【摘要】： 本文通過大量收集磁州窯牡丹紋飾的相關文獻與圖片資料,利用圖像學、美學研究方法,以宋時期磁州窯牡丹紋飾為研究對象。就現(xiàn)有的資料來看目前對宋時期磁州窯牡丹紋飾的相關研究還不夠全面和深入,對宋時期磁州窯牡丹紋飾進行專題研究和直接文獻資料很少,以往學者對磁州窯的研究主要集中在磁州窯裝飾的起源、發(fā)展史、裝飾技法、總體風格等方面,而對磁州窯牡丹紋飾的理論沒有在時代的背景下,對宋時期磁州窯牡丹紋的裝飾構圖形式、組成形式、藝術風格、產(chǎn)生原因以及所蘊含的文化內(nèi)涵等方面做專題深入系統(tǒng)的研究,還存在一定的空間。本文研究的主要目的就是在前人研究的基礎上,以宋時期磁州窯牡丹紋飾為中心針對宋時期磁州窯牡丹紋飾的文化背景以及獨具特色的構圖形式、組成形式等裝飾語言進行分析,旨在對其藝術風格進行研究,認為磁州窯牡丹紋裝飾總體的藝術風格是自由中表達了質(zhì)樸之息,平凡中彰顯了嚴謹之風,實用中蘊含了自然之美。同時指出宋時期磁州窯牡丹紋飾產(chǎn)生這種藝術風格的原因主要是受到了宋代牡丹的民俗文化以及宋代的文化思想和書畫藝術的影響。希望通過本文的研究能夠?qū)ξ覈螘r期磁州窯牡丹紋飾理論研究做一些補充。
[Abstract]:In this paper, by collecting a large number of related literature and image materials of the peony ornaments of Cizhou kiln, and using the methods of graphics and aesthetics, the peony ornaments of Cizhou kiln in the Song Dynasty were taken as the object of study. According to the existing data, the relevant research on the peony ornaments of Cizhou kiln in the Song Dynasty is not comprehensive and in-depth, and there is very little special research and direct literature on the peony ornaments of the Cizhou kiln in the Song Dynasty. In the past, scholars mainly focused on the origin, development history, decoration techniques and overall style of Cizhou kiln decoration, but the theory of the peony decoration of Cizhou kiln was not under the background of the times. There is still some space for deep and systematic research on the decorative composition, artistic style, causes and cultural connotation of Cizhou kiln peony pattern in Song Dynasty. The main purpose of this paper is to focus on the cultural background and unique composition form of the peony ornaments of Cizhou kiln in Song Dynasty on the basis of previous studies, with the focus on the cultural background and unique composition forms of the peony ornaments of Cizhou Kiln in the Song Dynasty. In order to study the artistic style of Cizhou Kiln Peony Decoration, it is believed that the overall artistic style of Cizhou Kiln Peony Decoration is the expression of simplicity in freedom, and the rigorous style in commonness, and so on, in order to study the artistic style of Cizhou Kiln Peony pattern. Practicality contains the beauty of nature. At the same time, it is pointed out that the reason for the appearance of this artistic style is mainly influenced by the folk culture of peony in Song Dynasty, the cultural thought and the art of calligraphy and painting in Song Dynasty. It is hoped that this study can supplement the theoretical research on the peony decoration of Cizhou kiln in Song Dynasty in China.
【學位授予單位】：景德鎮(zhèn)陶瓷學院
【學位級別】：碩士
【學位授予年份】：2010
【分類號】：K876.3

【引證文獻】

相關碩士學位論文 前2條

1 張玉領;宋代青瓷牡丹紋飾研究[D];景德鎮(zhèn)陶瓷學院;2011年

2 李慧;磁州窯傳統(tǒng)裝飾在當代的創(chuàng)新發(fā)展[D];景德鎮(zhèn)陶瓷學院;2013年

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本文編號：2440136