本文關(guān)鍵詞：扒村窯白地黑花瓷裝飾藝術(shù)研究　出處：《陜西師范大學(xué)》2012年碩士論文　論文類型：學(xué)位論文

  更多相關(guān)文章： 扒村窯 民窯 白地黑花 裝飾 審美

【摘要】：扒村窯是創(chuàng)燒于唐末,興盛于宋金時(shí)期的一處北方民窯,它位于現(xiàn)今河南省禹州市扒村,它主要燒制的瓷器以白地黑花特點(diǎn)著稱。白地黑花是磁州窯系產(chǎn)品最具特色的裝飾形式,是磁州窯系瓷器的典型風(fēng)格,因此,扒村窯是北方地區(qū)磁州窯系具有特色的一個(gè)分支。學(xué)術(shù)界對磁州窯系的研究非常豐富,隨著對磁州窯中心窯址的發(fā)掘,研究程度也逐漸深入,但是在對扒村窯的專項(xiàng)研究上還很少。扒村窯的白地黑花裝飾內(nèi)容豐富、構(gòu)圖繁密,不僅受到民間審美習(xí)慣的影響,也受到宋金時(shí)期商業(yè)社會(huì)以及宮廷藝術(shù)的影響。本文主要是通過筆者的實(shí)地考察,走訪當(dāng)?shù)卮迕癫⑹占善瑯?biāo)本,分析、整理獲得第一手資料,并對前人研究成果及相關(guān)學(xué)科知識進(jìn)行歸納、總結(jié)、梳理,主要分析扒村窯白地黑花裝飾的構(gòu)成形式及規(guī)律。扒村窯服務(wù)于下層人民,很多內(nèi)容取材于生產(chǎn)生活、風(fēng)俗信仰,因此,從民俗文化的角度來看待扒村窯裝飾魅力對研究扒村窯裝飾規(guī)律是非常必要的�？梢哉f扒村瓷不僅有工藝之美、裝飾之美更包含著宋金時(shí)期文學(xué)藝術(shù)之美,民俗文化之美。 本文共分為五章。第一章為緒論,主要從選題目的、課題背景、研究現(xiàn)狀和主要研究內(nèi)容幾部分分別闡述；第二章對扒村窯的歷史背景和發(fā)展源流及影響進(jìn)行梳理；第三章根據(jù)收集的大量瓷片標(biāo)本,著重分析扒村窯白地黑花瓷的裝飾規(guī)律,并從民俗文化的角度結(jié)合分析；第四章從民窯粗瓷的美學(xué)特征上分析白地黑花裝飾的特色,突出扒村民窯藝術(shù)粗放、質(zhì)樸、自然的風(fēng)格,由于其特殊的裝飾色彩造成白描的裝飾效果,分析其用線之美。第五章結(jié)合自己的作品闡述扒村窯對筆者創(chuàng)作的啟示。 扒村民窯從器型到裝飾內(nèi)容都傳達(dá)出民間濃郁的生活氣息,承載著豐富的裝飾內(nèi)容。分析和總結(jié)這些內(nèi)容是為了對現(xiàn)代設(shè)計(jì)增添新的參考內(nèi)容以及可以運(yùn)用的源泉。而借鑒傳統(tǒng)裝飾形式不僅是形式上的模仿,中國傳統(tǒng)圖形紋樣的特色在于它具有豐富的表現(xiàn)力,具有極強(qiáng)的抽象,喻象能力,必須深入認(rèn)識和探索這些圖形背后的文化思想,深入到傳統(tǒng)文化的脈絡(luò)中才能使設(shè)計(jì)成為有源之水,有根之木。
[Abstract]:Bazaocun kiln was created in the late Tang Dynasty and flourished in the Song and Jin dynasties. It is located in the village of Yuzhou City, Henan Province. White ground black flower is the most characteristic decorative form of Cizhou kiln products, and it is the typical style of Cizhou kiln porcelain. Chaocun kiln is a characteristic branch of Cizhou kiln system in northern China. The academic research on Cizhou kiln system is very rich, and with the excavation of the central kiln site of Caizhou kiln, the research degree is gradually deepening. However, the special research on the braised kiln is still very few. The white and black flower decoration of the braised kiln is rich in content and complex in composition, which is not only influenced by folk aesthetic habits. Also affected by the Song and Jin dynasties commercial society and court art. This article is mainly through the author's field visits, visiting local villagers and collecting porcelain specimens, analysis, collation and obtain first-hand information. And the previous research results and related disciplines knowledge were summarized, summarized, combed, mainly analyzed the pattern and law of black flower decoration of braised village kiln. Braised kiln serves the lower class people. A lot of content is derived from production and life, customs and beliefs, therefore, from the perspective of folk culture, it is very necessary to study the decorative law of braised village kiln decoration from the perspective of folk culture. It can be said that braised village porcelain not only has the beauty of technology. The beauty of decoration includes the beauty of literature and art in Song and Jin dynasties and the beauty of folk culture. This paper is divided into five chapters. The first chapter is the introduction, mainly from the purpose of the topic, the subject background, research status and main research content several parts respectively. The second chapter combs the historical background, the development source and the influence of the braised village kiln. The third chapter, according to the collection of a large number of porcelain specimens, focusing on the decorative rules of the braised kiln white and black porcelain, and from the point of view of folk culture analysis; Chapter 4th analyzes the characteristics of white ground and black flower decoration from the aesthetic characteristics of folk kiln coarse porcelain, highlighting the extensive, simple and natural style of the art of braised villager kiln, which results in the decorative effect of white drawing due to its special decorative color. Analysis of the beauty of the line. 5th with their own works on the village kiln to the author's inspiration. Braised villager kiln from instrumental to decorative content has conveyed the folk rich life breath. Carrying a wealth of decorative content. Analysis and summary of these content is to add new reference to modern design and can be used as a source. And learning from the traditional decorative form is not only the form of imitation. The characteristic of Chinese traditional pattern is that it has rich expressive power, strong abstract and figurative ability, so we must deeply understand and explore the cultural thought behind these figures. Deep into the context of traditional culture to make the design into the active water, the root of the wood.
【學(xué)位授予單位】：陜西師范大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：K876.3

【參考文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 劉慶慶;扒村窯瓷繪藝術(shù)研究[D];河南大學(xué);2007年

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本文編號：1373695