康熙五彩“耕织”母题图式研究

The Research of the Motif Schema of“Farming and Weaving”of Kangxi Wucai Porcelain

“耕织”母题自南宋时起便受到当朝者的一定重视,至清朝达到鼎盛,不仅康熙至乾隆三代均有授意重绘《耕织图》,更是出现了以“耕织”为母题的多元载体创作,陶瓷便是其中之一。其不仅体现出了当朝者对政权“合法性”的彰显,亦促进了陶瓷绘画技艺的精进。从《耕织图》的创作意图出发,重点探讨了清康熙五彩“耕织”母题创作与原版的图式对比,在尊重原版图式结构的基础上,实现的元素与视觉纵深感的调整及景象的重置再造,这些在革新彰显康熙五彩独特陶瓷艺术的同时,为后世陶瓷艺术的创作发展提供了参考样本。

Since the Southern Song Dynasty,the motif of“farming and weaving”had been paid great importance by the rulers of each dynasty,and reached its peak in the Qing Dynasty.The motif was ordered to be redrawn by rulers of the three reigns from the Kangxi to Qianlong,and was created on different carriers with porcelains as one of them.Not only was the“legitimacy”of the reigns manifested,but also ceramic painting skills were promoted.Starting from the creation intention of“The Painting of Farming and Weaving”,this paper focuses on the schema contrasts between the original and Wucai“farming and weaving”motif in the Kangxi reign of the Qing Dynasty.On the basis of respecting the original schema structure,the Kangxi Wucai painting of“farming and weaving”motif had realized adjustment of elements and visual depth as well as the replacement and reconstruction of the scenes.These adjustments had highlighted the unique Kangxi Wucai ceramic arts and provided some references for the creation and development of ceramic arts in the later generations.