【摘要】 宋元陶瓷上的主题水纹类型较历代激增，当前研究主要从吉祥内涵角度推测其盛行原因。问题在于多数研究都把宋元陶瓷上的水纹看作一个整体单位，忽视了不同时空下水纹类型的区别、联系和发展路径。本文将宋元陶瓷上的典型水纹细分并置于时空框架下进行因子对比，总结了南北陶瓷上水纹的发展规律；从传承和同代其他媒材上的水纹互动分析宋元陶瓷上创新型水纹设计来源。发现宋元陶瓷上的水纹经历了由“北创”到“南创”的转变。南北创新型水纹设计来源各异，北方耀州窑水纹受唐风遗韵熏染，是宋人诗意化、趣味化生活的追求；磁州窑水纹受定窑及周边窑口影响，为竞市而细节创新；南方吉州窑水纹与马远《水图》紧密相连，主要满足宋民审美等精神享受。宋、金、元陶瓷上虽都装饰大量水纹，但皆源自宋，可称“宋之符号”。从水纹视觉物质本体出发，分门别类地分析水纹设计来源，相对客观地理解其设计、生产、传播、使用的过程，即盛行的过程。更多还原

【Abstract】 The types of thematic water patterns on Song and Yuan ceramics have proliferated compared with previous dynasties, and the current research is mainly based on historical documents speculating on the reasons for their prevalence from the perspective of auspicious connotation. But the problem is that most studies regard the water patterns on Song and Yuan ceramics as a whole unit, ignoring the differences,connections and development paths of different types of water patterns in different time and space. In this paper, the typical water patterns on Song and Yuan ceramics are subdivided and placed under the space-time framework for factor comparison, and the representative kilns of the north and south are selected as samples for analysis, and the development law of water patterns on north and south ceramics is summarized; based on this, the innovative water pattern design sources on Song and Yuan ceramics are analyzed from the inheritance and the interaction of water patterns on other media of the same era. This paper found that the water pattern on Song and Yuan ceramics underwent a transformation from “North Creation” to “South Creation”. The source of innovative water pattern design in the north and south is different, and the water pattern of the Yaozhou kiln in the north is stained by the tang style relic, which is the Song people’s pursuit of poetic and interesting life; the cizhou kiln water pattern is influenced by the fixed kiln and the surrounding kiln mouth, which has carried out detailed innovation for the jingshi;the southern Ji The water pattern of the state kiln is closely related to Ma Yuan’s “Water Map”, and its function mainly satisfies the spiritual enjoyment of Song Min’s aesthetics. Although song, gold and Yuan ceramics are decorated with a large number of water patterns, they are all derived from the Song and can be called “symbols of the Song”. The significance of this study is to analyze the sources of water pattern design from the perspective of the water pattern visual substance itself, and to understand the process of design, production, dissemination and use relatively objectively, that is, the process of prevalence.更多还原