【摘要】： 陶瓷藝術(shù)集造型和裝飾于一體,在我國已有七千多年的光輝歷史,是人類文化史上科學(xué)與藝術(shù)的結(jié)晶。就陶瓷裝飾藝術(shù)而言,一方面它屬于陶瓷造型領(lǐng)域,另一方面它又有著相對(duì)獨(dú)立的藝術(shù)形式。在工藝手法和藝術(shù)風(fēng)格上有著豐富多彩的表現(xiàn)。在歷史發(fā)展中,中國畫的藝術(shù)表現(xiàn)手法對(duì)陶瓷裝飾產(chǎn)生了很大的影響。明清時(shí)期,傳統(tǒng)中國繪畫從題材到表現(xiàn)技法都已成熟,尤其是文人畫在這時(shí)高度成熟。這時(shí)期的藝術(shù)家充分發(fā)揮陶瓷藝術(shù)特長,借鑒吸收中國畫的優(yōu)秀表現(xiàn)手法,創(chuàng)作了各種陶瓷藝術(shù),促進(jìn)陶瓷藝術(shù)的發(fā)展。中國畫這種藝術(shù)形式與陶瓷裝飾的結(jié)合得到了很好的體現(xiàn)。而且在結(jié)合過程中,國畫的藝術(shù)性得到新的發(fā)展,形成了獨(dú)特的陶瓷裝飾語言。例如受明代成化時(shí)期宮廷繪畫的影響出現(xiàn)了成化斗彩,清初受到惲壽平的沒骨花卉的影響出現(xiàn)了雍正粉彩,晚清淺絳彩陶瓷的出現(xiàn)則是受到了山水畫的影響。并且國畫的構(gòu)圖、筆墨、造型等都對(duì)陶瓷裝飾產(chǎn)生了影響。文章主要分析明清時(shí)期中國畫對(duì)陶瓷裝飾的影響,運(yùn)用追溯法、調(diào)查法及對(duì)比法,根據(jù)兩個(gè)朝代國畫風(fēng)格和陶瓷裝飾的不同,從不同的角度去深入探究,分析其影響。在研究生學(xué)習(xí)和本課題研究過程中查閱了大量的相關(guān)文獻(xiàn)資料,并到各大博物館參觀明清時(shí)期的陶瓷藝術(shù)品進(jìn)行比較,獲得了第一手資料,受到很多啟發(fā)。
[Abstract]:Ceramic art has a glorious history of more than 7,000 years and is the crystallization of science and art in the history of human culture. As far as ceramic decorative art is concerned, on the one hand it belongs to ceramic modeling field, on the other hand, it has a relatively independent art form. In the craft technique and the artistic style has the rich and colorful performance. In the development of history, the artistic expression of Chinese painting has a great influence on ceramic decoration. During the Ming and Qing dynasties, the traditional Chinese painting matured from the subject matter to the expressive technique, especially the literati painting. In this period, the artists gave full play to ceramic art, drew lessons from the excellent performance of Chinese painting, created various ceramic art, and promoted the development of ceramic art. The combination of Chinese painting and ceramic decoration has been well reflected. And in the process of combination, the art of traditional Chinese painting has been a new development, forming a unique ceramic decorative language. For example, influenced by the court painting in the Ming Dynasty, the painting of the court in the Ming Dynasty had the influence of Chenghuatou color, the influence of the boneless flowers by Yun Shouping at the beginning of the Qing Dynasty appeared Yongzheng pink color, and the appearance of the light crimson colored ceramics in the late Qing Dynasty was influenced by the landscape painting. And the composition of traditional Chinese painting, ink, shape and so on to ceramic decoration has an impact. This paper mainly analyzes the influence of Chinese painting on ceramic decoration in Ming and Qing dynasties. By means of tracing method, investigation method and contrast method, according to the different styles of traditional Chinese painting and ceramic decoration of the two dynasties, this paper makes a thorough exploration from different angles and analyzes its influence. In the course of postgraduate study and the research of this subject, we consulted a large number of relevant documents, and went to major museums to visit the ceramic works of art during the Ming and Qing dynasties for comparison, obtained first-hand information and received a lot of inspiration.
【學(xué)位授予單位】：山東輕工業(yè)學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2010
【分類號(hào)】：J527.9

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前3條

1 范文;清三代琺瑯彩瓷繪藝術(shù)的裝飾特征[D];景德鎮(zhèn)陶瓷學(xué)院;2011年

2 劉春山;祥瑞瓷紋飾研究[D];景德鎮(zhèn)陶瓷學(xué)院;2012年

3 趙川;清代室內(nèi)壁瓶的裝飾藝術(shù)語言研究[D];河北科技大學(xué);2012年

，

本文編號(hào)：2166128