探析当代陶瓷艺术上的青绿山水

An Analysis of the Green Landscape in Contemporary Ceramic Art

我国山水画艺术早在魏晋南北朝时已经出现端倪,但主要以出现在人物的背景中,做陪衬作用。而魏晋南北朝时期山水画论也已经相对完善,主要以宗炳和王微为代表。宗炳他的论著是《画山水序》,王微的是《叙画》,从两人的山水画理论都可以看出山水画在魏晋南北朝已经出现端倪。而真正山水画独立为画科出现的时期是在隋唐,主要是以展子虔的《游春图》出现之后标志着山水画以独立的形式出现。在历经隋唐宋元明清的发展,山水画达到了一定的高度,而且除了在宣纸上和绢布上表现之外,青绿山水逐渐开始在陶瓷艺术上呈现,主要是在新彩艺术中呈现。

The art of landscape painting in China has appeared as early as the Wei, Jin, Southern and Northern Dynasties, but it mainly appears in the background of the characters, mainly as a foil. The landscape painting theory in the Wei, Jin, Southern and Northern Dynasties has also been relatively perfect, mainly represented by Zong Bing and Wang Wei. Zong Bing’s treatise is "Landscape Painting Preface", and Wang Wei’s is "Narrative Painting". From their landscape painting theories, we can see that landscape painting has appeared in the Wei, Jin, Southern and Northern Dynasties. The real landscape painting emerged independently in the Sui and Tang Dynasties, mainly in the form of Zhan Ziqian’s Spring Tour, which marked the emergence of landscape painting in an independent form. After the development of Sui, Tang, Song, Yuan, Ming and Qing Dynasties,landscape painting has reached a certain height. In addition to the performance on rice paper and silk cloth, green landscape has gradually begun to be presented in ceramic art, mainly in new color art.