中国文化风图片素材-有谁能提供一些关于中国瓷文化的素材吗？要英文的。谢谢！！

原创：找图网 2023-06-09 16:31:03

关于中国茶文化的素材。。。

中国茶文化中国是茶的故乡,制茶、饮茶已有几千年历史,名品荟萃,主要品种有绿茶、红茶、乌龙茶、花茶、白茶、黄茶、黑茶。茶有健身、治疾之药物疗效,又富欣赏情趣,可陶冶情操。品茶、待客是中国个人高雅的娱乐和社交活动,坐茶馆、茶话会则是中国人社会性群体茶艺活动。中国茶艺在世界享有盛誉,在唐代就传入日本,形成日本茶道。

饮茶始于中国。茶叶冲以煮沸的清水,顺乎自然,清饮雅尝,寻求茶的固有之味,重在意境,这是茶的中式品茶的特点。同样质量的茶叶,如用水不同、茶具不同或冲泡技术不一,泡出的茶汤会有不同的效果。我国自古以来就十分讲究茶的冲泡,积累了丰富的经验。泡好茶,要了解各类茶叶的特点,掌握科学的冲泡技术,使茶叶的固有品质能充分地表现出来。

中国人饮茶,注重一个“品”字。“品茶”不但是鉴别茶的优劣,也带有神思遐想和领略饮茶情趣之意。在百忙之中泡上一壶浓茶,择雅静之处,自斟自饮,可以消除疲劳、涤烦益思、振奋精神,也可以细啜慢饮,达到美的享受,使精神世界升华到高尚的艺术境界。品茶的环境一般由建筑物、园林、摆设、茶具等因素组成。饮茶要求安静、清新、舒适、干净。中国园林世界闻名,山水风景更是不可胜数。利用园林或自然山水间,搭设茶室,让人们小憩,意趣盎然。

中国是文明古国,礼仪之邦,很重礼节。凡来了客人,沏茶、敬茶的礼仪是必不可少的。当有客来访,可争求意见,选用最合来客口味和最佳茶具待客。以茶敬客时,对茶叶适当拼配也是必要的。主人在陪伴客人饮茶时,要注意客人杯、壶中的茶水残留量,一般用茶杯泡茶,如已喝去一半,就要添加开水,随喝随添,使茶水浓度基本保持前后一致,水温适宜。在饮茶时也可适当佐以茶食、糖果、菜肴等,达到调节口味和点心之功效。

有谁能提供一些关于中国瓷文化的素材吗？要英文的。谢谢！！

Chinese Ceramic Culture and Philosophy

(中国陶瓷文化与哲学)

As a form of arts and crafts, ceramics depends on and reflects the Chinese philosophy and aesthetic thinking of the people.

We Chinese people attach much importance to moral and spiritual integrity-"an army corps can be deprived of its commander-in-chief while ordinary people can never be deprived of moral integrity", "pines and cypresses would never wither in severely cold winter", "the three just and righteous friends in winter" referring to pine, bamboo and plum blossom. This is excellently expressed in ceramic art, in which such patriots and moral people as Qu Yuan, Su Wu, Guan Yu, Li Bai, Du Fu, Badashanren, Zheng Banqiao, and so on are vividly depicted. Even Zhong Kui the grand ghost is personalized as a valiant and firm, kind and helpful hero who is obviously worldlier. Pine, bamboo, plum blossoms, lotus, orchid, chrysanthemum and their like are often the themes of ceramic art not only because of their imagoes, but more importantly of the artists' pursuing for moral integrity that they symbolize. Being oftentimes used in ceramic art, chrysanthemum is unyieldingly blooming in cold weather, which symbolizes the noble and pure personality and shows the scene of "not the spring scenery, but the most beautiful spring scenery".

The valuable idea of "harmony between people" exists in the Chinese culture. Starting from Confucius, "kindheartedness", the core of which is "loving people", has been advocated. There should be more love and less fight. Unity is the source of power. The idea of "respecting people" weighs a lot in Chinese philosophy. People have been juxtaposed with the heaven and the earth, and together with them been called "The Three Talents". This idea was first expressed in the textual records from the Shang dynasty. "The Vow of the Qin" in "The Book of Documents" ("Shangshu Qinshi") recorded "The heaven and the earth are the parents of nature, and people the spirit of nature." Xunzi stated it more clearly in the chapter of "The King's Management of His Kingdom" from "Xunzi", "Water and fire have no life but 'qi', grass and wood have no senses but life, birds and beasts have no moral integrity but senses, while people have qi, life, senses and more integrity, and therefore are the most dignified in the world." This idea has deeply influenced the production of all forms of art in China, of course including ceramic art, which shows the idea of "man is the key", and "to take advantage of objects to serve people". The "Luao" chapter from "The Book of Documents" reads "unconfined to the senses, you will always see the truth of the objects, however, if attached to material substances, you will lose your moral integrity." Similar ideas exist in Taoism, for instance, "never let material substances subdue your moral integrity", "never let material substances harm yourself", "keeping detached from material substances, we will control them."

