论近代景德镇瓷业困境中“瓷画”兴起的必然性

AN INEVITABLE RISE OF CERAMIC PAINTING FROM THE PREMODERN PREDICAMENT OF JINGDEZHEN CERAMIC INDUSTRY

景德镇,至迟在元代(公元1271-1368年)起,就已成为中国乃至世界的制瓷业中心。近千年来,景德镇瓷器在国内销售与进贡、外贸出口与加工等方面全方位地满足了海内外广泛的市场需求。但是从清三代时期瓷业的辉煌之后,不久近代景德镇瓷业即跌落到举步维艰的困境中。不断发生的战乱、腐败的政治、沉重的税赋、洋瓷的竞争等诸多压力使景德镇瓷业,无论是官窑还是民窑,均陷入了艰难的困境。在这种历史背景下,"瓷画"作为一种饱含传统文化韵味和鲜明中国特色的核心要素,成为近代景德镇瓷业维持生存和延续发展的必然选择。

Jingdezhen was the porcelain center of the world since Yuan Dynasty （A.D. 1271-1368）at the latest. For nearly a thousand years, Jingdezhen porcelain products had been sold in the domestic market, dedicated to the imperial court, and exported to overseas clients to meet the needs at home and abroad. However, after its culmination in the reigns of Kangxi, Yongzheng and Qianlong, Jingdezhen ceramic industry stagnated in the premodem period. Continuous unrest caused by war, political corruption, exorbitant taxes and levies and the competition of overseas porcelain threw Jingdezhen ceramic enterprises, both official and commercial, into a predicament. Under the circumstances, ceramics painting, an alternative soaked in Chinese cultural tradition and bearing on distinctive Chinese characteristics, arose inevitably to sustain the eclipsing ceramic industry.