Typical representatives of northern ceramic art in Chinese history are:

A typical representative of northern ceramic art in Chinese history is the Zibo kiln.

Zibo kiln field is a mature and developed, high-tech, huge output of the comprehensive kiln community. It has several characteristics: 1. The craft decoration is extremely rich, the categories are complete, and it can be called the large collection and concentration of most of the northern characteristic crafts in the Song and Jin dynasties, which is very rare in the history of ceramics.

2. The kiln site is relatively concentrated, and the products between the kilns have certain similarities and overlaps, but the connection is orderly, and the diffusion development model of the porcelain industry in the two centers of Zichuan and Boshan is clear and systematic. 3. The center of gravity of the product structure of each kiln has its own bias, showing the characteristics of a certain regional system division of labor. 4. There is a high degree of correlation with the craftsmanship of other parts of the north, and most of the products are corresponding to the styles of different regions and different periods such as Hebei, Henan, Shanxi and even Sichuan.

5. The development of the kiln is fully saturated, the reproduction period is long, and the evolution trajectory of the production history is extremely complete.

Obviously, the Zibo kiln is an integral part of the entire northern ceramic industry system. Its high degree of openness, accommodatingness, generalization and self-contained system are of great academic significance for exploring the macro structure and evolution mode of the history of ceramic production and craftsmanship in northern China. The current research is also in the ascendant, and in the case of many basic issues such as the coverage of the market, production and marketing channels, the ins and outs of process communication, and the route trajectory of its products, a variety of opinions have also been derived, such as the creation of some products, the attributes of the government and the people, and the historical positioning of the Zibo kiln.

It is touching that some local people with a strong sense of mission have been campaigning for certain views for a long time, especially local scholars, experts and private collectors represented by Zhang Guangming, Gao Yan and Jia Bin.

However, in order to make an accurate historical positioning of the Zibo kiln, it is necessary to abandon some preconceived subjective hopes or self-centered emotions, be as objective and rational as possible, and first solve some basic questions, such as whether it is the original starting point of some processes or a derivative technology transmission receptor? Is it at both ends of the process transmission chain, or is it in the middle of the transition? When the logic of thinking is clear and the evidence is sufficient, the truth will naturally come out.

Typical representatives of northern ceramic art in Chinese history, in the Sui and Tang dynasties, there are Xing kilns in Hebei and Yaozhou kilns in Shaanxi; In the Northern Song Dynasty.

There are five famous kilns.

Guanyao, Jun kiln and Dingyao, the kiln sites are located in Henan and Hebei respectively. The site of the five famous kilns has not yet been determined, and it may also be a typical representative of northern ceramic art.

In China's glorious cultural and artistic treasure house, ceramics are an important part. Our ancestors created it to meet the needs of daily life, and then gave it multiple values such as practicality, appreciation, and collection in the development and innovation. Until today's world, it is still the most widely used and most popular utensils in our lives, and many countries in the world are also producing porcelain, and its roots are more or less influenced by China's porcelain-making technology, so China is known as the "porcelain country".

The exquisite skills and artistic achievements of Chinese ceramics have also attracted scientists, artists and archaeologists from all over the world to study it, and Chinese ceramics have become a worldwide culture.

The production and development of ceramics are actually closely related to people's life and production practices. From the Neolithic period to modern times, it has never been interrupted, and it runs through almost every period of Chinese history. In the 5,000 years after entering the civilized society, ceramic culture is connected with the rise and fall of the nation, the fate of the country, its scale and quality reflect the prosperity and decline of the feudal dynasty, record the historical information of all periods, and accompany our descendants from the primitive society to the civilized society.

Through the understanding of the development and change process of ceramics from ancient times to the present, we can see the replacement and change of the glory and decline of a dynasty, feel the breadth and profundity of the history of Chinese ceramics, and appreciate the diligence and wisdom of the Chinese working people. And from the Chinese ceramic art, we not only simply see the types and characteristics of Chinese ceramic art, but also we can see the development of China's science and technology, social economy, foreign relations, etc., as well as the changes in lifestyle, aesthetic concepts and so on. Therefore, the history of the development of ceramics is actually a visual history of Chinese national culture.

The development of ancient ceramic technology is also a development process from low to high, from primitive to mature. It has gone through five milestones and three major technological breakthroughs, and it is precisely because of these five milestones and three breakthroughs that China has a continuous, 10,000-year, unique ceramic development history in the world and occupies a leading position in the world. The five milestones are:

1. "White as jade, bright as a mirror, thin as paper, sound like chime" are the four characteristics of ceramics.

2. The porcelain fetus is light and thin, moist and transparent, like an eggshell, as thin as a cicada's wings, and as light as a silk yarn.

3. The tire is crisp, and you can hear the crisp sound of "dong" when you buckle it lightly with your fingers, just like the beautiful sound played by a musical instrument, which is exciting.

4. Compared with pottery, the texture of porcelain is hard, fine, strictly forbidden, high temperature resistant, and rich glaze.

5. Blue and white porcelain is blue after firing, with strong tinting strength, bright color, high firing rate, stable color, not easy to wear, and no lead dissolution and other drawbacks.

