转变期景德镇陶瓷绘画新考

A New Research on Jingdezhen Ceramic Painting in the Transitional Period

讨论转变期陶瓷绘画的形成原因,其所涉内容不仅单纯地从图像学角度来展开,还应从当时族群社会、文化、工艺等方面宏观地探讨晚明诗意画在陶瓷上的表现。陶瓷绘画与陶瓷装饰是两组不同的概念,陶瓷装饰是伴随陶瓷发展而共生的装饰手法,它又可以细分出很多门类。而陶瓷绘画虽在宋元有所发展,但直至17世纪才臻于成熟,并在后世与其他装饰手法协作共同丰富了陶瓷装饰语言。17世纪是中国版画艺术的鼎盛时期,这些书籍的插图为景德镇陶瓷绘画提供了丰富的素材,其中多有反映了晚明诗意画的风格特点,瓷绘艺人将版画与瓷器相结合创造出新的审美形式。在转变期的陶瓷绘画作品当中,随着工艺技术等方面的改进,在康熙时期达到了高峰,尤其是在表现诗意性的山水人物画方面取得了巨大的成就,为后世的陶瓷绘画发展奠定了坚实的基础。

The paper discusses the causes for the formation of ceramic painting in the transitional period of the ceramic art, and the study is conducted not simply from iconographical perspective, but also generally discusses the manifestation of poetic painting in ceramics in the late Ming in terms of the ethnic society, cul- ture, technology, etc. at that time. ＂Ceramic painting＂ and ＂ceramic decoration＂ are two different con- cepts. ＂Ceramic decoration＂ developed with the development of ceramics and developed into many catego- ries, while ＂ceramic painting＂ developed in Song and Yuan, but it did not reach maturity until the 17th century, and later it enriched ceramic decorative language together with other decorative techniques. The 17th century is the heyday of Chinese woodblock painting, and the illustrations in these painting books pro- vided a wealth of material for the Jingdezhen ceramic painting, many of which reflected the style and features of late Ming poetic paintings. By combining porcelain with woodblock painting, porcelain painting artists created new aesthetic forms. From the ceramic paintings in the transitional period of the ceramic art, we find that the technology was constantly improved and reached its peak in the reign of the Emperor Kangxi ; the a- chievements were especially tremendous in terms of poetic paintings of landscape and portraits; this laid a solid foundation for the later development of ceramic painting.