本文選題：唐代長(zhǎng)沙窯 + 裝飾　； 參考：《湖南工業(yè)大學(xué)》2017年碩士論文

【摘要】：長(zhǎng)沙窯又名銅官窯,是唐代南方規(guī)模巨大的青瓷窯場(chǎng)之一,遺址位于湖南長(zhǎng)沙北郊約30公里的石渚湖至銅官鎮(zhèn)一帶。始于初唐,興盛成熟于中晚唐,而至五代開(kāi)始衰落。1998年“黑石號(hào)”沉船被發(fā)現(xiàn),打撈出大量保存完好的唐代長(zhǎng)沙窯陶瓷器,使沉寂千年唐代長(zhǎng)沙窯重新回到人們的視野。收藏家和學(xué)者紛紛開(kāi)始關(guān)注唐代長(zhǎng)沙窯,并給予了唐代長(zhǎng)沙窯新的歷史定位,將唐代長(zhǎng)沙窯陶瓷、越窯青瓷、邢窯白瓷的地位并駕齊驅(qū),大膽的提出“南青北白長(zhǎng)沙彩”的命題。但是在大量唐代長(zhǎng)沙窯研究專著中大多數(shù)趨向于研究器形、工藝、裝飾風(fēng)格,亦或是純粹審美,并未對(duì)裝飾中最基礎(chǔ)的筆法有所研究,更未探究其形成緣由,本文目的預(yù)想從歷代畫(huà)作畫(huà)論中找到相似點(diǎn),從最根源探究唐代長(zhǎng)沙窯裝飾筆法風(fēng)格的形成原因以及影響其筆法的關(guān)鍵之處。主要從三個(gè)方面進(jìn)行探究,其一,唐代長(zhǎng)沙窯裝飾筆法與中國(guó)傳統(tǒng)書(shū)畫(huà)息息相關(guān),影響頗深,其中大部分的筆法承于先人所創(chuàng),魏晉南北朝時(shí)期,書(shū)畫(huà)理論逐漸成熟,筆法形成體系,先輩畫(huà)家總結(jié)出大量的著作作為藍(lán)本,畫(huà)論作為理論基礎(chǔ),為唐代長(zhǎng)沙窯裝飾筆法的發(fā)展提供了有利條件。如顧愷之的“高古游絲描”,吳道子的“蘭葉描”等,都能見(jiàn)于唐代長(zhǎng)沙窯裝飾筆法中。其二,唐代長(zhǎng)沙窯筆法受工藝、器形影響,特殊的器形、工藝有相應(yīng)的裝飾,不同的裝飾對(duì)應(yīng)相應(yīng)的筆法,三者之間相互影響。其三,唐代長(zhǎng)沙窯裝飾風(fēng)格主要受到湘楚文化和西域文化的影響,從地域文化的角度探尋筆法風(fēng)格、題材選擇所受影響。唐代長(zhǎng)沙窯藝人在學(xué)習(xí)過(guò)程中從未生搬硬套,而是融匯貫通,加以提煉創(chuàng)新,組合并用,首次在花鳥(niǎo)、人物、植物題材中采用復(fù)合式的形式,形成兼工帶寫(xiě)的畫(huà)法,在寫(xiě)意畫(huà)濫觴的年代,唐代長(zhǎng)沙窯為寫(xiě)意畫(huà)的發(fā)展起到了表率作用。中國(guó)傳統(tǒng)繪畫(huà)無(wú)論是在題材還是筆法上都深深影響著唐代長(zhǎng)沙窯的發(fā)展,以題材論筆法,以筆法探究?jī)烧叩膫鞒嘘P(guān)系,通過(guò)對(duì)歷代長(zhǎng)沙窯的傳承研究找到對(duì)現(xiàn)代長(zhǎng)沙窯發(fā)展的啟發(fā)和有利因素,去粗求精,延續(xù)并發(fā)展其風(fēng)格特點(diǎn),未來(lái)長(zhǎng)沙窯的發(fā)展?jié)摿Σ豢尚∮U。
[Abstract]:Changsha Kiln, also known as Tongguan Kiln, is one of the largest celadon kilns in the south of Tang Dynasty. The site is located about 30 kilometers from Shizhu Lake to Tongguan Town in the northern suburb of Changsha, Hunan Province. It began in the early Tang Dynasty, flourished and matured in the middle and late Tang dynasties, but began to decline in the five dynasties. In 1998, the sunken ship "Blackstone" was discovered, and a large number of well-preserved pottery of Changsha kiln in the Tang Dynasty were salvaged, which made the Changsha kiln of the Tang Dynasty return to people's vision in the silent millennium. Collectors and scholars began to pay attention to the Changsha kilns of the Tang Dynasty one after another, and gave a new historical orientation to the Changsha kilns in the Tang Dynasty, bringing the status of Changsha kiln ceramics, Yue kiln celadon porcelain and Xing kiln white porcelain into line with each other in the Tang Dynasty. Boldly put forward the proposition of "the south, green and north white Changsha color". However, in a large number of Tang Dynasty Changsha Kiln research monographs, most tend to study the shape of apparatus, craft, decorative style, or pure aesthetics, and have not studied the most basic brushwork in decoration, let alone the reason for its formation. The purpose of this paper is to explore the reasons for the formation of the style of decorative brushwork of Changsha Kiln in Tang Dynasty and the key points that affect the style of painting. Mainly from three aspects to explore, first, the Tang Dynasty Changsha kiln decorative brushwork and Chinese traditional calligraphy and painting are closely linked, the impact is very deep, most of which is inherited from the ancestors, Wei, Jin, Southern and Northern dynasties, calligraphy and painting theory gradually matured. The system of brushwork was formed. The painters summed up a large number of works as the blueprint and the theory of painting as the theoretical basis, which provided favorable conditions for the development of the decorative brushwork of Changsha kiln in the Tang Dynasty. Such as Gu Kaizhi's "Gao Gu Yu's drawing", Wu Dao-zi 's "orchid leaf sketch" and so on, can be seen in the Tang Dynasty Changsha kiln decorative brushwork. Secondly, the style of Changsha kiln in Tang Dynasty is influenced by the craft, the shape of the vessel, the special shape of the vessel, the craft has the corresponding decoration, the different decoration corresponds to the corresponding stroke method, and the three influence each other. Thirdly, the decoration style of Changsha kiln in Tang Dynasty is mainly influenced by Xiang Chu culture and Western region culture. In the Tang Dynasty, Changsha Kiln artists never mechanically applied themselves in their study. Instead, they fused, refined and innovated, combined and used, and for the first time adopted a composite form in the subject matter of flowers and birds, characters, and plants, forming a method of drawing with the same work. In the era of freehand brushwork, the Changsha kiln in Tang Dynasty played an exemplary role in the development of freehand brushwork. Chinese traditional painting has deeply influenced the development of Changsha kiln in Tang Dynasty in both subject matter and stroke method. Through the research on the succession of Changsha kilns in the past dynasties, the inspiration and favorable factors for the development of modern Changsha kilns can be found, and the development potential of Changsha kilns in the future can not be underestimated.
【學(xué)位授予單位】：湖南工業(yè)大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2017
【分類號(hào)】：J527

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