Materiality, Imagery and Spatial Narrative in Jin Ke’s Porcelain Panel Paintings

Min Yang

doi:10.63313/ah.9053

Authors

Min Yang Shenzhen Yangmin Ceramics Co., Ltd., Bao’an District, Shenzhen, 518101, China Author

DOI:

https://doi.org/10.63313/ah.9053

Keywords:

Porcelain Panel Painting, Overglaze Enamel, Colored Glaze, Artistic Language, Imagery Space

Abstract

This paper takes Professor Jin Ke’s porcelain panel paintings Autumn Lotus Dream Moon, Castle in the Sky, and Fragrant Blossoms as the research objects and analyzes their artistic language from the perspectives of material, imagery, and space. Through the combined use of overglaze enamel and colored glaze techniques, the works integrate the fluidity and unpredictability of ceramic materials with painterly expression, creating visual spaces characterized by poetic atmosphere and contemporary aesthetics. Autumn Lotus Dream Moon presents the poetic expression of life through the imagery of withered lotus, Castle in the Sky constructs a spiritual space between reality and fantasy, while Fragrant Blossoms emphasizes the visual tension of living forms through lines and abstract structures. The study argues that Jin Ke’s porcelain panel paintings transcend the traditional decorative mode of ceramic painting by integrating Eastern artistic conception, material experimentation, and contemporary painting concepts, reflecting the transformation of contemporary porcelain panel painting from craftsmanship to artistic language, and demonstrating important theoretical and practical significance for modern ceramic art research.

References

[1] Hu, X., Lai, Y., Hu, Y., Li, Y., Zhao, D., & Tong, F. (2022). Research on the application of polymer materials in contemporary ceramic art creation. Polymers, 14(3), 552.

[2] Sfez, R., De-Botton, S., Avnir, D., et al. (2022). Sol–gel glazes: A safe glass and ceramics coloring approach. Journal of Sol-Gel Science and Technology, 102, 562–573.

[3] Zhao, Y., & Ke, Y. (2023). Improved style transfer algorithm in decorative design of ceramic painting. Cogent Arts & Humanities, 10(1).Li, J., & Wang, S. (2023). AI-assisted inheritance of Qinghua porcelain cultural genes and sustainable design innovation. Electronics, 14(4), 725.

[4] Yu, W., Zhao, L., Zhai, Y., et al. (2023). Corrosion mechanism of ceramic glaze from the Yangtze Estuary II. Science China Technological Sciences, 66, 2246–2257.

[5] Ichsan, N. (2023). Sur/Face: Self-portrait in porcelain. Journal of Visual Art and Design, 15(1).

[6] Trinkl, E., Karl, S., Lengauer, S., et al. (2023). Cross-modal search and exploration of Greek painted pottery. arXiv Preprint.Wang, Z. (2024). On the application of 3D printing technology in ceramic modeling. Foshan Ceramics, 34(3), 72–74.

[7] Arredondo, R., Dar, O., Chiang, K., et al. (2022). Blue ceramics: Co-designing morphing ceramics for seagrass meadow restoration. arXiv Preprint.

[8] Wager, S. M. (2022). Boucher’s spirit: Authorship, invention, and the force of porcelain. The Art Bulletin, 104(2), 45–67.

[9] Loewe Foundation. (2023). Loewe Foundation Craft Prize 2023. The Guardian.

[10] Zhang, W., Zhang, J.-W., Wong, K. K., et al. (2023). Computational approaches for traditional Chinese painting. arXiv Preprint.