玉成窑紫砂对曼生壶设计范式的复制与衍化

Reproduction and Evolution from Mansheng Teapot's Design Paradigm in Yucheng Purple Clay Ware

借用乔治·库布勒的“原物与复制”概念,讨论玉成窑对曼生壶范式的继承与发扬问题。作为曼生壶的派生体系,玉成窑是艺人主导的合作模式,而曼生壶则是文人主导的合作模式,其形意一体的设计范式在玉成窑上发生了异化:装饰与造型寓意分离,但形制及用途大大拓展。从曼生壶到玉成窑,紫砂装饰从内涵的一致性演变为视觉的统一性,从“悦心”到“悦目”,是传统向现代转型中的尴尬。

This article discusses how Yucheng Klin developed and inherited from the design paradigm of Mansheng Teapot with George Kubler's concept of The Original and Reproduction.As one of the derivations of Mansheng Teapot,Yucheng Klin operates under a mode lead by artisans while Mansheng Teapot's was led by literati.The integration of form and meaning hid behind Mansheng Teapot's design paradigm changed in Yucheng Klin:the modeling and decoration are separated,but the scale of shape and use have largely expanded.From Manshe ng Teapot to Yucheng Klin purpleclay ware,its decoration evolves from the consistency of con notation to the visual unity,from pleasing one's feelings to pleasing one's eyes,which is an embarrassment in the transformation from traditional to modern.