On the Aesthetic Evolution and Cultural Connotation of the ' Children-Playing Pattern ' of Blue and White Porcelain in the Ming Dynasty

Abstract

Jingdezhen blue and white porcelain children-playing pattern in Ming Dynasty is an important type of Chinese ceramic decoration art. Its aesthetic style and cultural connotation have undergone significant dynamic evolution in the past three hundred years. From the perspective of art and art theory, this paper uses the research methods of literature research, image analysis and stage comparison to investigate the aesthetic evolution track and the rich process of auspicious meaning of the children-playing pattern of blue and white porcelain in the Ming Dynasty. In the early Ming Dynasty, the pattern composition of the children-playing pattern of blue and white porcelain was symmetrical, the line drawing was neat, and the image of the children was round and full. The core theme revolved around ' more children and more blessings ' and ' group babies ', which was in line with the national policy of family reproduction and population recovery. In the middle of the Ming Dynasty, the children-playing pattern of blue and white porcelain lines were flexible, the composition was sparse, the children were natural and lively, and the motifs related to the imperial fame, such as ' Dress up as an official' and ' official belt circulation ', were integrated into the subject content, which corresponded to the expectation of the public class on social mobility after the maturity of the imperial examination system. In the late Ming Dynasty, the image of children in the children-playing pattern of blue and white porcelain was extremely simplified or even deformed, echoing the collective anxiety caused by social unrest and frequent wars in the late Ming Dynasty.