老庄美学思想对粉彩花鸟瓷绘画风格的影响

发布时间：2019-01-07 20:49

【摘要】：清代康熙晚期开始的陶瓷粉彩花鸟绘画，其发展历史源远流长，它以色调温柔淡雅，，笔力精细工整的特点为世人所钦佩，也正是由于它这高雅的格调使得它一直流传至今，在中国陶瓷中享有盛名。如今，粉彩花鸟瓷仍以它高雅的艺术效果备受人们的赏识和钟爱，并呈现出不同的艺术表现方式，不仅有人物、花鸟，而且很多艺术家结合装饰画的布局大胆创新地表现出不一样的艺术效果，从多种角度诠释粉彩花鸟绘画艺术。本文将详细谈到陶瓷粉彩花鸟绘画，笔者从大学就开始接触粉彩绘画，相比青花、新彩、五彩而言，笔者对粉彩花鸟尤为感兴趣，并以此作为本课题的研究对象。陶瓷粉彩花鸟是从清代康熙开始一直延续至今，当中吸收了许多不同内容与知识作为它发展的养分，不仅有老祖宗留下的技法、配方和构图，也有许多美学理论知识伴随它的成长。然而，现在却面临着一个问题：研究陶瓷粉彩花鸟绘画风格的美学理论的课题较少。很多文学工作者对老庄美学思想有不少研究，以及对中国画与老庄美学思想的研究也颇多。走进校图书馆以及景德镇市场上的书店里，总能翻阅到许多关于陶瓷作品的书籍，也有许多关于粉彩花鸟的作品以及相关的技法书籍，但有关粉彩花鸟瓷风格的理论书籍却较少，并且笔者也逐渐发现虽然大部分陶瓷艺人仍在努力为陶瓷文化注入新鲜血液、大胆创新，只为“千年瓷都”能继续发扬光大，名流千古，但仍有一部分艺术家却在“沿袭”着前人的成果，作品大都生搬硬套，没有自己的创作语言，这无疑是陶瓷艺术的一大缺陷，严重阻碍陶瓷艺术的发展。这一问题的根源在于美学思想的缺乏。思想是艺术家创作的生命源泉，在物欲横飞的今天，功利性的增强诱使艺术家们忘却创作的本质问题，这确实是我们值得深思的问题。自古以来，儒释道美学思想对我们的影响很大，其中以道家为主的老庄美学思想中的很多特点不仅对历代文人画有深刻影响，也应对当今艺术家的陶瓷彩绘有着洗涤人心灵的作用。文章以此为目标，从老庄美学的“道法自然”、“崇尚简约”、“追求质朴”三个核心思想出发，对当今粉彩花鸟的绘画风格的影响、当今粉彩花鸟绘画风格的走向进行分析和阐述，结合国内外相关文献书籍资料，探讨老庄美学思想对陶瓷粉彩花鸟绘画风格的影响，深入了解其根源，以及分析当今粉彩花鸟画风格上的不足，为未来粉彩花鸟绘画风格找到方向。
[Abstract]:The porcelain pink flower and bird painting, which began in the late Kangxi period of Qing Dynasty, has a long history of development. It is admired by the world for its gentle and elegant tone and fine workmanship. It is precisely because of its elegant style that it has been handed down to this day. Enjoy a high reputation in Chinese ceramics. Today, pink flower and bird porcelain is still appreciated and loved by people for its elegant artistic effects, and presents different artistic expressions, not only people, flowers and birds, And many artists combined with the layout of decorative paintings boldly and innovatively show different artistic effects, from a variety of angles to interpret the painting art of pink flowers and birds. This article will discuss the ceramic pink flower bird painting in detail, the author has been in contact with the pink color painting since the university, compared with the blue and white, the new color, the multicolor, the author is particularly interested in the pink flower and bird, and takes this as the research object of this subject. Ceramic pink flowers and birds have continued since Kangxi in the Qing Dynasty, absorbing many different contents and knowledge as nutrients for its development. Not only are the techniques, formulas and compositions left behind by the ancestors. There is also a lot of aesthetic theory with its growth. However, there is a problem: there are few aesthetic theories on the painting style of ceramic pink flowers and birds. Many literary workers have a lot of studies on Lao Zhuang's aesthetic thought, as well as on Chinese painting and Lao Zhuang's aesthetic thought. Entering the school library and the bookstores in Jingdezhen Market, you can always read many books about ceramic works, many works about pink flowers and birds and related technical books. However, there are few theoretical books on the style of pink and bird porcelain, and the author has gradually found that although most ceramic artists are still trying to inject fresh blood into the ceramic culture, they are bold and innovative, and only for the "Millennium porcelain City" can continue to develop. Celebrities have always been famous, but there are still some artists who "follow" the achievements of their predecessors. Most of their works are mechanically copied without their own creative language. This is undoubtedly a major defect of ceramic art, which seriously hinders the development of ceramic art. The root of this problem lies in the lack of aesthetic thought. Thought is the life source of artist's creation. In today's material desire, the enhancement of utilitarianism induces artists to forget the essential problem of creation, which is indeed a question worth pondering. Since ancient times, Confucianism, Buddhism and Taoism have had a great impact on our aesthetic thinking. Among them, many of the characteristics of Laozhuang's aesthetic thought, which is mainly Taoist, have a profound influence on the literati paintings in the past dynasties. The ceramic painting of today's artists should also be used to wash people's hearts. Based on the three core ideas of Laozhuang aesthetics, such as "nature of Taoism", "advocating simplicity" and "pursuing simplicity", this article aims to influence the painting style of pink flowers and birds. In this paper, the trend of painting style of pink flower and bird is analyzed and expounded, and the influence of Laozhuang's aesthetic thought on painting style of ceramic pink flower and bird is discussed in combination with domestic and foreign literature and materials, and the root of it is deeply understood. As well as the analysis of the shortcomings of today's Pink Flower and Bird painting style, to find the direction for the future Pink Flower and Bird painting style.
【学位授予单位】：景德镇陶瓷学院
【学位级别】：硕士
【学位授予年份】：2014
【分类号】：J527;J205

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