【作者】 詹颖；

【导师】 张夫也；

【作者基本信息】 西南交通大学 ， 工业设计， 2013， 博士

【摘要】 邛窑是巴蜀地区古陶瓷窑系中窑场最多、烧造时间延续最长、产品流散最广、社会影响最大的民间窑系。自20世纪30年代邛崃十方堂遗址被发现以来,学术界对邛窑已有诸多研究。本论文在学习和继承前人成果的基础上,对以往研究中没有触及的领域——邛窑器物设计的审美文化进行了全面、深度的探索和总结。本文采用田野调查法、文献研究法、图像学方法、类型学方法以及综合分析法,研究内容包括二个层次：邛窑器物设计、邛窑器物设计的审美意识以及邛窑器物设计的审美行为方式。通过从形式到内涵的深入分析,对邛窑器物设计审美文化的美学价值和历史方位进行全新的认识和把握。本文对邛窑器物设计的研究从造型设计和装饰设计两个方面展开。造型设计方面,分析了邛窑器物造型的类型和基本形式语言,并对器物的演变过程进行了梳理,指出了邛窑器物造型具有时代性和演变的相对滞后性的特征。同时,结合具体器物,对邛窑的“仿生造型”手法和邛窑瓷塑等典型器物进行了详细的归纳总结和深入的研究。在装饰设计方面,对邛窑釉装饰、胎装饰、彩装饰分别进行了研究。邛窑的釉装饰实现了从单色釉到多色釉的突破,以丰富的釉色增加器物的审美效果；邛窑的胎装饰以恒常主题为主要表现对象,通过精雕细琢的装饰手法来呈现较为精致细腻的审美风格；邛窑的彩装饰以多样的色彩和富于时代性和本土性特征的纹样来呈现造物者的经验图式,并以独特的写意和没骨技法实现了艺术化的视觉转译。本文对邛窑器物设计审美文化的历程进行了全面的梳理。在对其进行分期考察的基础上,分析了邛窑器物设计审美文化的生成基础、发展动因和最后衰落的历史命运,尤其详细的分析了唐宋美学嬗变对邛窑装饰变迁的影响。论文指出了思维方式、生产方式、生活方式、信仰方式和审美方式的共同作用是邛窑器物设计审美文化发展和衰亡的最终决定因素。邛窑器物设计的审美意识来源于多方面的影响,它是邛窑所处的地域环境特征、经济发展水平、社会阶层的需求、以及多元文化交流的集中投射,并最终融会在具体的设计活动之中。本文对邛窑器物设计审美文化的内涵进行了深刻剖析。在观念层面,总结出邛窑器物设计的“实用与审美相结合”的造型观念、“相物而赋彩,范质而施彩”的装饰观念、“以需求为动力”的生产观念、“‘材不美’促‘工巧”的材料观念,并通过例举和分析大量器物来论证了这些观念。同时,论文总结出邛窑器物设计审美文化具有“装饰为上”、“情感质朴”、“写意精神”、“风格多元”、“蜀地风貌”几大审美特征。邛窑器物设计以装饰作为形式美感的核心要素,具有大朴不雕、稚拙天然的民间意趣,通过从形式到内涵的写意性表达、满足了多层次的器用诉求与审美趣味,并强烈的体现出造型与装饰的本土化特征。论文对邛窑器物设计的创新价值进行了总结。分析了邛窑高温乳浊铜绿釉、高温铜红釉、蓝釉的工艺创新与审美价值、邛三彩对高温多色釉的突破性创造、邛窑彩绘瓷的独特美感、省油灯的古代科技之美等。在此基础上,作者提出了对邛窑器物设计审美文化的价值重估的当下意义。通过以上研究,本文最终认为：邛窑器物设计审美文化是在巴蜀地区特定的地理环境和文化土壤中发展起来的一种具有独特地域特征的审美文化,邛窑器物设计审美意识的形成是多元因素影响的结果。邛窑器物设计审美文化最重要的代表就是邛窑的装饰设计文化,而在装饰设计文化中,最能呈现邛窑器物设计审美文化的写意风格的就是邛窑彩绘瓷。邛窑器物审美文化的这种侧重装饰特征的形成的重要根源之一,就是邛窑的原材料先天不足,促使邛窑工匠在长期的生产过程中不断创新各种装饰手段来对器物进行装饰,以达到“使材美”,使器美,从而弱化胎土不良对器物外观的影响的目的。唐宋时期的时代美学、巴蜀地区的独特地域特征、经济发展水平、民用与官用并存的多层次器用诉求、以及多元文化的影响对邛窑器物设计审美文化的形成和发展起到了重要作用。邛窑器物设计审美文化传承了巴蜀文化的独特文脉,又因来自民间的这一特性,因而邛窑器物的造型和装饰都呈现出一种自然朴实、充满生机、富有生命的律动感。邛窑器物设的计审美符号正体现了这一崇尚自然、不拘一格的特点。总体上看,邛窑器物设计审美文化是巴蜀文化的组成部分,也是中国陶瓷文化的组成部分,更是中国古代审美文化的重要组成部分。同时,本文认为,由于邛窑在高温乳浊铜绿釉、高温铜红釉、邛三彩、多色彩绘瓷方面的独创价值,以及具有省油灯、瓷塑、提梁壶等器物的造型独特性,邛窑应在陶瓷史、设计史、工艺美术史上获得重要的地位。更多还原

