唐代长沙窑陶瓷装饰笔法研究

发布时间：2018-05-15 17:07

本文选题：唐代长沙窑 + 装饰　；参考：《湖南工业大学》2017年硕士论文

【摘要】：长沙窑又名铜官窑,是唐代南方规模巨大的青瓷窑场之一,遗址位于湖南长沙北郊约30公里的石渚湖至铜官镇一带。始于初唐,兴盛成熟于中晚唐,而至五代开始衰落。1998年“黑石号”沉船被发现,打捞出大量保存完好的唐代长沙窑陶瓷器,使沉寂千年唐代长沙窑重新回到人们的视野。收藏家和学者纷纷开始关注唐代长沙窑,并给予了唐代长沙窑新的历史定位,将唐代长沙窑陶瓷、越窑青瓷、邢窑白瓷的地位并驾齐驱,大胆的提出“南青北白长沙彩”的命题。但是在大量唐代长沙窑研究专著中大多数趋向于研究器形、工艺、装饰风格,亦或是纯粹审美,并未对装饰中最基础的笔法有所研究,更未探究其形成缘由,本文目的预想从历代画作画论中找到相似点,从最根源探究唐代长沙窑装饰笔法风格的形成原因以及影响其笔法的关键之处。主要从三个方面进行探究,其一,唐代长沙窑装饰笔法与中国传统书画息息相关,影响颇深,其中大部分的笔法承于先人所创,魏晋南北朝时期,书画理论逐渐成熟,笔法形成体系,先辈画家总结出大量的著作作为蓝本,画论作为理论基础,为唐代长沙窑装饰笔法的发展提供了有利条件。如顾恺之的“高古游丝描”,吴道子的“兰叶描”等,都能见于唐代长沙窑装饰笔法中。其二,唐代长沙窑笔法受工艺、器形影响,特殊的器形、工艺有相应的装饰,不同的装饰对应相应的笔法,三者之间相互影响。其三,唐代长沙窑装饰风格主要受到湘楚文化和西域文化的影响,从地域文化的角度探寻笔法风格、题材选择所受影响。唐代长沙窑艺人在学习过程中从未生搬硬套,而是融汇贯通,加以提炼创新,组合并用,首次在花鸟、人物、植物题材中采用复合式的形式,形成兼工带写的画法,在写意画滥觞的年代,唐代长沙窑为写意画的发展起到了表率作用。中国传统绘画无论是在题材还是笔法上都深深影响着唐代长沙窑的发展,以题材论笔法,以笔法探究两者的传承关系,通过对历代长沙窑的传承研究找到对现代长沙窑发展的启发和有利因素,去粗求精,延续并发展其风格特点,未来长沙窑的发展潜力不可小觑。
[Abstract]:Changsha Kiln, also known as Tongguan Kiln, is one of the largest celadon kilns in the south of Tang Dynasty. The site is located about 30 kilometers from Shizhu Lake to Tongguan Town in the northern suburb of Changsha, Hunan Province. It began in the early Tang Dynasty, flourished and matured in the middle and late Tang dynasties, but began to decline in the five dynasties. In 1998, the sunken ship "Blackstone" was discovered, and a large number of well-preserved pottery of Changsha kiln in the Tang Dynasty were salvaged, which made the Changsha kiln of the Tang Dynasty return to people's vision in the silent millennium. Collectors and scholars began to pay attention to the Changsha kilns of the Tang Dynasty one after another, and gave a new historical orientation to the Changsha kilns in the Tang Dynasty, bringing the status of Changsha kiln ceramics, Yue kiln celadon porcelain and Xing kiln white porcelain into line with each other in the Tang Dynasty. Boldly put forward the proposition of "the south, green and north white Changsha color". However, in a large number of Tang Dynasty Changsha Kiln research monographs, most tend to study the shape of apparatus, craft, decorative style, or pure aesthetics, and have not studied the most basic brushwork in decoration, let alone the reason for its formation. The purpose of this paper is to explore the reasons for the formation of the style of decorative brushwork of Changsha Kiln in Tang Dynasty and the key points that affect the style of painting. Mainly from three aspects to explore, first, the Tang Dynasty Changsha kiln decorative brushwork and Chinese traditional calligraphy and painting are closely linked, the impact is very deep, most of which is inherited from the ancestors, Wei, Jin, Southern and Northern dynasties, calligraphy and painting theory gradually matured. The system of brushwork was formed. The painters summed up a large number of works as the blueprint and the theory of painting as the theoretical basis, which provided favorable conditions for the development of the decorative brushwork of Changsha kiln in the Tang Dynasty. Such as Gu Kaizhi's "Gao Gu Yu's drawing", Wu Dao-zi 's "orchid leaf sketch" and so on, can be seen in the Tang Dynasty Changsha kiln decorative brushwork. Secondly, the style of Changsha kiln in Tang Dynasty is influenced by the craft, the shape of the vessel, the special shape of the vessel, the craft has the corresponding decoration, the different decoration corresponds to the corresponding stroke method, and the three influence each other. Thirdly, the decoration style of Changsha kiln in Tang Dynasty is mainly influenced by Xiang Chu culture and Western region culture. In the Tang Dynasty, Changsha Kiln artists never mechanically applied themselves in their study. Instead, they fused, refined and innovated, combined and used, and for the first time adopted a composite form in the subject matter of flowers and birds, characters, and plants, forming a method of drawing with the same work. In the era of freehand brushwork, the Changsha kiln in Tang Dynasty played an exemplary role in the development of freehand brushwork. Chinese traditional painting has deeply influenced the development of Changsha kiln in Tang Dynasty in both subject matter and stroke method. Through the research on the succession of Changsha kilns in the past dynasties, the inspiration and favorable factors for the development of modern Changsha kilns can be found, and the development potential of Changsha kilns in the future can not be underestimated.
【学位授予单位】：湖南工业大学
【学位级别】：硕士
【学位授予年份】：2017
【分类号】：J527

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