漫谈康雍时期粉彩特点与恽南田没骨法

Discussion on the Characteristics of Pastels in the Kangxi and Yongzheng Periods and Yun Nantian's Boneless Technique

粉彩是中国陶瓷史上一朵绚丽的奇葩,因其丰富的色彩装饰和柔和瑰丽的装饰效果,诞生以来就被皇室宫廷和民间所喜爱。特别是在雍正继位以后的粉彩陶瓷创作,大多数是以中国传统绘画当中的花鸟画作为画面的主体,因此更能体现中国文人画审美倾向,特别是以清代恽南田为代表的花鸟画家对粉彩陶瓷花鸟画的创作有着极大的影响,本文根据两者的特征和发展脉络分析其中的异同。

Pastel is a gorgeous flower in the history of Chinese ceramics.Because of its rich color decoration and its soft and magnificent decorative effect,it has been loved by the royal court and the people since its birth.Especially after Yongzheng succeeded to the throne,most of the pastel ceramic creations used the flower-and-bird paintings in traditional Chinese paintings as the main body of the picture,so they can better reflect the aesthetic tendency of Chinese literati paintings,especially represented by Yun Nantian in the Qing Dynasty Painters have had a great influence on the creation of pastel ceramic flower-and-bird paintings.This article analyzes the similarities and differences based on the characteristics and development of the two.