is very active. The word "provoke" is used one after another with the same meaning but different usage, which is interesting.
2, "Banana" rain, ancient rhyme.
In this blue-and-white porcelain, there is another plant that rarely appears in the lyrics of Banana, which is the inexplicable love of China literati. Just like coconut trees remind people of Taiwan Province Province, palm trees are equivalent to warm beaches, cactus scenes are naturally in the desert, and people naturally think of "Banana" as Suzhou Forest Garden in the misty rain in the south of the Yangtze River in the Song Dynasty. For example, in Li Yu's Sauvignon Blanc, there is "... autumn wind, rain and harmony." Three or two bananas outside the curtain, the night is long. " In fact, as long as we carefully observe the plants that often appear in Song Ci, the frequency of "banana" is quite high: Jie Jiang's "A branch of plum": "A piece of spring worry is waiting for the wine to pour, the boat on the river shakes, and the curtain moves upstairs. Qiuniangdu and Tainiangqiao, the wind is fluttering and the rain is whispering. When will you go home and wash your robe? The silver word is the tone, and the heart word is the fragrance. Streamer is easy to throw people, red cherry and green banana. " Li Shangyin: "Bananas don't show lilac knots, but they miss each other in the spring breeze." Xu Zaisi's Narcissus: "A sound of Ye Qiu, a little banana and a little sorrow, dreaming of the third night." Li Qingzhao's "Adding Words and Picking Mulberry Seeds": "Who planted banana trees in front of the window? The atrium is full of greenery, the atrium is full of greenery, and the leaves are heart-shaped and relaxed. Sad pillow night rain, a little light rain; A little rain, I am worried about hurting northerners and I am not used to listening! " . In addition, Matsuo Bashō, a famous Japanese haiku poet, also took banana as an alias, adding some literati temperament to this plant. After a heavy rain, the garden was green, the air was full of moist moisture, and crystal raindrops rolled on the banana leaves. At this time, this scene is the most poetic; There are also some rusty copper rings, which are still embedded in the door panels after wind, frost and rain, and are the oldest.
3. Ladies, Han Li has been splashing ink for five thousand years.
The Picture of a Lady, also known as the Picture of a Lady, is a painting with the life of upper-middle class women in China feudal society as its theme. Typical porcelain decorative patterns, with the theme of ladies, were first seen in Changsha kiln porcelain in Tang Dynasty. The rarity of ladies' paintings in Song and Yuan Dynasties was closely related to the prevalence of flower-and-bird paintings at that time. Wei, Jin, Southern and Northern Dynasties is the early development stage of ladies painting. The women depicted are mainly ancient virtuous women and fairies in myths and legends, and the prototype of such images generally comes from literary works such as poems, songs and folklores. When artists express these idealized women who are far away from real life, they are most concerned about how to show their inner spiritual temperament through the performance of women's external bodies. From the earliest extant scroll paintings of ladies' paintings, according to the description of the goddess Luoshui in Gu Kaizhi's poem "Luoshen Fu Tu" adapted from Cao Zhi's "Luoshen Fu" (Song version) in the Eastern Jin Dynasty, we can see that the typical beauty in Wei and Jin Dynasties is thin and strange, with high ancient charm. "Its shape is the same, if you are surprised, if you are Youlong. Glory Qiuju, Song Chun, Hua Mao. As light as Yun Zheyue, swaying as the wind flowing back to the snow. Looking from a distance, if the sunrise rises; If you are forced to check it, it will burn like a wave. If you are free, you can trim it. If the shoulders are cut, the waist is as good as the elements. Neck stretching looks good, and its quality is exposed. If you don't add Fang Ze, you will get rich in lead. The clouds are towering and the eyebrows are repaired. Red lips are bright outside, white teeth are fresh inside, bright eyes are good at looking, and cymbals help. Elegant, elegant and quiet. Tender as water, charming language. Stunning clothes are outstanding, and the bone image should be mapped. The glory of wearing a sweater is the glory of Yao and Bi. Wear jade jewelry and embellish pearls to show off your figure. To practice a long journey of writing is to drag the fog lightly. The fragrance of the orchid is awkward, walking in the mountains. " Luo Shen's face is oval, with delicate facial features, slim and graceful figure, light and slender. She didn't show ecstatic expression because she met Cao Zhi by the Luoshui River, nor did she show sadness and indignation because she left Cao Zhi. She finally faced the development of the situation with an indifferent and peaceful expression, thus successfully showing the extraordinary beauty of Luo Shen, which is consistent with the characteristics of people advocating metaphysics, paying attention to people's inner spiritual temperament and pursuing detachment in Wei and Jin Dynasties. Throughout history, lady painting has experienced the process of origin, formation and development. After more than 2,000 years of long evolution, it has become an excellent cultural heritage in China, providing us with rich experience in painting innovation today.
