本文選題：磁州窯瓷枕　切入點：瓷枕文化　出處：《中央民族大學》2011年碩士論文

【摘要】：磁州窯是宋金元時期,在北方影響最大的民窯。其所生產的器物多為平民百姓日常生活用具,因此,它所表現(xiàn)的文化特征則可以充分的反映出這一時期社會文化意識的變化。本文以宋金元時期磁州窯的代表器形之一——瓷枕為研究對象,比較瓷枕在三個不同時期的發(fā)展、變化規(guī)律,分析促成發(fā)展變化的歷史因素,借以探討其背后隱藏的社會文化內涵。 宋金元時期,磁州窯的中心窯址在觀臺燒造區(qū),這一地區(qū)生產的瓷枕最多也最具有代表性,從最初的仿定窯的刻劃花裝飾到北宋晚期筆繪的白地黑花風格的確立,再到金元時期的繁榮發(fā)展,都在這一燒造區(qū)有明顯的發(fā)展軌跡且特征明顯。故此本文主要論述宋金元時期觀臺燒造區(qū)的瓷枕的文化特點。 本文將結合宋、金、元時期不同的歷史背景分別論述磁州窯瓷枕在這三個時期內的變化。宋代磁州窯風格初顯,更多的展示出民間的風趣民俗,但同時又與宋代院體畫的某些畫風有著相似之處。金代,社會的動蕩并沒有影響磁州窯的生產與發(fā)展,此時磁州窯的裝飾風格更加多樣化,不僅形制不一而且體量變大,造型粗獷,隨著筆繪的熟練應用,紋飾內容更加豐富多樣,其花鳥紋飾造詣很高,反映出北宋畫院的工筆寫實風格。書法藝術也大量用于瓷枕裝飾上,用行、楷、草、篆等多種筆體書寫名人詩詞和格言、諺語。這種現(xiàn)象的背后有兩種,可能,一是瓷枕在這一時期的使用階層發(fā)生了變化,從平民階層向文人士大夫階層和士紳官宦階層發(fā)展；另一種可能是,政治上的動亂使得文人歸隱于民間,介入到了瓷枕的生產過程中,影響了其文化取向。元代是磁州窯瓷枕最后的輝煌時期。期間的瓷枕造型工整、制作精良、紋飾多樣且描繪精致,此時的瓷枕制作很明顯有了文人參與的痕跡,瓷枕最初的民間風格已經淡化,取而代之的是元雜劇場景紋飾,山水畫和花鳥紋也更多地表現(xiàn)的文人的審美情趣,但瓷枕的大量生產和專燒瓷枕的作坊的出現(xiàn)都說明了平民階層逐漸認同了這種文化取向。因此證明從宋到元,磁州窯瓷枕文化經歷了初期宋代質樸的民間風格,發(fā)展期金代自由的寫實風格,繁榮期元代精細的寫意風格,形成了特有的雅俗共賞的文化特征 本文通過對實物與文獻資料的綜合研究,把握了宋金元時期磁州窯瓷枕的發(fā)展規(guī)律,證實了磁州窯在發(fā)展過程中不同因素的滲入對其產生的影響,以小見大,從瓷枕的方寸之間印證社會的文化意識的變化。
[Abstract]:Cizhou kiln was the most influential kiln in the north in Song, Jin and Yuan dynasties.Most of the artifacts it produces are common people's daily life utensils. Therefore, its cultural characteristics can fully reflect the changes of social and cultural consciousness in this period.This article takes the porcelain pillow, one of the representative organ shapes of Cizhou kiln in Song, Jin and Yuan dynasties, as the research object, compares the development and change law of porcelain pillow in three different periods, and analyzes the historical factors that contribute to the development and change.In order to explore its hidden social and cultural connotations.During the Song, Jin and Yuan dynasties, the central kiln site of the Cizhou kiln was in the Guantai firing area. The porcelain pillow produced in this area was the most representative, from the original engraving decoration of the imitation kiln to the establishment of the white and black flowers painted in the late Northern Song Dynasty.The prosperity and development of Jin and Yuan dynasties all have obvious development track and characteristics in this burning area.Therefore, this paper mainly discusses the cultural characteristics of porcelain pillows in Guantai Burning area in Song, Jin and Yuan dynasties.According to the different historical background of Song, Jin and Yuan dynasties, this paper will discuss the change of porcelain pillow of Cizhou kiln in these three periods.The style of Cizhou Kiln in Song Dynasty shows the folklore more, but at the same time, it has some similarities with the painting style of Song Dynasty.In the Jin Dynasty, the social unrest did not affect the production and development of the Cizhou kiln. At this time, the decoration style of the Cizhou kiln was more diversified, not only varied in shape and volume, but also rough in shape, with the skillful application of the brush painting.The decorative content is more rich and diverse, and its flower and bird ornaments are highly accomplished, reflecting the realistic style of meticulous brushwork of the Northern Song Dynasty painting Institute.Calligraphy art is also widely used in porcelain pillow decoration, writing famous poems and proverbs with lines, block letters, grass, seal characters, etc.There are two kinds of phenomena behind this phenomenon, one is that the use class of porcelain pillow in this period has changed, from the civilian class to the literati and official stratum and the gentry official stratum; the other is the possibility that,The political unrest led the literati to retreat from the folk, to intervene in the production process of porcelain pillow and to influence their cultural orientation.The Yuan Dynasty was the last glorious period of the porcelain pillow in Cizhou kiln.During the period, the porcelain pillow was well-styled, well-made, with various patterns and exquisite depictions. At this time, the porcelain pillow was made with the traces of literati participation, and the initial folk style of the porcelain pillow had been desalinated and replaced by the Yuan Zaju scene decoration.Landscape painting and flower and bird patterns also more performance of the literati aesthetic taste, but the mass production of porcelain pillow and the production of special porcelain pillow workshop show that the civilian class gradually agreed with this cultural orientation.Therefore, it is proved that from Song to Yuan, the porcelain pillow culture of Cizhou kiln experienced the primitive folk style of the early Song Dynasty, the free realistic style of the Jin Dynasty during the development period, and the fine freehand brushwork style of the Yuan Dynasty during the prosperous period, which formed the unique cultural characteristics of the common appreciation of elegance and common appreciation.Based on the comprehensive study of material objects and literature, this paper grasps the development law of porcelain pillow of Cizhou kiln in Song, Jin and Yuan dynasties, and confirms the influence of different factors on it in the process of development. Through a small part, we can see the whole.From the porcelain pillow between the square inch to confirm the change of social cultural consciousness.
【學位授予單位】：中央民族大學
【學位級別】：碩士
【學位授予年份】：2011
【分類號】：K876.3

【引證文獻】

相關碩士學位論文 前1條

1 尚青玉晶;宋金元磁州窯白地黑花瓷枕裝飾美研究[D];景德鎮(zhèn)陶瓷學院;2012年

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本文編號：1715830