【摘要】： 代爾夫特是荷蘭的陶瓷之都,也是歐洲最重要的陶瓷生產(chǎn)基地之一,在歷史與文化的大視野中考察某一地域的陶瓷藝術(shù)及其發(fā)展過程,進(jìn)而探尋文化交流的必要性,以及一種文化對異文化解讀與吸納的過程,是十分必要的,不僅具有歷史意義,而且具有現(xiàn)實(shí)意義。本文將采取縱向研究與橫向研究相結(jié)合的方式來探討代爾夫特崛起的歷史過程,縱向研究即理出代爾夫特作為瓷都崛起的時期——主要是十七世紀(jì)——發(fā)展過程的脈絡(luò);橫向研究即選取代爾夫特在十七世紀(jì)發(fā)展過程中的重要事件進(jìn)行歷史橫斷面的剖析。 論文首先闡述了代爾夫特的地理、歷史概況和陶瓷生產(chǎn)狀況,分析了其成為陶瓷之都的歷史動因,它是在荷蘭歷史上的黃金世紀(jì)——基本上是在十七世紀(jì)——崛起的,促使其崛起的歷史動因來自不同的方面,如歐洲的“重商主義”與陶瓷的銷售和生產(chǎn),歐洲的“地理大發(fā)現(xiàn)”與荷蘭航海業(yè)大發(fā)展,更重要的契機(jī)是中國景德鎮(zhèn)青花瓷器進(jìn)入歐洲。論文進(jìn)而闡述了代爾夫特在荷蘭黃金世紀(jì)的發(fā)展,主要有三個階段,首先是Delftware的發(fā)明,包括發(fā)明Delftware的緣由,其制造過程及文化意蘊(yùn),以及景德鎮(zhèn)青花瓷對Delftware的影響;其次是陶藝家行會的組建,包括陶藝家行會的基本情況和陶藝家行會的重要作用;最后是陶瓷工廠的創(chuàng)立,包括新舊結(jié)合的生產(chǎn)方式和東西合璧的裝飾風(fēng)格。論文繼而探討了代爾夫特崛起過程的現(xiàn)實(shí)意義,它至少給我們?nèi)齻�方面的重要啟示:一是陶瓷藝術(shù)應(yīng)在兼收并蓄中發(fā)展,因?yàn)樘沾伤囆g(shù)的轉(zhuǎn)型往往需要借助外力,而且陶瓷文化的交流是互動與互補(bǔ)的;二是陶瓷藝術(shù)的創(chuàng)新與承襲傳統(tǒng)可以并行不悖,因?yàn)樘沾伤囆g(shù)的變與不變是對立的統(tǒng)一,而且陶瓷藝術(shù)的創(chuàng)新往往需要以傳統(tǒng)為基礎(chǔ);三是陶瓷藝術(shù)應(yīng)始終以人性化為導(dǎo)向,因?yàn)槿诵曰翘沾伤囆g(shù)的精髓,而且人性化體現(xiàn)為陶瓷藝術(shù)的多元化。 世界是一個整體,陶瓷藝術(shù)作為世界性的文化形態(tài)遍及各個民族、各個地區(qū),但其有著直接或間接的影響和聯(lián)系。要想發(fā)展我國陶瓷藝術(shù),不了解世界陶瓷的總體概況是不行的,本文便試圖在使中國人了解世界陶瓷方面進(jìn)行一些探討,力圖為今天中國陶瓷藝術(shù)的發(fā)展提供一些可資借鑒的理論和經(jīng)驗(yàn)。
[Abstract]:Delft is the ceramic capital of the Netherlands and one of the most important ceramic production bases in Europe. From the perspective of history and culture, the art and development of ceramics in a certain region are investigated, and the necessity of cultural exchange is explored. It is necessary for a culture to interpret and absorb different cultures, which is not only of historical significance, but also of practical significance. In this paper, the historical process of Delft's rise will be discussed by combining longitudinal research with horizontal research. The longitudinal study is to analyze the development process of Delft as a rising porcelain capital, mainly in the seventeenth century. The horizontal research is to select the important events of Delft in the development of the seventeenth century to analyze the historical cross-section. The paper first describes Delft's geography, historical overview and ceramic production, and analyzes its historical causes for becoming a ceramic capital, which rose in the golden century in Dutch history-basically in the seventeenth century. The historical reasons for its rise came from different aspects, such as the "mercantilism" and the sale and production of ceramics in Europe, the "geographical discovery" in Europe and the great development of the Dutch navigation industry. The more important opportunity is China Jingdezhen blue and white porcelain enters Europe. The paper further expounds the development of Delft in the golden century in the Netherlands, there are three main stages: first, the invention of Delftware, including the reason of the invention of Delftware, its manufacturing process and cultural implication, and the influence of Jingdezhen Blue and White porcelain on Delftware; The second is the establishment of ceramic guild, including the basic situation of ceramic guild and the important role of ceramic guild; finally, the establishment of ceramic factory, including the combination of new and old production mode and the decoration style of the combination of east and west. The paper then discusses the practical significance of the rising process of Delft, which gives us at least three important revelations: first, ceramic art should develop in an inclusive way, because the transformation of ceramic art often needs external force. And the exchange of ceramic culture is interactive and complementary; Second, the innovation of ceramic art and inheriting tradition can go hand in hand, because the change and invariance of ceramic art is the unity of opposition, and the innovation of ceramic art often needs to be based on tradition; Third, ceramic art should always be guided by humanization, because humanization is the essence of ceramic art, and humanization is the diversity of ceramic art. The world is a whole, ceramic art as a worldwide cultural form all over the nation, every region, but it has direct or indirect influence and connection. If we want to develop the art of ceramics in China, it is impossible not to understand the general situation of ceramics in the world. This paper tries to provide some theory and experience for the development of Chinese ceramic art.
【學(xué)位授予單位】：清華大學(xué)
【學(xué)位級別】：博士
【學(xué)位授予年份】：2007
【分類號】：K563

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前1條

1 張倩;通商西方 瓷繪新變[D];南京藝術(shù)學(xué)院;2012年

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本文編號：2366889