厚德上善·融贯礼乐——明代民窑青花瓷麒麟纹饰艺术审美研究

Great kindness and Goodness Fused in Rites and Music: Aesthetics of Kirin Patterns on Commercial Blue and White Porcelain Wares in Ming Dynasty

麒麟文化作为人们美好追求与愿望的象征经久不衰,成为中华民族传统艺术审美的重要载体。中国是一个道德崇拜的民族,道德在民俗文化方面常体现为麒麟文化。明代民窑青花瓷麒麟纹饰文化本质为道德崇拜的产物,麒麟是一种仁兽,是儒家厚德与礼乐文化的象征。明代民窑青花麒麟纹饰艺术具有鲜明的民族艺术特色和独特的文化审美境界,青花麒麟纹饰艺术有着中国哲学思想和美学的深刻印记。明代民窑青花瓷麒麟纹饰作为传统文化中经典审美纹饰具有丰富的内涵和审美精神,麒麟纹饰艺术的刻画离不开结构形式的律动感和生命感的表现,通过瞬间传神的自然形态来表现麒麟旺盛的生命力。明代青花瓷麒麟纹饰艺术特征具有典雅清新的东方神韵之美,青花麒麟纹饰艺术用自己独特的艺术语言,诠释着中华民族独特的审美精神,具有较强的民族审美价值。

As a symbol of people’ s pursuit and desire for beauty, legend of kirin has been enduring and become an important carrier of traditional Chinese art aesthetics. China is a nation of moral worship, which is embodied in the image of kirin in folklore. The cultural essence of the kirin decoration on the blue and white porcelain of the Ming Dynasty is its embodiment of moral worship. The blue and white kirin decoration on Ming wares has distinct national artistic characteristics and unique cultural and aesthetic implications. As a classical part of traditional culture, kirin pattern on blue and white porcelain of Ming dynasty has rich connotation and aesthetic significance. The depiction of kirin in art cannot be separated from the expression of structural rhythm and energy of life, and the exuberant vitality of kirin is represented in the instantaneous and vivid natural form. The kirin ornamentation on blue and white porcelain in the Ming dynasty is characterized by the elegant and fresh oriental style. With its unique artistic language, it interprets the aesthetics of the Chinese nation and has strong national aesthetic value.