【作者】 王汇文；

【导师】 张朋川；

【作者基本信息】 苏州大学 ， 设计艺术学， 2009， 博士

【摘要】 本文从南方原始瓷产生,至东汉中晚期原始瓷消失的流变过程为线索,剖析原始瓷不同时期所根植的文化生态背景及中原礼制文化对南方原始瓷烧造的推动作用;揭示原始瓷各个区域之间的传播渠道与文化交流现象;归纳原始瓷烧造技术的发展演变路径;从宏观、多层次的角度进行研究,以探究原始瓷的孕育发生、发展、兴盛、蜕变的演变规律。商代原始瓷的初步发展,是建立在印纹陶长期对其孕育的基础上,以致形成与印纹硬陶同胎共生的典型时代特征。伴随着中原文化对南方地区的浸润,可分成以中原文化主体和土著文化主体的原始瓷区域;烧制技术的交流则越过区域之别,至商晚期,原始瓷遍及南方地区,且以圆窑和龙窑并存的现象为代表。跨入西周,原始瓷步入独立自省的发展道路,早期与印纹硬陶初步分工,以小型器物为大宗;两周之际,出现对青铜礼器的模仿的尝试,并为原始瓷经典工艺的代表;历经持久而不间断的发展,工匠已经专门使用龙窑烧造原始瓷,随着烧造技术的进一步提升,原始瓷造型、纹饰以简洁为妙,呈现出材质本体之美感;此时,各区域文化的一体化进程,导致南方原始瓷呈现出统一的形态和风格。春秋中晚期,随着越国的崛起,东南地区形成吴越争霸的局面。对中原礼制文化的推崇,是以勾践等诸侯建构其社会伦理秩序的需要为前提,而对青铜礼器的需求与原料的匮乏之间的矛盾又再次使陶瓷礼器成为青铜礼器的替代者。越国原始瓷礼乐器的基本形制、编列、数量、组合等,基本传承中原青铜礼乐制度,但纹饰却蕴含了越人以蛇为图腾的审美心理和王权象征。借此契机,原始瓷烧造工艺已达致臻,为其千年发展史的顶峰。与先秦时期吴越地区原始瓷的平稳而持续的发展轨迹不同,时局的频繁更迭,致原始瓷经历了战国中晚期的基本断烧、战国末期恢复生产、西汉中期的低谷、东汉中晚期原始瓷消亡的过程。此时是承继先秦原始瓷,开启东汉成熟瓷的一个阶段,早期原始瓷器物组合受楚礼制文化影响甚多,西汉中晚期,原始瓷造型和种类体现了由礼制文化向世俗生活观念的转变;时代审美之风的偏移,汉代瓷器开始对漆器的模仿,黑、褐釉瓷开始登上大雅之堂;加之烧造技术的进一步成熟,东汉中晚期实现了由原始瓷向瓷的成熟跨越,在中国陶瓷史上具有里程碑的意义。总之,对原始瓷发生、发展的过程及其文化的有机构成,进行探本求源,以完善中国陶瓷史上的这片缺环,是有益的裨补。更多还原

【Abstract】 This dissertation discusses the occurrence of the proto-porcelain and its disappearance during the middle and later period of the Eastern Han Dynasty. Using this development as a clue, this dissertation explores the cultural and ecological background in which the proto-porcelain is rooted and the pushing effects of the Middle China culture on the manufacturing development of the proto-porcelain of the Southern China. It also attempts to expose the circulation channel of the proto-porcelain between different regions and the related cultural communication. It studies the occurrence, development, prosperity, and metamorphosis of the proto-porcelain from a macro point view and multi-level perspectives.The initial development of the proto-porcelain is based on the development of the stamped pottery. Thus the proto-porcelain and the stamped pottery share the same origin and develop with different characteristics. As the Middle China culture’s infiltration to the southern area of China, the development of the proto-porcelain can be classified into two categories: the one based on the Middle China cultural subjectivity and the one based on the aboriginal cultural subjectivity. Actually, the manufacturing techniques stepped over regions. Till the later period of Shang Dynasty, the proto-porcelain spread all over the southern area. The round kiln and the dragon kiln exist at the same time.The proto-porcelain became develop independently during the Western Zhou Dynasty. In the earlier stage, there is an initial division between the proto-porcelain and the stamped pottery. During the Western and the Eastern Zhou Dynasty, people try to apply the style of bronze sacrificial ware to the proto-porcelain. And some classical proto-porcelain works occurred at that time. After the long development of the proto-porcelain techniques, people began to use dragon kiln for producing the proto-porcelain. As the further improvement of the techniques, the molding and decoration of the proto-porcelain was designed in a simple way and displayed the beauty of the raw material. At this time, the process of the cultural integration makes the styles of proto-porcelain become similar and consistent.During the middle and later of the Spring and Autumn Period, the Yue State sprang up. In the southern-eastern area of China, the situation is that the Wu State and Yue State contended for hegemony. The esteem for the Middle China etiquette culture is based on the social and moral canons construction of the seigneurs, such as Gou Jian. On the other side, the need for the bronze sacrificial ware and the lack of raw material made the proto-porcelain the replacement of the bronze sacrificial ware. The porcelain musical instruments of the Yue State inherited the basic format, arrangement, number of the Middle China bronze music system. However, the emblazonry includes the snakes as a totem which implies Yue people’s aesthetic psychology and the symbol of monarchic power. At that time, the techniques of producing the proto-porcelain reached the summit.In the Wu and Yue area during the Early Qing period, the development of the proto-porcelain was stable and continuous. The frequent change of the political situation greatly impacted the development of the proto-porcelain. In the later period of the Warring State, the manufacturing of the proto-porcelain was almost stopped. Till the end of the Warring State, the manufacturing recovered. It experienced the nadir during the middle period of the Western Han Dynasty and the disappearance during the middle and later period of the Eastern Han Dynasty. The proto-porcelain development during this period inherited the characteristics of Early Qing and became the origin of the Eastern Han Dynasty proto-porcelain. In the early period, the Chu culture greatly impacted the proto-porcelain’s combination. During the later period of the Western Han Dynasty, the manufacturing and type of the proto-porcelain demonstrated the change from Li culture to the secular ideology. The aesthetic standard changes as time goes. The porcelain in Han Dynasty had a trend to imitate the style of lacquer work. The black and gray vitreous enamels were enjoyed by the general public. As the development of manufacturing techniques, the proto-porcelain was developed into mature porcelain during the middle and later period of Eastern Han Dynasty. And this became a mile stone for the development of pottery and porcelain producing history. Generally speaking, it is a great help to study the development of the proto-porcelain and its cultural organic composition, explore the origin, and make up for the deficiency on the pottery and porcelain development history.更多还原