“众工之迹”——景德镇明代民窑青花的“线”艺术特征研究

发布时间：2018-04-02 07:45

本文选题：景德镇　切入点：明代　出处：《中国艺术研究院》2010年博士论文

【摘要】： 青花瓷是中国陶瓷历史中非常特别的一个门类。从唐代出现以来,经过元代发展,到明代,青花瓷已经成为景德镇陶瓷生产的主流。明代景德镇民窑不仅生产百姓使用的粗瓷器皿,还为富裕阶层供应华贵细瓷,为文人生产雅致的文房用品,以及生产适应海外审美需求的外销瓷。民窑青花瓷器造型简单质朴,装饰题材丰富,绘制笔调自在,不受拘束,在艺术上达到了辉煌的高度。中国古代艺术最独特的表现方法之一就是用“线”来表现,包括“线性”的意识和“线条”的造型手段,线的表现具有浓郁的东方韵味。中国古代的陶瓷艺术中也同样可见线化的装饰特征,弥漫着音乐般的旋律。明代民窑青花同样是用线条来构成画面,它的线条神采生动,坦露洒脱,使普通百姓手中的粗瓷器皿成为了感性深情的艺术品。本论文对明代民窑青花的线条艺术特征进行系统的梳理分析,深化对其深层审美特质的把握,发现其背后的形成条件,生存情境,勾画出明代景德镇民窑青花的线条艺术表现特征。论文首先界定了相关概念,并指出了研究景德镇明代民窑青花线艺术的特殊性和研究要点。第二章从艺术本体形式的角度分别对明初,明中和明末三个时期民窑青花线条的典型特征和用笔方法进行描述。民窑青花的“线的艺术”,是“物质材料”和“文化材料”共同的产物。换句话说,其生产方式,器用心理规定了它独特的艺术风格,社会风尚、哲学思想、审美趣味等也与之有着千丝万缕的联系,同时不能忽视商品属性和官窑对它的影响。本文是对“物”的研究,然而这些“物”的特征却依附在其背后活动着的人,以及人作用于“物”的制作手段:生产资料、生产技术、生产工具等“物质材料”。正是这多种力量共同成就了景德镇明代民窑青花“线”与“线性”艺术的产生、发展和最终的成熟风貌。本论文分别对这些因素进行了深入分析,最后对明代民窑青花线条的总体艺术特征进行概括总结。
[Abstract]:Blue and white porcelain is a very special category in the history of Chinese ceramics.Since the emergence of Tang Dynasty, through the development of Yuan Dynasty, to Ming Dynasty, blue and white porcelain has become the mainstream of Jingdezhen ceramics production.In the Ming Dynasty, Jingdezhen kiln not only produced the coarse porcelain ware used by the people, but also supplied the rich class with fine porcelain, produced elegant articles for the literati, and produced porcelain for export to meet the overseas aesthetic needs.Minyao blue and white porcelain shape simple, rich in decorative themes, draw freely, unrestrained, in art has reached a brilliant height.One of the most unique ways of expressing ancient Chinese art is to express it with "line", including the consciousness of "linearity" and the means of modeling "line". The expression of line has a strong oriental charm.Chinese ancient ceramic art can also be seen in line decorative features, filled with musical melody.The blue and white flowers of Ming Dynasty kiln are also made up of lines, its lines are vivid, open and easy, making the coarse porcelain vessels in the hands of ordinary people become sentimental and affectionate works of art.This paper systematically combs and analyzes the line art characteristics of Ming Dynasty Minyao blue and white flowers, deepens the grasp of its deep aesthetic characteristics, and finds the forming conditions and living situation behind it.Outline the Ming Dynasty Jingdezhen Ming kiln blue and white characteristics of line art.Firstly, the paper defines the related concepts, and points out the particularity and main points of the research on the art of the Ming Dynasty Ming kiln blue and white line in Jingdezhen.The second chapter describes the typical characteristics of blue and white lines in Ming Dynasty, Ming Dynasty and the end of Ming Dynasty from the angle of artistic Noumenon form.The art of line is the common product of material material and cultural material.In other words, its production mode, instrumental psychology has stipulated its unique artistic style, social fashion, philosophy thought, aesthetic taste and so on also has the inextricable connection with it, at the same time cannot ignore the commodity attribute and the official kiln influence to it.This paper is a study of "things", but the characteristics of these "things" are attached to the people behind them, as well as the means of making "things": means of production, production technology, tools of production and other "material materials".It is this kind of power that together made Jingdezhen Ming Dynasty folk kiln blue and white "line" and "linear" art production, development and final mature style.This paper analyzes these factors in depth and summarizes the overall artistic characteristics of Ming Dynasty Ming kiln blue and white lines.
【学位授予单位】：中国艺术研究院
【学位级别】：博士
【学位授予年份】：2010
【分类号】：K876.3

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