宋金元时期磁州窑瓷枕文化研究

发布时间：2018-04-05 17:41

本文选题：磁州窑瓷枕　切入点：瓷枕文化　出处：《中央民族大学》2011年硕士论文

【摘要】：磁州窑是宋金元时期,在北方影响最大的民窑。其所生产的器物多为平民百姓日常生活用具,因此,它所表现的文化特征则可以充分的反映出这一时期社会文化意识的变化。本文以宋金元时期磁州窑的代表器形之一——瓷枕为研究对象,比较瓷枕在三个不同时期的发展、变化规律,分析促成发展变化的历史因素,借以探讨其背后隐藏的社会文化内涵。宋金元时期,磁州窑的中心窑址在观台烧造区,这一地区生产的瓷枕最多也最具有代表性,从最初的仿定窑的刻划花装饰到北宋晚期笔绘的白地黑花风格的确立,再到金元时期的繁荣发展,都在这一烧造区有明显的发展轨迹且特征明显。故此本文主要论述宋金元时期观台烧造区的瓷枕的文化特点。本文将结合宋、金、元时期不同的历史背景分别论述磁州窑瓷枕在这三个时期内的变化。宋代磁州窑风格初显,更多的展示出民间的风趣民俗,但同时又与宋代院体画的某些画风有着相似之处。金代,社会的动荡并没有影响磁州窑的生产与发展,此时磁州窑的装饰风格更加多样化,不仅形制不一而且体量变大,造型粗犷,随着笔绘的熟练应用,纹饰内容更加丰富多样,其花鸟纹饰造诣很高,反映出北宋画院的工笔写实风格。书法艺术也大量用于瓷枕装饰上,用行、楷、草、篆等多种笔体书写名人诗词和格言、谚语。这种现象的背后有两种,可能,一是瓷枕在这一时期的使用阶层发生了变化,从平民阶层向文人士大夫阶层和士绅官宦阶层发展；另一种可能是,政治上的动乱使得文人归隐于民间,介入到了瓷枕的生产过程中,影响了其文化取向。元代是磁州窑瓷枕最后的辉煌时期。期间的瓷枕造型工整、制作精良、纹饰多样且描绘精致,此时的瓷枕制作很明显有了文人参与的痕迹,瓷枕最初的民间风格已经淡化,取而代之的是元杂剧场景纹饰,山水画和花鸟纹也更多地表现的文人的审美情趣,但瓷枕的大量生产和专烧瓷枕的作坊的出现都说明了平民阶层逐渐认同了这种文化取向。因此证明从宋到元,磁州窑瓷枕文化经历了初期宋代质朴的民间风格,发展期金代自由的写实风格,繁荣期元代精细的写意风格,形成了特有的雅俗共赏的文化特征本文通过对实物与文献资料的综合研究,把握了宋金元时期磁州窑瓷枕的发展规律,证实了磁州窑在发展过程中不同因素的渗入对其产生的影响,以小见大,从瓷枕的方寸之间印证社会的文化意识的变化。
[Abstract]:Cizhou kiln was the most influential kiln in the north in Song, Jin and Yuan dynasties.Most of the artifacts it produces are common people's daily life utensils. Therefore, its cultural characteristics can fully reflect the changes of social and cultural consciousness in this period.This article takes the porcelain pillow, one of the representative organ shapes of Cizhou kiln in Song, Jin and Yuan dynasties, as the research object, compares the development and change law of porcelain pillow in three different periods, and analyzes the historical factors that contribute to the development and change.In order to explore its hidden social and cultural connotations.During the Song, Jin and Yuan dynasties, the central kiln site of the Cizhou kiln was in the Guantai firing area. The porcelain pillow produced in this area was the most representative, from the original engraving decoration of the imitation kiln to the establishment of the white and black flowers painted in the late Northern Song Dynasty.The prosperity and development of Jin and Yuan dynasties all have obvious development track and characteristics in this burning area.Therefore, this paper mainly discusses the cultural characteristics of porcelain pillows in Guantai Burning area in Song, Jin and Yuan dynasties.According to the different historical background of Song, Jin and Yuan dynasties, this paper will discuss the change of porcelain pillow of Cizhou kiln in these three periods.The style of Cizhou Kiln in Song Dynasty shows the folklore more, but at the same time, it has some similarities with the painting style of Song Dynasty.In the Jin Dynasty, the social unrest did not affect the production and development of the Cizhou kiln. At this time, the decoration style of the Cizhou kiln was more diversified, not only varied in shape and volume, but also rough in shape, with the skillful application of the brush painting.The decorative content is more rich and diverse, and its flower and bird ornaments are highly accomplished, reflecting the realistic style of meticulous brushwork of the Northern Song Dynasty painting Institute.Calligraphy art is also widely used in porcelain pillow decoration, writing famous poems and proverbs with lines, block letters, grass, seal characters, etc.There are two kinds of phenomena behind this phenomenon, one is that the use class of porcelain pillow in this period has changed, from the civilian class to the literati and official stratum and the gentry official stratum; the other is the possibility that,The political unrest led the literati to retreat from the folk, to intervene in the production process of porcelain pillow and to influence their cultural orientation.The Yuan Dynasty was the last glorious period of the porcelain pillow in Cizhou kiln.During the period, the porcelain pillow was well-styled, well-made, with various patterns and exquisite depictions. At this time, the porcelain pillow was made with the traces of literati participation, and the initial folk style of the porcelain pillow had been desalinated and replaced by the Yuan Zaju scene decoration.Landscape painting and flower and bird patterns also more performance of the literati aesthetic taste, but the mass production of porcelain pillow and the production of special porcelain pillow workshop show that the civilian class gradually agreed with this cultural orientation.Therefore, it is proved that from Song to Yuan, the porcelain pillow culture of Cizhou kiln experienced the primitive folk style of the early Song Dynasty, the free realistic style of the Jin Dynasty during the development period, and the fine freehand brushwork style of the Yuan Dynasty during the prosperous period, which formed the unique cultural characteristics of the common appreciation of elegance and common appreciation.Based on the comprehensive study of material objects and literature, this paper grasps the development law of porcelain pillow of Cizhou kiln in Song, Jin and Yuan dynasties, and confirms the influence of different factors on it in the process of development. Through a small part, we can see the whole.From the porcelain pillow between the square inch to confirm the change of social cultural consciousness.
【学位授予单位】：中央民族大学
【学位级别】：硕士
【学位授予年份】：2011
【分类号】：K876.3

【引证文献】