成化斗彩研究

发布时间：2018-07-04 09:41

  本文选题：成化斗彩 + 彩瓷　； 参考：《南京大学》2017年硕士论文

【摘要】：成化斗彩,自产生到如今,一直受到很大的关注度。成化斗彩的出现,也标志着我国彩瓷艺术到达了一个新的高度。成化斗彩,不是无源之水,亦非无本之木,其源头近追可以追到宣德时期的青花五彩瓷器,远溯可以到磁州窑、定窑,这些瓷器一定程度上都对斗彩的产生起到了影响。同时,斗彩又对之后彩瓷的发展提供了借鉴意义,在一定程度上,也促进了清三代诸如珐琅彩、粉彩瓷器的产生,使得彩瓷与传统的釉色瓷器成为我国瓷器的两大品种,相互促进和发展。本文第一章为绪论部分,主要是介绍了研究的目的和意义以及目前成化斗彩的一个研究现状,包括前人的一些文章,出版的书籍,还有这几十年来景德镇御窑厂发掘的简况。第二章,主要是对斗彩、五彩、粉彩、珐琅彩等几种彩瓷作出了说明。着重比较了斗彩和五彩瓷器。事实上,在古代五彩和斗彩是没有严格的区分标准的。尤其是青花五彩和斗彩,在本质上,其工艺原理是相同的,都是釉下青花和釉上彩色的一个结合。这种强行的人为区分,其本身的科学价值也并不是很大。第三章,主要是对斗彩的源头作一个考察,将斗彩之前的彩瓷工艺进行了一个简要的梳理,试图找出斗彩产生的原因。在这里,主要叙述了宣德青花五彩的影响,又简要提及了红绿彩瓷器,和这之前釉下彩以及釉上彩发展的一个概况。同时,成化皇帝自身的因素,以及参与烧造的御窑厂的督陶官,在这一过程中,也起到了至关重要的影响。第四章,主要介绍了成化斗彩的典型器物,从纹饰、造型、用彩和胎体等方面入手。成化斗彩的器型都比较小,而纹饰较为多样,虽为斗彩瓷器,在用彩方面,亦不显得艳俗,并且胎体也显得轻薄、温润,可以说,这一时期的瓷器,无论是从哪一方面来看,都是比较雅致的,而这很可能也与成化本人的审美有着很大的关系。在这一节里,同时简要分析了其纹饰受到藏族区的影响以及伊斯兰文明的影响的原因所在。主要是通过对萨迦寺历史的梳理,以及从中央政府与这一地区的关系入手,推测斗彩瓷器除了供应皇室使用外,还是作为当时皇室赏赐边远地区贵族的一种重要的物品而长期存在。第五章,则是成化斗彩对之后瓷器发展的影响,着重说明了清三代对成化斗彩的瓷器的继承和仿造。所谓"明看成化,清看雍正",毫无疑问,雍正时期是我国瓷器史上另一个高峰,而这一时期,对成化朝瓷器的仿造也很精妙,但是,通过对比,我们可以发现,这其中还是有很多的差异的。故而,在这章的最后部分,对成化斗彩和清三代的瓷器作出了一个比较,以及对成化斗彩的鉴定作了一个简要的说明。最后是结论部分,对文章之前的部分进行一个简短的概括总结。
[Abstract]:Chenghuatou color, from the generation to now, has been a great deal of attention. The appearance of Cheng Hua Dou color also marks a new height of Chinese colored porcelain art. Chenghuatou color is not without source water, nor is it a wood without root. Its source can be traced back to the blue and white multicolored porcelain of Xuande period, and can be traced back to Cizhou kiln and Ding kiln. To a certain extent, these porcelain have played an influence on the color of the fight. At the same time, Dou Cai also provided reference for the development of later color porcelain. To a certain extent, it also promoted the emergence of three generations of Qing Dynasty porcelain, such as enamel and pink porcelain, which made colored porcelain and traditional glazed porcelain become two major varieties of Chinese porcelain. Mutual promotion and development. The first chapter of this paper is the introduction part, which mainly introduces the purpose and significance of the research and a present research situation of Chenghuadou color, including some articles of predecessors, books published, and the brief situation of excavating Jingdezhen Imperial Kiln Factory in recent decades. The second chapter mainly explains several kinds of colored porcelain, such as Dou-Cai, multicolored, pink, enamel and so on. Emphasis is placed on the comparison of the polo-colored and multicolored porcelain. In fact, in ancient times, there was no strict distinction between multicolored and fighting colors. In particular, blue and white multicolor and fighting color, in essence, its principle is the same, is a combination of underglaze blue and white and glaze color. This forced artificial distinction, its own scientific value is not very great. In the third chapter, the author makes an investigation on the origin of the bucket color, and makes a brief combing of the color porcelain craft before the fight color, and tries to find out the reason of the color fighting. This paper mainly describes the influence of Xuande's blue and white colors, and briefly mentions the red and green porcelain, as well as an overview of the underglaze color and the development of the upper glaze color before this. At the same time, the emperor's own factors, as well as the imperial kiln factory involved in the burning of pottery officials, in this process, also played a crucial role. The fourth chapter mainly introduces the typical objects of Cheng Hua Dou color, from the aspects of decoration, modeling, color and matrix, and so on. The patterns of the Cheng Hua Dou color are all relatively small, and the ornaments are quite diverse. Although they are fighting colored porcelain, they are not gaudy in the use of color, and the molds are also thin and gentle. It can be said that the porcelain of this period, no matter what aspect it is viewed from, Are more elegant, and this may also have a great relationship with Cheng Hua's own aesthetics. In this section, the influence of Tibetan region and Islamic civilization is analyzed briefly. Mainly through combing the history of the Sagya Temple and starting from the relationship between the central government and the region, it is speculated that, in addition to supplying the royal family for use, Or as a royal reward to the remote aristocracy of an important object and long-standing. The fifth chapter is about the influence of Cheng Hua Dou color on the development of porcelain after the Qing Dynasty, focusing on the inheritance and imitation of the porcelain made in the third generation of Qing Dynasty. There is no doubt that the Yongzheng period was another peak in the history of Chinese porcelain, and the imitation of the porcelain of the Cheng and Hua dynasties was also very subtle during this period. However, through comparison, we can find that There are still many differences. Therefore, in the last part of this chapter, the author makes a comparison between Chenghuatou color and the porcelain of the third generation of Qing Dynasty, and gives a brief explanation to the identification of Cheng Hua Dou color. The last part is the conclusion, a brief summary of the previous part of the article.
【学位授予单位】：南京大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：K876.3

【参考文献】

中国期刊全文数据库 前1条

1 孙瀛洲;;成化官窑彩瓷的鉴别[J];文物;1959年06期

，

本文编号：2095651