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官窑粉、古彩是清时代陶瓷装饰艺术的主要手段。粉彩艺术的出现,大约在十七世纪中叶的清代康熙年间(1622—1720),主要产地在江西景德镇一带。粉彩是由康熙五彩发展而来,其中融合了明代景泰蓝以及来自欧洲珐琅彩的工艺技术,成为独具一格的釉上彩绘新品种。到雍正十年间(1723—1735),粉彩艺术有了突飞猛进的发展。从这一时期的传世作品中,尚可见到为数极少的优秀作品(此处是指以我们今天的审美角度来看),一些绘画精细的釉上粉彩,可以与宋人花鸟相媲美。其胎质致密细润,装饰题材多为花鸟,釉彩淡雅,表面凸起,《陶雅》中所谓“鲜娇夺目,工致常殊”。如清雍正粉彩双耳扁壶(现藏大英博物馆),造型运用传统器皿中常见的双耳扁壶,胎质白中泛青,所饰花鸟,无不精湛,装饰与造型结合得体,花朵采用玻璃白上洗染洋红,立体感很强,从用笔、用色中可以体察到宋人重彩画的遗风。这一时期的作品多通过皇帝赠送给宫廷内的传教士和前来专访的外国使者而流传到国外,在欧美各国曾轰动一时,并纷纷仿造或前来定购。尽管这一时期的粉彩艺术品格并不高,装饰手法也显单调,但有一点不可否认的成就,那就是把传统
Kiln powder, ancient color is the era of ceramic decoration art of the main means. The emergence of pastel art, about the middle of the seventeenth century during the reign of the Qing Emperor Kangxi (1622-1720), the main origin in Jiangxi Province Jingdezhen area. Pastel is developed by Kangxi multicolored, which combines the Ming Dynasty cloisonne and from Europe enamel technology, a unique new varieties of glaze painting. To the ten years of Yongzheng (1723-1735), pastel art has been by leaps and bounds. From the relics of this period, we can still see a very small number of outstanding works (in this case, from our aesthetic point of view today). Some finely painted glaze pastes are comparable to those of Song people. Its dense and delicate births, decoration, mostly flowers and birds, elegant glaze, the surface raised, “Tao Ya” in the so-called “fresh and attractive, work-induced.” Such as the Qing Emperor Yongzheng pastel binaural flat pot (now possession of the British Museum), the use of traditional utensils in the common binocular flat pot, fetal white in the pan-blue, decorated with flowers and birds, all without exception, the combination of decorative and styling, flowers used Glass wash white magenta, three-dimensional sense of strong, from the pen, with the color you can see the legacy of the Song color painting. The works of this period were often circulated abroad by the missionaries handed over to the court by the emperor and foreign messengers who came to interview. They had been sensationalized in various countries in Europe and the United States for many times, and they all fake or come to order. Although the pastel art of this period was not high in character and the decoration was monotonous, one undeniable achievement was that tradition