The development of glaze color of ancient ceramics in China is from unglazed to glazed, from monochrome glaze to multi-color glaze, and then from underglaze color to overglaze color, and gradually developed into underglaze and glaze co-painted five-colored, bucket color.

The cultivation of ceramic technology needs to be nurtured by history, therefore, the West first develops art with technology, and then aesthetics rises, but China is the first to develop artistic aesthetics, "now all emphasize creativity, whether in Chinese ceramics or the West are emphasizing creativity," therefore, if Chinese ceramic art wants to develop into a "commodity", it is necessary to strengthen the porcelain-making process.

Chinese ceramics need to return to the "consumer cognition", in order to drive the atmosphere of the ceramic market is the key. Chen Yuping believes that the Western ceramic culture and market activity have allowed the people to accumulate a certain aesthetic awareness, and their ceramic industry has a perfect institutionalization, so the people have a high degree of recognition of ceramics, and even think that owning ceramics is a "good gift", but China does not have this culture.

The product style and technology standard are also different. Chen Yuping said, Chinese ceramic technology is not bad, such as Bafang Xinqi or French blue porcelain products, all emphasize different oriental humanities and streamlined style, although the technology and color are not as rich as European ceramics, but Europe has a lot of auction system, the use of market speculation, cultivated a lot of people who appreciate ceramics to participate in the grand event, the social aesthetic consciousness is rich, ceramics will continue to be concerned, and the purchase will also increase.

Although in human history, the pottery culture of the East and the West has had many large-scale exchange records, and the development of each other's pottery has been affected by the exchange and has changed in shape, color glaze and production technology, but after the accumulation of time, these external influences are finally integrated into their own pottery culture.

It is mainly the shape and ornamentation. Deeper, it is the noble and elegant quality of the tire.

Summary. Hello, ceramic art is divided into: 1. Industrial ceramics This kind of ceramics are used in the construction industry, such as ceramic tiles and bathroom porcelain that we see every day.

2. The specific details of art ceramics can be divided into stoneware, celadon, bone china, high white jade porcelain, white porcelain, black ceramics and so on. According to its production process, it is divided into: blue and white porcelain, Chinese red porcelain, underglaze colorful porcelain, wool porcelain, carved porcelain, etc.; According to the kiln mouth, it is divided into:

Jingdezhen, Liling porcelain, Dehua porcelain, Ru porcelain, Jun porcelain, Longquan porcelain and so on. 3. Daily ceramics The production of daily ceramics can be said to be because of people's needs for daily life, and people are most exposed to porcelain in daily life, and it is also the most familiar porcelain, such as tableware, tea sets, coffee sets, wine sets, tableware, etc.

Ceramic art is a Chinese handicraft that developed into a category in the Ming and Qing dynasties, including types.

Hello, ceramic art is divided into: 1. Industrial ceramics This kind of ceramics are used in the construction industry, such as ceramic tiles and bathroom porcelain that we see every day. 2. The specific details of art ceramics can be divided into the following according to the material

stoneware, celadon, bone china, high white jade porcelain, white porcelain, black ceramics, etc.; According to its production process, it is divided into: blue and white porcelain, Chinese red porcelain, underglaze colorful porcelain, wool porcelain, carved porcelain, etc.; According to the kiln mouth, it is divided into: Jingdezhen, Liling porcelain, Dehua porcelain, Ru porcelain, Jun porcelain, Longquan porcelain and so on.

3. Daily ceramics The production of daily ceramics can be said to be because of people's needs for daily life, and people are most exposed to porcelain in daily life, and it is also the most familiar porcelain, such as tableware, tea sets, coffee sets, wine sets, tableware, etc.

The main types of Qing porcelain: Qing Dynasty porcelain has increased compared with the Ming Dynasty in terms of categories and varieties, and can be divided into three categories. 1.

It belongs to the diet category, and the daily utensils of containers - plates, bowls, cups, saucers, cups, pots, bottles, cans, washers, jars, interstitial screens, pillows, candlesticks, etc., 2It belongs to the furnishings and appreciation category - vases, flowers, flowers, bridge bottles, interstitials, flower pots, flower receptacles, snuff bottles and melons and fruits, animals like raw porcelain, all kinds of imitation handicrafts porcelain and porcelain carving, porcelain sculpture, etc., 3It belongs to the category of stationery and entertainment utensils - inkstones, water bowls, ink boxes, pen holders, pen holders, ink beds, chess sets, cricket jars, etc.

The main types of porcelain in the Ming Dynasty: plates, bowls, pots, pots and other utensils in the Ming Dynasty were the same as those in the Yuan Dynasty. In the Ming Dynasty, the jade pot spring vase, plum vase, holding pot, and goblet basically retained the shape of the Yuan Dynasty, with only minor reforms.

4.Briefly explain the artistic characteristics of ancient Chinese ceramic art design (10 points.

The design of ancient Chinese ceramic art his artistic characteristics, its biggest crack feature is the yin and yang of traditional culture, both dynamic and static, prominent and soft, just like the blue and white dragon vase, just look at the dragon, lifelike, domineering exposed, look at the blue and white pattern soft surrounding, and then look at the whole flat body, round and harmonious. It can be said that its biggest feature is that there is stillness in movement, and there is movement in stillness, which is combined with Yuyuan slag to form a harmonious beauty of conflict.