Reviving drip-drip-drip porcelain painting
By Wang Jie |
June 29, 2012, Friday
|
Print Edition
Print Edition
ANCIENT Chinese imperial porcelain has been famously described as being "as white as jade, bright as a mirror, thin as paper, and with a sound as clear as a bell."
It was blue-and-white porcelain from Jingdezhen, in what is now Jiangxi Province, and it found its way around the world, became an emblem of Chinese porcelain and culture.
Although Chinese have made porcelain for several thousand years, the high-fired white ware arose in the Tang Dynasty (618-907 AD) and Jingdezhen porcelain originated during the Northern Song Dynasty (960-1127 AD).
Some techniques of making blue-and-white porcelain have been lost, but ceramist Zou Le has spent 10 years recovering and mastering the ancient skill of fen shui (not feng shui, or the art of arranging buildings and objects to maximize positive energy), literally meaning "separating water," which originated in the Ming Dynasty (1368-1644). In this method, color is applied to a plate or vessel not by brushtrokes but rather through droplets of blue paint meticulously dripped from a brush onto the item that is constantly being moved around by the artist on his or her lap. Once begun, the drop painting process cannot be stopped until the work is finished, lest its evenness and rhythm is disrupted.
Her work is exhibited through July 16 at the art appraisal branch of the Ministry of Culture in Shanghai.
Zou says she first learned the fen shui technique at the Jingdezhen Ceramics Institute, but her understanding was rudimentary.
"Our teacher said it was a pity that not a single student ever truly grasped the skill and I was curious about how difficult it could be," the 32-year-old says.
Zou was born in Jingdezhen and says that growing up in such an atmosphere of ceramics, "there seemed no choice but to major in ceramics."
Many talented graduates and veterans don't have a chance to distinguish themselves because they do not bring something distinctive to the art. Zou decided to master fen shui.
"I don't know whether I chose fen shui or fen shui chose me," Zou says.
"Just imagine that all your attention has to be focused on the droplet of paint and whether it will drop perfectly into outlined patterns on a vessel, while at the same time your other hand moves the vessel around," Zou says. "This requires coordination of the brain, hand and eye. I practiced and experimented every day. Practice makes perfect. There is really no shortcut."
Different-sized brushes are used.
According to Zou, compared with other blue-and-white porcelain, fen shui decoration is clearer, thinner and more even.
"I seldom drink water, as I have to work continuously for six hours a day without a pause," Zou says. "If I want to create a large piece, then I need a strong body to bear 30 jin (15 kg) in weight."
"I knew few ceramists grasped the ancient skill, so I was surprised to learn that a young girl created such works as part of China's intangible cultural heritage," says Chen Haibo, chief of the Shanghai branch of the art appraisal committee of the Ministry of Culture.
"Most importantly, Zou fuses some modern elements with the ancient art," he says, citing the modern aesthetic of a vessels shape as well as patterns.
Chen says he plans to introduce the fen shui technique to Western ceramists. "It took me two years to create this exhibition, since it's not easy to create a perfect piece," Zou says, adding that sometimes the droplet of paint cannot be controlled and the patterns are not satisfactory.
While she works, she listens to traditional Chinese zither music of the guzheng, saying, "It quenches the thirst in my heart and guides my thoughts on the porcelain."
Date: Through July 16, 10am-5pm
Address: 1102 Hongxu Rd
Tel: 6275-0329
It was blue-and-white porcelain from Jingdezhen, in what is now Jiangxi Province, and it found its way around the world, became an emblem of Chinese porcelain and culture.
Although Chinese have made porcelain for several thousand years, the high-fired white ware arose in the Tang Dynasty (618-907 AD) and Jingdezhen porcelain originated during the Northern Song Dynasty (960-1127 AD).
Some techniques of making blue-and-white porcelain have been lost, but ceramist Zou Le has spent 10 years recovering and mastering the ancient skill of fen shui (not feng shui, or the art of arranging buildings and objects to maximize positive energy), literally meaning "separating water," which originated in the Ming Dynasty (1368-1644). In this method, color is applied to a plate or vessel not by brushtrokes but rather through droplets of blue paint meticulously dripped from a brush onto the item that is constantly being moved around by the artist on his or her lap. Once begun, the drop painting process cannot be stopped until the work is finished, lest its evenness and rhythm is disrupted.
Her work is exhibited through July 16 at the art appraisal branch of the Ministry of Culture in Shanghai.
Zou says she first learned the fen shui technique at the Jingdezhen Ceramics Institute, but her understanding was rudimentary.
"Our teacher said it was a pity that not a single student ever truly grasped the skill and I was curious about how difficult it could be," the 32-year-old says.
Zou was born in Jingdezhen and says that growing up in such an atmosphere of ceramics, "there seemed no choice but to major in ceramics."
Many talented graduates and veterans don't have a chance to distinguish themselves because they do not bring something distinctive to the art. Zou decided to master fen shui.
"I don't know whether I chose fen shui or fen shui chose me," Zou says.
"Just imagine that all your attention has to be focused on the droplet of paint and whether it will drop perfectly into outlined patterns on a vessel, while at the same time your other hand moves the vessel around," Zou says. "This requires coordination of the brain, hand and eye. I practiced and experimented every day. Practice makes perfect. There is really no shortcut."
Different-sized brushes are used.
According to Zou, compared with other blue-and-white porcelain, fen shui decoration is clearer, thinner and more even.
"I seldom drink water, as I have to work continuously for six hours a day without a pause," Zou says. "If I want to create a large piece, then I need a strong body to bear 30 jin (15 kg) in weight."
"I knew few ceramists grasped the ancient skill, so I was surprised to learn that a young girl created such works as part of China's intangible cultural heritage," says Chen Haibo, chief of the Shanghai branch of the art appraisal committee of the Ministry of Culture.
"Most importantly, Zou fuses some modern elements with the ancient art," he says, citing the modern aesthetic of a vessels shape as well as patterns.
Chen says he plans to introduce the fen shui technique to Western ceramists. "It took me two years to create this exhibition, since it's not easy to create a perfect piece," Zou says, adding that sometimes the droplet of paint cannot be controlled and the patterns are not satisfactory.
While she works, she listens to traditional Chinese zither music of the guzheng, saying, "It quenches the thirst in my heart and guides my thoughts on the porcelain."
Date: Through July 16, 10am-5pm
Address: 1102 Hongxu Rd
Tel: 6275-0329
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