The ideas of "harmony between people" and "man is the key" have been vividly expressed in ceramic art long since. Regarding the relationships between man and nature, by exploring new materials and techniques, they sing high to the consciousness of the principal role of man in such works as "the two harmonious immortals", "reconciliation of the marshal Lian Po and the prime minister Lin Xiangru", "the God of Happiness". All the figures are delighted and cheerful-the big-belly arhat, the arhat with five children; Avalokitesvaras are always messianic; and none of the eight immortals is upset, instead the works of them are full of happiness, auspiciousness and detachment. Though of religious themes, they reflect the ideology of the Chinese people. Many ceramic art works are about auspiciousness -the three stars of happiness, fortune and longevity, phoenix which is the king of birds and symbolizes big fortune and auspiciousness, crane which symbolizes longevity and moral integrity, bamboo which has the same pronunciation with "blessing" and therefore embodies happiness during a person's life time, "li yu" carp-"li" and "yu" are similarly pronounced to "rites" and "wealth" and therefore symbolizes promotion and wealth, and so on. Being the most dignified life, man should search for happiness, harmony and well-being; master and make use of the material world; be enterprising to find, produce, and enjoy beauty. Meanwhile he should keep self-worth and moral integrity at both national and personal levels. All these themes are fully expressed in the ceramic works.

Important in Chinese philosophy are the idea of form and spirit and the idea of passion and desire. People hold idealistic or materialistic views of them. The materialistic ones are clearly, assuredly and spontaneously persisted in the ceramic art from Jingdezhen. Xunzi, a materialistic thinker from the warring states period, argued "spirit derives from its material carriers". Then Fan Shen from the Han dynasty in his "On Extinguishments of Spirit" inherited Xunzi's view, "spirit is material, and vise versa, therefore the spirit will exist if its material form exists and the spirit will vanish if its material form vanishes." And they have many successors in various periods.

I cannot make a farfetched conclusion that the ceramic artists consciously accept the materialistic view, let alone there is a very important principle in the theory of art, that is, "expressing spirit through its material form", "having both the spirit and its material form". The relationships between the philosophical and artistic conceptions of the consonance of form and its spirit is not the most concerned topic here, however, when building up artistic figures in ceramic art, the artists stick to the very tradition.

Of whatever topics or using whatever techniques, every work is realistic and vivid which shows the principle of the spirit consonance with its object.

Many theories on "passion and desire" co-exist in ancient Chinese philosophy. The existence of passion and desire can never be denied in the "non-desire theory", the "scanty-desire theory" or the "abstinence theory". In fact, ancient Chinese thinkers posed many penetrating arguments. According to "On Heaven" from the "Xunzi", passion has seven forms-joy, anger, worry, misgivings, sadness, fear and shock. Besides this rather stereotyped theory, there are the arguments of "seven forms of passion" and "four forms of passion", and so on. According to "desire is produced when physicality, interest, power and success cannot be attained" (See "On Reading the Completed Edition of the Four Classics", vol. 6), accordingly Wang Fuzhi from the Qing dynasty divided the desires of man into four categories. Despite different categorizations, nobody can deny its existence.

In regard to the issue of passion and desire, ceramic art inherits and reflects the ideology and psychology of the Chinese people, especially that of the populace. By using specific visual, touchable and appealing figures, these works directly express the "passion" and "desire", and reach their various aspects, which has spontaneously been the case for thousands of years.

This fully explains that the Chinese people have always been searching for and loving beautiful life.

However they have never been carnalistic or ascetic. What they have searched for is noble, healthy, auspicious, satisfactory and harmonious life which is reflected by the ceramic art works.

In addition, one point needs to be mentioned that the idea of flexibility has been shown in ceramic art in history and at present, which is the common trend shared by all the forms of the functional art in China. "Assessing the Work of Craftsmen" begins like this, "there are six professions in a nation, among which are artisans and craftsmen. Some (of them) are sitting and discussing the 'Dao', some are busy producing works, and some are judging the variability of the works to determine various materials and to classify various earthen models." In short, pragmatic arts should agree to different conditions to meet the diverse spiritual needs of the people at all levels.