本文關鍵詞： 明代中后期 陶瓷花器 造型 裝飾　出處：《景德鎮(zhèn)陶瓷學院》2012年碩士論文　論文類型：學位論文

【摘要】：器物是人類生活中的主要載體，它反映了人類文明的進程并連結了人們物質生活與精神生活。陶瓷作為最重要的人類用器之一，即使是一些簡單用瓷也同樣折射出人們的生活情趣。我們從大量的明代中后期陶瓷花器中可以看到，陶瓷花器在明代中后期的流行，使人們了解到當時社會瓷器發(fā)展的盛況，以及人們的審美傾向，并為當下人們的生活提供一些參照。本文共分五個部分，第一部分為引言部分，旨在總體歸納和介紹本文課題的來源、研究的現(xiàn)狀、目的、意義和研究方法；第二部分到第四部分為本文的正文部分，第二部分從宏觀的時代背景出發(fā)，根據(jù)當時的經(jīng)濟發(fā)展、文化發(fā)展、統(tǒng)治者喜好、文人的推崇來探討對明代中后期陶瓷花器的影響；第三部分則是探討了陶瓷花器是如何體現(xiàn)生活品質的追求以及人們情感的流露；第四部分是本文著重論述的章節(jié)，本章從造型與裝飾兩方面出發(fā)對明代中后期陶瓷花器的造型形態(tài)、裝飾手法、美學原則等幾方面進行闡述和歸納總結，并做一次系統(tǒng)的梳理；第五部分則探討了明代中后期陶瓷花器對現(xiàn)代陶瓷花器設計的啟示。 理論研究以實踐為基礎，又可以對實踐起指導作用，而實踐則是檢驗理論正確與否的唯一標準。所以本人在論文的撰寫過程中，從理論與實踐兩方面出發(fā)，大量查閱相關資料，通過實踐對查閱的理論資料進行歸納總結，并深入進行分析比較。對明代中后期陶瓷花器的研究進行由表及里的深入探討，結合所搜集的文獻資料、明代中后期大量的文字記載以及圖片資料，找出明代中后期陶瓷花器研究的切入點，并聯(lián)系現(xiàn)代陶瓷花器設計并進行比較分析，同時結合自己對明代中后期陶瓷花器的看法，來完成本課題的研究。 通過對明代中后期陶瓷花器的研究旨在達到如下目的：對明代中后期陶瓷花器進行一番系統(tǒng)的文本梳理和闡述，以說明在明代中后期這個特殊的時代大背景下陶瓷花器盛行的原因，包括對當時時代背景的分析，，生活品質的追求和人們情感的體現(xiàn)以及對陶瓷花器本身造型的多樣性與裝飾的豐富性的研究來解讀明代中后期陶瓷花器的發(fā)展盛況。以求在當代語境中繼承和弘揚傳統(tǒng)陶瓷花器藝術遺珍，繼往開來，去蕪存青，為熱衷研究明代中后期陶瓷花器的研究者提供理論參考，也希望能為將來更全面的理論研究起到拋磚引玉的作用。
[Abstract]:Objects are the main carrier of human life, they reflect the progress of human civilization and link people's material and spiritual life. Ceramics is one of the most important tools for human beings. Even simple porcelain also reflects people's interest in life. We can see from a large number of ceramic florists in the middle and late Ming Dynasty that the popularity of ceramic florists in the mid and late Ming Dynasty made people understand the prosperity of the development of porcelain in the society at that time. This paper is divided into five parts, the first part is the introduction part, the purpose is to sum up and introduce the source of the subject, the present situation and the purpose of the research. The second part is the main text of this paper, the second part is from the macroscopic background of the times, according to the economic development, the cultural development, the ruler likes, The third part is to discuss how the ceramic flower implement reflects the pursuit of quality of life and the expression of people's emotion. Part 4th is the chapter of this paper. This chapter from the modeling and decoration two aspects of the middle and late Ming Dynasty ceramic florist modeling form, decoration techniques, aesthetic principles and other aspects of the elaboration and summary, and do a systematic combing; The 5th part discusses the enlightenment of ceramic florist to modern ceramic flower design in the middle and late Ming Dynasty. The theoretical research is based on practice and can be used as a guide to practice, and practice is the only criterion to test the correctness of theory. Therefore, in the process of writing the thesis, I proceed from both theory and practice. Consulting a large number of relevant materials, summarizing and analyzing the theoretical data through practice. The research of ceramic flower ware in the middle and late Ming Dynasty was discussed from the outside to the inside, combined with the collected literature. In the middle and later period of Ming Dynasty, a large amount of written records and picture materials were given to find out the breakthrough point of the research on ceramic florists in the middle and late Ming dynasties, and to compare and analyze the design of modern ceramic florists, and to combine their own views on the ceramic florists of the middle and late Ming dynasties. To complete the research of this subject. Through the study of ceramic floral ware in the middle and late Ming Dynasty, the purpose of this paper is to achieve the following goals: a systematic text combing and expounding the ceramic floral ware in the middle and late Ming Dynasty. To explain the reasons for the prevalence of ceramic florists in the background of the special era in the middle and late Ming Dynasty, including the analysis of the background of the times at that time. The pursuit of quality of life and the embodiment of people's emotion, as well as the study of the variety of ceramic flower ware itself and the richness of decoration, are used to interpret the development of ceramic flower ware in the middle and late Ming Dynasty, in order to inherit and extend it in the contemporary context. The Art of traditional Ceramic Flower, It provides theoretical reference for the researchers who are keen to study ceramic florists in the middle and late Ming Dynasty, and also hopes to play a role in the future more comprehensive theoretical research.
【學位授予單位】：景德鎮(zhèn)陶瓷學院
【學位級別】：碩士
【學位授予年份】：2012
【分類號】：J527

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本文編號：1525038