Splash painting is a traditional painting technique in China. According to legend, Wang Qia splashed ink paper in the Tang Dynasty, rubbed his feet with his hands, and drew clouds and clouds at will according to the shapes of stones, clouds and water, just like a clever trick, but he looked down and could not see the traces of ink stains (see Record of Famous Paintings in the Tang Dynasty). "Bamboo Painting" by Li Rihua in Ming Dynasty: "Splash ink skillfully, without handwriting, like splashing ears." Shen Zongqian's Mustard Painting in Qing Dynasty: "Ink splashing, mountains splashing green, grass splashing green, can best express the charm of painting." Later generations pointed out that the pen was full of ink, or clicked or brushed, and the ink dripped dripping and magnificent, all of which were called "splashing ink". In modern times, there is also a kind of bold and unconstrained painting method based on color, which is called "splashing color".
Listening to songs and reading lyrics is like roaming in Zhouzhuang in the south of the Yangtze River, with misty rain, slender ladies, new plantains, red painted wooden doors and green rusted copper rings. What an intoxicating classic splash-ink landscape painting!
Second, the origin of blue and white porcelain and China traditional culture.
1, traditional culture.
Traditional culture refers to the sum of material culture and spiritual culture created by predecessors. It is a relatively stable culture formed in the long-term historical development and preserved in real life, with distinct nationality, times and inheritance. China's colorful and excellent traditional culture has attracted more and more attention from the whole society, and its connotation is various. China's traditional culture includes (1) and conceptual culture (ideological theory, traditional conceptual culture mainly includes Confucianism, Taoism, Buddhism); (2) Historical relics (cultural relics include artifacts and works of art, such as pottery, porcelain, bronzes, jade, gold and silver, lacquerware, bronze mirrors and ancient coins; Calligraphy, painting); (3) Social system, the so-called institutional culture; (4) Ancient books on literature, history, medicine and health, agriculture, astronomy and calendar. It can be seen from the traditional culture of China that the Chinese nation has created a long and continuous history and colorful civilization with its diligence and wisdom.
2. Ceramic culture.
In the eyes of the world, Chinese porcelain culture is one of the most representative images of China traditional culture. Everything in the world is decorated. During the development of China ceramics for thousands of years, decoration and utensils are closely linked, forming a unique ceramic culture style. Today, people's aesthetic diversity, as China has thousands of years of history and culture of ceramic art, more and more people's favor. Ceramic art is the crystallization of art and science. Every ceramic work is a whole composed of three basic elements: ceramic material, modeling and decoration, which has both material and spiritual and cultural characteristics. Ceramic art decoration, with its exquisite patterns, rich colors, unique technology, exquisite production skills, unique creativity and brand-new ideas, has formed a unique form of industrial painting and a unique ceramic culture. The process of ceramic art decoration always runs through three major links: aesthetic occurrence, aesthetic creation and aesthetic acceptance. Ceramic art is profound and has a long history, and ceramic works of art are the messengers of ceramic culture communication. Ceramic art decoration shows people a spirit of ceramic culture. People create culture in labor, and culture shapes people. Excellent culture enriches people's spiritual world and gives people spiritual strength. Therefore, ceramic art is not only a material product, a spiritual product, but also a cultural product.
3. Blue and white porcelain.
Blue and white porcelain is one of the four famous traditional porcelain in Jingdezhen (blue and white porcelain, pastel porcelain, glazed porcelain and exquisite porcelain). Blue-and-white porcelain is an underglaze colored porcelain which is painted with pigment, then glazed with transparent glaze and fired at high temperature at one time. The flower face is blue, beautiful, clean and generous, stable in color, not easy to wear, and there are no disadvantages such as lead dissolution. In the Qing Dynasty, Gong Zizhen praised blue-and-white porcelain in his Tao Ge: "White glazed blue-and-white porcelain is a fire, and flowers are self-glazed. You can participate in innate beauty, and infinity comes from Tai Chi. "
The most striking feature of blue-and-white ornamentation in Yuan Dynasty is its full composition and many levels without disorder. The brushwork is good at one stroke, smooth and powerful; The contour rendering is heavy and steady. The theme of theme decoration is people, animals, plants, poems and so on. The figures are Gao Shitu (Four love figure) and historical figures. Animals include dragons and phoenixes, unicorns, mandarin ducks and swimming fish. Common plants are peony, lotus, orchid, pine, bamboo plum, ganoderma lucidum, flowers and leaves, melons and fruits, etc. Poetry is rare. The petals of painted peony mostly have white edges; The dragon pattern has a small head, a thin neck, a long body, three claws or four claws, a ridge on the back, and a grid-like scale, which is vigorous and fierce. Auxiliary decorations are mostly rolled grass, lotus petals, ancient coins, seawater, palindromes, clouds, banana leaves and so on. Lotus petals are shaped like "braces", and Taoist treasures are mostly painted on lotus petals; In ruyi cloud pattern, eight monsters in the sea, lotus flowers with broken branches and flowers with tangled branches are often painted, and third-order clouds are often painted; The stalk in the middle of banana leaves is solid (filled with green matter); Seawater line is a combination of thick line and thin line.
