境与世界的自然之美——明代初期民窑青花缠枝莲纹饰艺术审美研究

The Natural Beauty of the Conception and the World:Aesthetics of Blue and White Interlocking Branch Lotus Decorations on Commercial Porcelain Wares in the Early Ming Dynasty

明代初期青花缠枝莲纹饰艺术是最具中国本土文化特色的一颗璀璨明珠,其独特的文化个性以其特殊的方式不断延伸着明初社会进步的足迹,传承着百姓智慧和文化意蕴。以注重心性长于伦理,强调天人合一、中和之美作为自己基本特征的明代初期民窑青花缠枝莲纹饰艺术审美文化,无疑能为明代初期民窑青花缠枝莲纹饰艺术创作提供多方面的理性启迪,寻找到更多的时代精神和文化经典元素。明代初期洪武、永乐、宣德民窑青花瓷器缠枝莲的纹饰审美特点、艺术风格及文化寓意已成为陶瓷文化艺术审美的主流。明代初期民窑青花瓷缠枝莲纹饰艺术审美并非只是简单的还原活动,审美活动在使美得以实现和完成的过程中充满着主体创造精神,通过"写意"描绘物象外形以求表现物象内在"神韵"的生动性,境与世界的自然之美是明代初期民窑青花缠枝莲纹饰美学的最高追求和核心内容,享受大乐天地和谐之美是明代初期民窑青花瓷缠枝莲纹饰美学的重要思想。

The early Ming dynasty blue and white interlocking branch lotus decorative art is a shining pearl of Chinese native culture,for its unique cultural identity,its special link with the social progress of the Ming Dynasty,and its inheritance of people's wisdom and cultural tradition.With its appeal to human mind and heart and its emphasis on the harmonious unity between man and nature as its aesthetic essence,the blue and white interlocking branch lotus decoration on commercial porcelain has no doubt provided multiple inspirations for art endeavors to find more of the classic elements of the time and culture.The early Ming style featured by the distinctive aesthetic characteristics,artistic techniques and cultural implications of the blue and white interlocking branch lotus decorations on commercial porcelain in Hongwu,Yongle and Xuande periods has become the mainstream of ceramic culture and art aesthetic.The decorations are not just simple reproductions of the subject matter.They incorporate in the creative spirit of the craftsmen.The minimized brushwork visualizes the spirit of an object through the sketch of its contour.The vitality of the environment and the natural beauty of the world are their highest aesthetic pursuits and core content.The enjoyment of the beauty of harmony between heaven and earth is their important aesthetic thought.