本文選題：成化斗彩 + 彩瓷　； 參考：《南京大學(xué)》2017年碩士論文

【摘要】：成化斗彩,自產(chǎn)生到如今,一直受到很大的關(guān)注度。成化斗彩的出現(xiàn),也標(biāo)志著我國彩瓷藝術(shù)到達了一個新的高度。成化斗彩,不是無源之水,亦非無本之木,其源頭近追可以追到宣德時期的青花五彩瓷器,遠溯可以到磁州窯、定窯,這些瓷器一定程度上都對斗彩的產(chǎn)生起到了影響。同時,斗彩又對之后彩瓷的發(fā)展提供了借鑒意義,在一定程度上,也促進了清三代諸如琺瑯彩、粉彩瓷器的產(chǎn)生,使得彩瓷與傳統(tǒng)的釉色瓷器成為我國瓷器的兩大品種,相互促進和發(fā)展。本文第一章為緒論部分,主要是介紹了研究的目的和意義以及目前成化斗彩的一個研究現(xiàn)狀,包括前人的一些文章,出版的書籍,還有這幾十年來景德鎮(zhèn)御窯廠發(fā)掘的簡況。第二章,主要是對斗彩、五彩、粉彩、琺瑯彩等幾種彩瓷作出了說明。著重比較了斗彩和五彩瓷器。事實上,在古代五彩和斗彩是沒有嚴(yán)格的區(qū)分標(biāo)準(zhǔn)的。尤其是青花五彩和斗彩,在本質(zhì)上,其工藝原理是相同的,都是釉下青花和釉上彩色的一個結(jié)合。這種強行的人為區(qū)分,其本身的科學(xué)價值也并不是很大。第三章,主要是對斗彩的源頭作一個考察,將斗彩之前的彩瓷工藝進行了一個簡要的梳理,試圖找出斗彩產(chǎn)生的原因。在這里,主要敘述了宣德青花五彩的影響,又簡要提及了紅綠彩瓷器,和這之前釉下彩以及釉上彩發(fā)展的一個概況。同時,成化皇帝自身的因素,以及參與燒造的御窯廠的督陶官,在這一過程中,也起到了至關(guān)重要的影響。第四章,主要介紹了成化斗彩的典型器物,從紋飾、造型、用彩和胎體等方面入手。成化斗彩的器型都比較小,而紋飾較為多樣,雖為斗彩瓷器,在用彩方面,亦不顯得艷俗,并且胎體也顯得輕薄、溫潤,可以說,這一時期的瓷器,無論是從哪一方面來看,都是比較雅致的,而這很可能也與成化本人的審美有著很大的關(guān)系。在這一節(jié)里,同時簡要分析了其紋飾受到藏族區(qū)的影響以及伊斯蘭文明的影響的原因所在。主要是通過對薩迦寺歷史的梳理,以及從中央政府與這一地區(qū)的關(guān)系入手,推測斗彩瓷器除了供應(yīng)皇室使用外,還是作為當(dāng)時皇室賞賜邊遠地區(qū)貴族的一種重要的物品而長期存在。第五章,則是成化斗彩對之后瓷器發(fā)展的影響,著重說明了清三代對成化斗彩的瓷器的繼承和仿造。所謂"明看成化,清看雍正",毫無疑問,雍正時期是我國瓷器史上另一個高峰,而這一時期,對成化朝瓷器的仿造也很精妙,但是,通過對比,我們可以發(fā)現(xiàn),這其中還是有很多的差異的。故而,在這章的最后部分,對成化斗彩和清三代的瓷器作出了一個比較,以及對成化斗彩的鑒定作了一個簡要的說明。最后是結(jié)論部分,對文章之前的部分進行一個簡短的概括總結(jié)。
[Abstract]:Chenghuatou color, from the generation to now, has been a great deal of attention. The appearance of Cheng Hua Dou color also marks a new height of Chinese colored porcelain art. Chenghuatou color is not without source water, nor is it a wood without root. Its source can be traced back to the blue and white multicolored porcelain of Xuande period, and can be traced back to Cizhou kiln and Ding kiln. To a certain extent, these porcelain have played an influence on the color of the fight. At the same time, Dou Cai also provided reference for the development of later color porcelain. To a certain extent, it also promoted the emergence of three generations of Qing Dynasty porcelain, such as enamel and pink porcelain, which made colored porcelain and traditional glazed porcelain become two major varieties of Chinese porcelain. Mutual promotion and development. The first chapter of this paper is the introduction part, which mainly introduces the purpose and significance of the research and a present research situation of Chenghuadou color, including some articles of predecessors, books published, and the brief situation of excavating Jingdezhen Imperial Kiln Factory in recent decades. The second chapter mainly explains several kinds of colored porcelain, such as Dou-Cai, multicolored, pink, enamel and so on. Emphasis is placed on the comparison of the polo-colored and multicolored porcelain. In fact, in ancient times, there was no strict distinction between multicolored and fighting colors. In particular, blue and white multicolor and fighting color, in essence, its principle is the same, is a combination of underglaze blue and white and glaze color. This forced artificial distinction, its own scientific value is not very great. In the third chapter, the author makes an investigation on the origin of the bucket color, and makes a brief combing of the color porcelain craft before the fight color, and tries to find out the reason of the color fighting. This paper mainly describes the influence of Xuande's blue and white colors, and briefly mentions the red and green porcelain, as well as an overview of the underglaze color and the development of the upper glaze color before this. At the same time, the emperor's own factors, as well as the imperial kiln factory involved in the burning of pottery officials, in this process, also played a crucial role. The fourth chapter mainly introduces the typical objects of Cheng Hua Dou color, from the aspects of decoration, modeling, color and matrix, and so on. The patterns of the Cheng Hua Dou color are all relatively small, and the ornaments are quite diverse. Although they are fighting colored porcelain, they are not gaudy in the use of color, and the molds are also thin and gentle. It can be said that the porcelain of this period, no matter what aspect it is viewed from, Are more elegant, and this may also have a great relationship with Cheng Hua's own aesthetics. In this section, the influence of Tibetan region and Islamic civilization is analyzed briefly. Mainly through combing the history of the Sagya Temple and starting from the relationship between the central government and the region, it is speculated that, in addition to supplying the royal family for use, Or as a royal reward to the remote aristocracy of an important object and long-standing. The fifth chapter is about the influence of Cheng Hua Dou color on the development of porcelain after the Qing Dynasty, focusing on the inheritance and imitation of the porcelain made in the third generation of Qing Dynasty. There is no doubt that the Yongzheng period was another peak in the history of Chinese porcelain, and the imitation of the porcelain of the Cheng and Hua dynasties was also very subtle during this period. However, through comparison, we can find that There are still many differences. Therefore, in the last part of this chapter, the author makes a comparison between Chenghuatou color and the porcelain of the third generation of Qing Dynasty, and gives a brief explanation to the identification of Cheng Hua Dou color. The last part is the conclusion, a brief summary of the previous part of the article.
【學(xué)位授予單位】：南京大學(xué)
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2017
【分類號】：K876.3

【參考文獻】

中國期刊全文數(shù)據(jù)庫 前1條

1 孫瀛洲;;成化官窯彩瓷的鑒別[J];文物;1959年06期

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本文編號：2095651