In the Ming Dynasty, Jingdezhen and local folk kilns produced a large number of blue and white porcelain. Patterns and ornamentation have broken through the shackles of standardization, and a large number of pictures of freehand brushwork flowers and birds, figures, landscapes and various animal themes have appeared, with clever composition, free and easy lines, and sometimes loose brushwork, natural and realistic; Sketch the outline from time to time, with both form and spirit. During the years of the Apocalypse and Chongzhen, some common patterns, such as "Blowing a flute to attract a phoenix", "Opposing the law", "Crossing at night in Qiu Jiang", "Cold birds and withered stones" and "Lotus Crane", were polished with pens, while others were simple and subtle, trying to concentrate the characters of people and animals, which made people daydream. In the folk blue-and-white porcelain of the Ming Dynasty, vivid and lovely baby pictures can often be seen, such as "hide and seek", "flying kites" and "fighting crickets", with elegant colors and unrestrained and beautiful styles. In the creation of folk blue-and-white porcelain in the Ming Dynasty, porcelain painters often skillfully integrated painting and calligraphy. "Fu", "Lu", "Shou" and "Fu", which symbolize good luck, are not painting themes, but are cleverly conceived and expressed by ancient porcelain painters on porcelain and sublimated into images with decorative aesthetic feeling. For example, in Jiajing, Qin Long and Wanli periods, the words "Fu" and "Shou" composed of common pine branches; During the Wanli and Apocalypse years, the pictures of Ganoderma lucidum supporting longevity and Ganoderma lucidum TOEFL, and even the calligraphy "longevity" written directly on porcelain, all appeared full and smooth, giving people artistic enjoyment.
Third, the contribution of ceramic culture to the spread of traditional culture.
The inheritance and development of ceramic culture is closely related to the traditional culture of China. How to absorb the essence and nutrients from traditional culture, how to find a balance between tradition and innovation, and not to give up any new development path are exactly the goals pursued by our generation and even generations. Ceramic culture is an important part of China's excellent culture and a precious wealth of our nation. Chinese porcelain has spread to other places since the Sui and Tang Dynasties. During the Song, Yuan, Ming and Qing Dynasties, porcelain, as an important commodity, was sold all over the country and went to the world. As a commodity, ceramic art decorations are spreading the ceramic culture in China and promoting the development of China culture. Therefore, China is called "the country of porcelain" and enjoys a world reputation. Porcelain-making technology has been passed down from generation to generation and constantly innovated. The unique ceramics produced in China play an important role in meeting people's life and aesthetic needs and in foreign economic and cultural exchanges. China is famous all over the world, and porcelain plays an important role in it. The original meaning of the word China in English is porcelain. Porcelain represents the long-standing civilization of China with its unique national cultural characteristics. Judging from the shape and decoration of porcelain, it perfectly reflects the face of China culture. Ceramic culture has played a role as a bridge and link in the development of China culture and world culture, and made great contributions to the prosperity and development of China culture and world culture.
Traditional culture has a distinct national character, which is the spiritual bond to maintain the survival and development of the nation. It closely links China people on both sides of the Taiwan Strait with the heart of the world, which is also an important proof that we are of the same origin. Today, with the promotion of cultural competitiveness, we strengthen the protection, inheritance and innovation of traditional culture, which is to protect and inherit the blood of our Chinese nation. Every nation in the world has its own unique culture, which is an important symbol of national continuity. China has a long history and profound culture. From Yin Zhou to thousands of years later, China's calligraphy, traditional Chinese painting and ceramics have always maintained the characteristics of China, bearing the heavy Chinese civilization. Their glorious and long history, rich and gorgeous connotations and distinctive and unique styles all occupy a very important position in the world cultural treasure house.