The development of Chinese ceramic culture

As one of the cultures of the Chinese nation, ceramic culture is nurtured, grown and developed in the nation’s mother body. It expresses itself as an artistic image that vividly condenses the creator’s emotions, carries the fragrance of earth, and retains the corresponding spirit of the creator’s heart and hands. It describes the national culture, narrates beautiful stories, shows a broad picture of social life, records the joys and sorrows of all living beings, describes the development and changes of the nation's psychology, spirit and character, and moves forward with the joy and sorrow of the nation. The pottery sculptures in the colored pottery of the Neolithic period record the aspirations of the ancestors for survival. The pottery pigs, cows, and dogs imitate the images of animals that come from hunting or feed on them, demonstrating the fierce struggle with nature, and expressing the evolution and development of civilization. These works of Mosuo, which are indistinguishable from the real thing, imagine the confusion, joy and struggle of the ancestors, the scene of rushing and calling in the wild and barbaric, which is shocking. The Terracotta Warriors and Horses of Qin, the resolute and solemn general, the knight who is holding the rein and lifting the bow, the knight who is on standby, the stubborn and glaring infantry, the archer who is holding the bow and looking straight ahead, and the Fengshen Xiaojun, Hengkong The war horses that came out, the phalanx formed together, exaggerated their strength and bravery, reminiscent of the warring states era of the warring states of the golden and iron horses, imagining the Qin army's kind of wind-sweeping army, swallowing the sun and the moon, sweeping the north and south of the country. Prestige. Although it is a military formation, it reflects the main theme of that era and vividly records the history of that period. The style of 'Tang Sancai' that exhilarating generosity, magnificence, magnificence, magnificence and majesty is exactly the vivid reproduction of the voice of the Tang Dynasty, which is the prestige, magnificence, and passion of the times, the ceramic art of the Song Dynasty. The freshness and freshness of the beauty is exactly the reflection of the aesthetic customs and philosophical concepts of that era. The beauty and softness of the Ming and Qing Dynasties are the result of social life and aesthetic concepts (Xiong Liao 'Ceramic Aesthetics and the Aesthetic Characteristics of the Chinese Nation') In the future, being handsome and unrestrained is also the result of the combined effects of politics, ideas, concepts, and life in this period. Therefore, a history of Chinese chinaware ceramic is an image of Chinese history, an image of Chinese national cultural history.

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