本文選題：景德鎮(zhèn)　切入點(diǎn)：明代　出處：《中國藝術(shù)研究院》2010年博士論文

【摘要】： 青花瓷是中國陶瓷歷史中非常特別的一個(gè)門類。從唐代出現(xiàn)以來,經(jīng)過元代發(fā)展,到明代,青花瓷已經(jīng)成為景德鎮(zhèn)陶瓷生產(chǎn)的主流。明代景德鎮(zhèn)民窯不僅生產(chǎn)百姓使用的粗瓷器皿,還為富裕階層供應(yīng)華貴細(xì)瓷,為文人生產(chǎn)雅致的文房用品,以及生產(chǎn)適應(yīng)海外審美需求的外銷瓷。民窯青花瓷器造型簡單質(zhì)樸,裝飾題材豐富,繪制筆調(diào)自在,不受拘束,在藝術(shù)上達(dá)到了輝煌的高度。中國古代藝術(shù)最獨(dú)特的表現(xiàn)方法之一就是用“線”來表現(xiàn),包括“線性”的意識(shí)和“線條”的造型手段,線的表現(xiàn)具有濃郁的東方韻味。中國古代的陶瓷藝術(shù)中也同樣可見線化的裝飾特征,彌漫著音樂般的旋律。明代民窯青花同樣是用線條來構(gòu)成畫面,它的線條神采生動(dòng),坦露灑脫,使普通百姓手中的粗瓷器皿成為了感性深情的藝術(shù)品。 本論文對明代民窯青花的線條藝術(shù)特征進(jìn)行系統(tǒng)的梳理分析,深化對其深層審美特質(zhì)的把握,發(fā)現(xiàn)其背后的形成條件,生存情境,勾畫出明代景德鎮(zhèn)民窯青花的線條藝術(shù)表現(xiàn)特征。論文首先界定了相關(guān)概念,并指出了研究景德鎮(zhèn)明代民窯青花線藝術(shù)的特殊性和研究要點(diǎn)。第二章從藝術(shù)本體形式的角度分別對明初,明中和明末三個(gè)時(shí)期民窯青花線條的典型特征和用筆方法進(jìn)行描述。民窯青花的“線的藝術(shù)”,是“物質(zhì)材料”和“文化材料”共同的產(chǎn)物。換句話說,其生產(chǎn)方式,器用心理規(guī)定了它獨(dú)特的藝術(shù)風(fēng)格,社會(huì)風(fēng)尚、哲學(xué)思想、審美趣味等也與之有著千絲萬縷的聯(lián)系,同時(shí)不能忽視商品屬性和官窯對它的影響。本文是對“物”的研究,然而這些“物”的特征卻依附在其背后活動(dòng)著的人,以及人作用于“物”的制作手段:生產(chǎn)資料、生產(chǎn)技術(shù)、生產(chǎn)工具等“物質(zhì)材料”。正是這多種力量共同成就了景德鎮(zhèn)明代民窯青花“線”與“線性”藝術(shù)的產(chǎn)生、發(fā)展和最終的成熟風(fēng)貌。本論文分別對這些因素進(jìn)行了深入分析,最后對明代民窯青花線條的總體藝術(shù)特征進(jìn)行概括總結(jié)。
[Abstract]:Blue and white porcelain is a very special category in the history of Chinese ceramics.Since the emergence of Tang Dynasty, through the development of Yuan Dynasty, to Ming Dynasty, blue and white porcelain has become the mainstream of Jingdezhen ceramics production.In the Ming Dynasty, Jingdezhen kiln not only produced the coarse porcelain ware used by the people, but also supplied the rich class with fine porcelain, produced elegant articles for the literati, and produced porcelain for export to meet the overseas aesthetic needs.Minyao blue and white porcelain shape simple, rich in decorative themes, draw freely, unrestrained, in art has reached a brilliant height.One of the most unique ways of expressing ancient Chinese art is to express it with "line", including the consciousness of "linearity" and the means of modeling "line". The expression of line has a strong oriental charm.Chinese ancient ceramic art can also be seen in line decorative features, filled with musical melody.The blue and white flowers of Ming Dynasty kiln are also made up of lines, its lines are vivid, open and easy, making the coarse porcelain vessels in the hands of ordinary people become sentimental and affectionate works of art.This paper systematically combs and analyzes the line art characteristics of Ming Dynasty Minyao blue and white flowers, deepens the grasp of its deep aesthetic characteristics, and finds the forming conditions and living situation behind it.Outline the Ming Dynasty Jingdezhen Ming kiln blue and white characteristics of line art.Firstly, the paper defines the related concepts, and points out the particularity and main points of the research on the art of the Ming Dynasty Ming kiln blue and white line in Jingdezhen.The second chapter describes the typical characteristics of blue and white lines in Ming Dynasty, Ming Dynasty and the end of Ming Dynasty from the angle of artistic Noumenon form.The art of line is the common product of material material and cultural material.In other words, its production mode, instrumental psychology has stipulated its unique artistic style, social fashion, philosophy thought, aesthetic taste and so on also has the inextricable connection with it, at the same time cannot ignore the commodity attribute and the official kiln influence to it.This paper is a study of "things", but the characteristics of these "things" are attached to the people behind them, as well as the means of making "things": means of production, production technology, tools of production and other "material materials".It is this kind of power that together made Jingdezhen Ming Dynasty folk kiln blue and white "line" and "linear" art production, development and final mature style.This paper analyzes these factors in depth and summarizes the overall artistic characteristics of Ming Dynasty Ming kiln blue and white lines.
【學(xué)位授予單位】：中國藝術(shù)研究院
【學(xué)位級別】：博士
【學(xué)位授予年份】：2010
【分類號】：K876.3

【引證文獻(xiàn)】

相關(guān)期刊論文 前1條

1 劉海英;劉玉立;;明朝萬歷克拉克瓷裝飾風(fēng)格研究[J];大舞臺(tái);2012年07期

相關(guān)碩士學(xué)位論文 前1條

1 上官敏;明代景德鎮(zhèn)民窯魚紋研究[D];景德鎮(zhèn)陶瓷學(xué)院;2011年

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本文編號：1699443