【Abstract】 In all the ruins of the kilns fabricating the porcelains in Sichuan area, Qiong Kiln had the most kiln sites, the longest fabricating history and the most widely-spread products. Moreover, it was also a nongovernmental kiln with the deepest social influence. Since the ruins of Shifangtang in Qionglai were discovered in the1930s, many researches have been carried out. Based on the research of the forerunners, this paper firstly explores and summarizes the aesthetic culture of the design for Qionglai porcelains in a comprehensive and profound way. Field investigation, literature research, iconology, typology and comprehensive analysis are used in this paper. This study contains three levels:the designs, the aesthetic senses and the behavior modes of Qionglai porcelains. Through the profound analysis of the shapes, decorations of Qionglai porcelains and their connotations, the aesthetic value and historical position of aesthetic culture in the design of artifacts from Qiong kiln are recognized and grasped.In order to investigate the design of Qiong kiln artifacts, this paper is divided into two aspects:shape design and decorative design. For shape design, the types and basic form language of the shape of Qiong kiln artifacts are analyzed. The process of the evolution for artifacts is sorted out, indicating that shapes of the artifacts from Qiong kiln show the characteristics of the time and hysteretic evolution. At the same time, by combining the real artifacts, this paper studies in detail the technique of "bionic mound" and typical artifacts from Qiong kiln. For decorative design, the decorations in glaze, body and color of the porcelains from Qiong kiln are discussed. The glaze decorations achieve a breakthrough from homochromy to polychrome, improving the aesthetic effects of artifacts in abundant colors. A constant theme is targeted in the body decoration and a relatively delicate aesthetic style is presented by the exquisite decorative technique. About the color decorations, multiple colors and the patterns rich in the characteristics of the time and locality show the experiential scheme of the artists. In addition, freehand and no bone of painting techniques help to achieve the visual translation of art.This paper comprehensively types out the process of aesthetic culture in the design of artifacts from Qiong kiln. On the basis of the inspection on aesthetic culture in the design of artifacts from Qiong kiln by stages, its historical fate is analyzed, including its foundation, reasons for development and the final decline. Moreover, the influence of the aesthetic transformation in Tang and Song dynasties on its changes is focused on. The combination of ways of thinking, production modes, lifestyle, beliefs and aesthetic ways is regarded as the critical factor of the prosperity and decline of Qiong kiln. The formation of aesthetic senses for the design of artifacts derives from a wide range of impacts. It represents geographical environment characteristics, level of economic development and the needs of social class, and multi-cultural exchanges, which finally mixes into the specific design activities.This article discusses the cultural connotation of aesthetic culture for the design of artifacts from Qiong kiln. It is characterized as "combination the practicability with beauty" in shape,"painting color after the observation of the materials and their quality" in decoration,"motivation by the need" in fabrication and "the delicacy of the craftsmanship improved by the defect in materials" in materials. These concepts are proved by the exemplification and analysis of the real artifacts. Meanwhile, this paper also argues that aesthetic culture for the design of artifacts from Qiong kiln is impressed by the "adoring decoration","unaffected feeling","freehand spirit","multiple styles" and "local features" Decoration is a key factor for it to express the beauty in form. It shows plain and natural interest among people, entirely devoid of any ornaments. Multi-layers demand of pottery and aesthetic taste are fulfilled by the freehand expression from shapes to decorations. Finally, it is strongly embodied by the local characteristics in shapes and decorations.The creative value of artifacts design in Qiong kiln is summarized in this paper. The innovation in technique and aesthetic value for Opaque copper green glaze, high-temperature copper red glaze and blue glaze, the breakthrough of high-temperature multi-color glaze induced by the re-coloured glazed pottery of Qiong kiln, the unique beauty from the painted porcelain of Qiong kiln and the beauty of ancient technologies for the province lamp are analyzed. Based on this, the necessity and the current significance of revaluation of the aesthetic culture of artifacts design in Qiong kiln are discussed.Through the research above, the paper concludes that:The aesthetic culture of artifacts design in Qiong kiln is developed in a specific environment and the cultural soil of Ba-Shu areas with unique geographical features. Its formation of aesthetic sense can be attributed to diverse factors. The culture of decoration design is the most important representative of the porcelains design in Qiong kiln. Its painted porcelains maximally embody the freehand style of aesthetic culture of the artifacts design in Qiong kiln. Inadequacy of raw materials in Qiong kiln is one of the reasons for the focus on decorations, which promotes the craftsmen to use various methods to decorate the porcelains continuously in a long-term production process, in order to achieve "materials beauty","products beauty" and weaken the effect of bad soil on artifacts. Thus, the unique idea of aesthetic design,"esthetical material and delicate handicraft", is run through. The aesthetic culture of artifacts design in Qiong kiln is inherited from the unique vein of Ba-Shu culture. Because Qiong kiln was nongovernmental, the shape and decoration of artifacts seemed natural, simple, full of vitality and the rhythm of life. Furthermore, its aesthetic culture of artifacts symbolizes the worship for nature and eclectic characteristics. Overall, the aesthetic culture of artifacts design in Qiong kiln is an integral part of the Ba-Shu culture and Chinese ceramics culture. It is an important part of the aesthetic culture of ancient China.At the same time, this paper shows that Qiong kiln plays an important role in the history of ceramic, design, arts and crafts due to the original value in the high-temperature the Opaque copper green glaze, high-temperature copper red glaze, tri-coloured glazed pottery of Qiong kiln and multicolor painted porcelains and unique style and shape of the fuel-efficient lights, porcelain statue and Gantry pot.更多还原