本文選題：民窯青花 + 景德鎮(zhèn)　； 參考：《江西師范大學》2013年碩士論文

【摘要】：陶瓷藝術(shù)是中國文化長河中經(jīng)久不衰的藝術(shù)珍寶。青花瓷是陶瓷藝術(shù)中很別具一格的種類。陶瓷之都—景德鎮(zhèn)被稱為瓷都,是陶瓷藝術(shù)的搖籃。明代景德鎮(zhèn)民窯主要生產(chǎn)的都是考慮到人民日常生活必須的日用瓷器,還為當時比較富裕的達官貴人和宮廷御用瓷器進行生產(chǎn)和制作精細的瓷器。這些精美的瓷器還遠銷海外,得到海內(nèi)外的一致好評。景德鎮(zhèn)民窯青花瓷運用了“線”這一表現(xiàn)手法來創(chuàng)作,造型簡單古樸,創(chuàng)作靈感大都來自當時百姓生活的最真實的體會,繪制過程中用筆簡單自如,不受拘束,這一時期的藝術(shù)創(chuàng)作達到了一定的藝術(shù)高度。民窯青花用線條構(gòu)筑畫面,線條生動有趣,大膽灑脫,讓這些反映當下文明和發(fā)展的民窯青花瓷成為百姓心目中感情最深的藝術(shù)品。 本文對景德鎮(zhèn)民窯青花的發(fā)展歷程進行簡單的梳理分析,從“線”的表現(xiàn)形式入手,對明代青花裝飾藝術(shù)進行深層次的挖掘,發(fā)現(xiàn)其審美特質(zhì)和藝術(shù)表現(xiàn)手法,結(jié)合當時的人文環(huán)境和百姓心態(tài)來論述明代青花“線”的裝飾藝術(shù)研究分析。首先界定“線”的概念,并指出“線”在青花瓷的創(chuàng)作中的必要性。將青花瓷的用線形式和用筆方式與現(xiàn)代設(shè)計之間進行對比研究,最后歸納出景德鎮(zhèn)明代民窯青花線條藝術(shù)的總體特點,最后在傳統(tǒng)青花藝術(shù)的基礎(chǔ)上對當代青花裝飾藝術(shù)進行了遐想。
[Abstract]:Ceramic art is an enduring art treasure in the long stream of Chinese culture. Blue and white porcelain is a very unique kind of ceramic art. Ceramic capital-Jingdezhen is called the porcelain capital, is the cradle of ceramic art. In the Ming Dynasty, Jingdezhen Folk Kiln mainly produced daily porcelain which was necessary for the people's daily life, and also produced and made fine porcelain for the wealthier dignitaries and imperial porcelain at that time. These fine porcelain are also exported to overseas, at home and abroad. Jingdezhen Minyao Blue and White porcelain used the expression of "line" to create. The shape was simple and simple, and the inspiration for creation came mostly from the most true experience of the people's life at that time. In the process of drawing, the pen was simple and free and unfettered. The artistic creation of this period reached a certain artistic height. The folk kiln blue and white flowers use the line to construct the picture, the line is vivid and interesting, bold and easy, let these reflect the present civilization and the development of the folk kiln blue and white porcelain become the people in the heart of the deepest feelings of art. In this paper, the development of Jingdezhen Minyao blue and white flowers is simply combed and analyzed. Starting with the expression form of "line", this paper excavates the decorative art of blue and white flowers in Ming Dynasty, and finds out its aesthetic characteristics and artistic expression techniques. Combined with the humanistic environment and the mentality of the people at that time to discuss the Ming Dynasty blue and white "line" decorative art research and analysis. Firstly, the concept of "line" is defined, and the necessity of "line" in the creation of blue and white porcelain is pointed out. This paper makes a comparative study between the line form and pen way of blue and white porcelain and modern design, and finally sums up the general characteristics of the blue and white line art of Ming Dynasty Ming kiln in Jingdezhen. Finally, on the basis of the traditional blue and white art, the contemporary blue and white decorative art is reverie.
【學位授予單位】：江西師范大學
【學位級別】：碩士
【學位授予年份】：2013
【分類號】：J527

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相關(guān)期刊論文 前1條

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本文編號：2112172