悦心悦意·悦志悦神——明代民窑青花瓷山水纹饰艺术审美研究

Delight the Heart, Delight the Spirit: Aesthetic Research on the Decoration Art of Blue and White Landscape Pattern in Ming Dynasty

历史悠久的民窑青花瓷是中华传统文化的重要组成部分,其中的山水纹饰独树一帜。青花山水纹饰从元代开始出现,经过明朝的继承发展和开拓创新,最终将中国传统绘画艺术与传统陶瓷艺术结合在一起,使得明代民窑青花瓷山水纹饰有别于其它瓷器的根本属性。天人合一的思想成为明代民窑青花瓷山水纹饰的审美思想,对明代民窑青花瓷山水纹饰的形成具有决定性影响,使得明代民窑青花瓷山水纹饰体现出人与自然的统一,以及情与理的交融。从明代民窑青花瓷山水纹饰艺术的审美研究中,可以了解到一个时代的文化内涵和一个国家的民族文化精神。

The blue and white porcelain art of folk kiln with a long history is an important part of traditional Chinese culture. The aesthetics of blue and white landscape decorative arts began to appear in Yuan Dynasty. After the inheritance, development and innovation of the Ming dynasty, they finally combined the traditional Chinese painting art with the traditional ceramic art, which made the blue and white landscape decorative arts of Ming dynasty’s folk kilns have the fundamental attribute of being different from other porcelains. The idea of the integration of man and nature, the fundamental aesthetic idea of the blue and white landscape decoration of Ming dynasty’s folk kilns, has a decisive influence on its formation as well. Accordingly, landscape decoration of blue and white porcelain produced in folk kiln in the Ming dynasty exhibit high integration of man and nature. From the aesthetic research of the Ming dynasty folk kiln blue and white landscape decoration art, the cultural connotation of an era and a country’s national cultural spirit can be better understood.