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郑和下西洋,正值明初永乐、宣德时期。明帝国革故鼎新,政局稳固,综合国力蒸蒸日上,比欧洲航海家还早半个多世纪的这次远洋壮举,目的即在于远播大明王朝的国威,而其成果却远大于斯,不仅大大地拓展了中国的视野,也有力地促进了明代社会文化的发展,此时工艺品制造业的极大繁荣正是这一发展的辐射与衍生。在中国历史上,工艺品制造的发展总是与宫廷御用器物的制作紧密相连,技艺的造极登峰,选料的精益求精,都是垄断于皇权的艺术品味的绝对要求,这一切使得宫廷作坊成为工艺品制造不断发展的温床,而选择的广泛与严格又使蕴含其中的传统与韵致并未僵化庸俗,惟其如此,才使官造作品成为各时期工艺水平的最高代表。两相叠加,使得宫廷工艺品制造成为明初对外交流舞台上的重要角色,漆器、珐琅和铜器更是其中独具特色的品类。
Zheng He and the Western Ocean, at the beginning of the Ming Dynasty, Xuande period. Ming imperial revolution as the new, stable political situation, comprehensive national strength is booming, more than half a century earlier than the European voyagers of this feat, the purpose is to spread the Ming dynasty national prestige, and its results are much larger than Sri Lanka, not only greatly expanded China’s vision also strongly promoted the social and cultural development of Ming Dynasty. At this time, the great prosperity of handicrafts manufacturing industry is the radiation and derivation of this development. In Chinese history, the development of handicraft manufacturing is always closely linked with the production of the court’s utensils. The craftwork of art and the excellence of materials are the absolute demands of monopolizing the artistic taste of imperial power. All this makes the palace workshop become Handicrafts create a hotbed of continuous development, and the choice of a wide range of strict and implicit in the traditions and rhymes are not rigid and vulgar, but only in this way, make the official works of art into the highest level of the representative of the craft level. Two-phase superposition, making the palace handicrafts made into an important role in the exchange of foreign exchanges in the early Ming, lacquer, enamel and bronze is one of the more unique category.