景德镇瓷器装饰飞鱼纹图像学研究

Iconology Study on the Flying Fish Pattern Decoration on Jingdezhen Porcelain

通过对明代景德镇飞鱼纹瓷器装饰的图像寓意阐释,依据实物资料与明代文献资料,探究飞鱼纹于明代瓷器装饰中的功能变迁与美学演变因素,研究飞鱼纹造型渐变序列与图案装饰的意义。归纳飞鱼纹在不同时期所表现的图案内涵,以其图案与装饰地位变迁探究明代官窑制瓷制度的演变。主要研究飞鱼纹在明代使用等级范围以及变迁所反映出明代用瓷制度的演变,以及进行在本土文化视域下飞鱼纹演变的序列与演变的社会原因与审美因素的分析。

The article summarizes the main characteristics of the flying fish pattern in different periods of Ming Dynasty, arguing for the main reasons why flying fish pattern was secularized in the late Ming Dynasty. This paper studies the history of the flying fish pattern, finding out that the concreted image of it appeared in Northern Song Dynasty, and the earlier flying fish pattern was an imaginary artistic description. In the Ming Dynasty, the flying fish pattern was used for decoration as symbolic patterns for the social class, which is dif- ferent from the image used in the folk art. In addition, this paper reviews the evolutionary process of the fish pattern shape in the Ming Dynasty Jingdezhen porcelain decoration. Paper firstly summarizes the evolving trajectory of the flying fish pattern at different periods of Ming Dynasty and then discusses the reasons behind the gradual change of the flying fish pattern in terms of the use of decoration institution and the ceramic painting crafts, The second part of the paper then compares the way flying fish are used as porcelain decora- tive pattern and the way it was used in other vessels in order to study the artistic expressive form of flying fish pattern in the porcelain painting. With longitudinal studies, the paper compares the flying fish pattern in Ming Dynasty with that in other historical periods in order to detect the symbolism of class and its scale of use in Ming Dynasty and explains the reason why flying fish pattern vanished in Qing Dynasty. The reason why the flying fish pattern was secularized in the late Ming Dynasty is firstly because the emergence of the com- modity economy along with the citizen stratum forming to demand their identity. Secondly, the regulation on use of the flying fish pattern became loose after the Jiajing Period of Ming Dynasty so that the flying fish pattern was prevalent in the folk kilns in late Ming Dynasty. In the Qing Dynasty, the flying fish pattern was applied to the decoration in a freer way. The flying fish pattern used as decorative image in Ming Dynasty shows unique changing characteristics and artistic expression. This paper considers the aesthetic appreciation in Ming Dynasty and use institution to sort out the changing pattern of the flying fish pattern and uses the result to explain the changes of the institution of official kilns in Jingdezheng in Ming Dynasty. Paper also summarizes the unique expression and symbolism of the flying fish pattern on porcelain decoration by cross - side comparison, revealing that the use of the flying fish pattern changed from identity symbolism to meaning expression. This trend reflects that the pattern decoration in Ming Dynasty was gradually secularized which then influences the use of such traditional and folk patterns in following times.