【摘要】：蓮花紋是我國(guó)的傳統(tǒng)裝飾題材，春秋戰(zhàn)國(guó)時(shí)期的銅器與陶器，普遍采用以蓮瓣紋作為裝飾。而陶瓷上的蓮花紋又是從佛教藝術(shù)中提煉起來(lái)的。從東晉開(kāi)始再到南北朝的鼎盛時(shí)期，蓮花紋都帶有比較濃郁的宗教色彩。到了唐代，中華民族的巨大同化力也將外來(lái)的藝術(shù)精華融入本民族的傳統(tǒng)藝術(shù)中。因而陶瓷蓮花紋進(jìn)入了成熟時(shí)期。宋代我國(guó)陶瓷裝飾藝術(shù)有了長(zhǎng)足的進(jìn)步，陶瓷裝飾題材日益豐富,蓮花紋作為我國(guó)傳統(tǒng)的陶瓷裝飾紋樣之一,它有著悠久的歷史和深遠(yuǎn)的文化內(nèi)涵。本文通過(guò)對(duì)中國(guó)唐宋兩個(gè)時(shí)代的陶瓷蓮花紋的文化內(nèi)涵的比較研究:從民俗意義上、蓮紋在佛教文化中、思想文化中。將唐代與宋代的幾種蓮花紋的多層寓意共同凝鑄轉(zhuǎn)化為了吉祥心愿，也將蓮花文化的內(nèi)涵作了比較與分析，并且也描述了唐代陶瓷蓮紋和宋代陶瓷蓮花紋在不同階段的其有的不同裝飾手法和風(fēng)格特征等藝術(shù)特點(diǎn)。官窯中的蓮花紋樣裝飾是由簡(jiǎn)練走向繁緝堆砌,而民窯中蓮花紋則在用色上不拘小節(jié)。蓮花紋是以減筆寫(xiě)意為主,從而達(dá)到了返璞歸真的境界。筆者將陶瓷和蓮花的之間的關(guān)聯(lián)也做了深入研究，在分析陶瓷裝飾上蓮花紋的藝術(shù)特征的同時(shí)又剖析出了蓮花紋樣其特點(diǎn)所產(chǎn)生的原因無(wú)非是受到了時(shí)代文化、政治與經(jīng)濟(jì)的影響下的結(jié)果。
[Abstract]:Lotus pattern is a traditional decorative theme in our country. In the Spring and Autumn period and warring States period, bronze and pottery are generally decorated with lotus petal pattern. The lotus patterns on the ceramics were extracted from Buddhist art. From the beginning of the Eastern Jin Dynasty to the heyday of the Southern and Northern dynasties, the lotus patterns had a strong religious color. By the Tang Dynasty, the great assimilation of the Chinese nation also incorporated the essence of foreign art into the traditional art of our nation. Therefore, the ceramic lotus pattern entered a mature period. Ceramic decorative art of Song Dynasty has made great progress, ceramic decoration theme is increasingly rich, lotus pattern as one of the traditional ceramic decorative patterns in China, it has a long history and profound cultural connotations. This paper makes a comparative study of the cultural connotations of the ceramic lotus patterns in the Tang and Song dynasties of China: in the sense of folklore, the lotus patterns are in the Buddhist culture and the ideological culture. The multi-layer implication of several lotus patterns in Tang and Song dynasties is transformed into a lucky wish, and the connotation of lotus culture is also compared and analyzed. And also describes the Tang Dynasty ceramic lotus patterns and the Song Dynasty ceramic lotus patterns in different stages of its different decorative techniques and style characteristics and other artistic characteristics. The lotus pattern decoration in official kiln is from concise to procreation, while the lotus pattern in civilian kiln is not restricted in color. Lotus pattern is to reduce the pen-based freehand brushwork, thus reaching the state of return to nature. The author also makes a deep research on the relationship between ceramics and lotus flower, and analyzes the artistic characteristics of the ceramic decorative upper lotus pattern, and at the same time, analyzes the reason of the lotus pattern which is produced by the culture of the times. The result of political and economic influence.
【學(xué)位授予單位】：景德鎮(zhèn)陶瓷學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2013
【分類號(hào)】：J527;J522

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本文編號(hào)：2245909