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宋代龙泉窑青瓷刻划纹饰,是古人将自然物像转变为瓷面的视觉形象符号,以青瓷为载体表达自然生活感悟之道,文化审美之趣。从考古发掘资料以及民间遗存收藏,可以明显看出宋代龙泉青瓷刻划装饰是借鉴和移植越窑、婺州窑以及瓯窑发展而来。龙泉窑的刻划取得的工艺效果并非生搬硬套的移植,而是依据龙泉青瓷的独特性作出改造和适应。从收集的实物与图片资料看,龙泉窑刻划的纹饰多样性与革新创新精神是其它青瓷窑系所没有的。可以说宋代龙泉窑青瓷刻划工艺是中国陶瓷发展中借鉴和移植的辩证应用的典范,形成了陶瓷刻划工艺的自
The Longquan kiln celadon in the Song Dynasty carved the ornamentation, which is the visual image symbol that the ancients transformed the natural objects into the porcelain surface. The celadon was used as a carrier to express the natural life comprehension and cultural aesthetics. Excavation of archaeological materials and folk relics collection, you can clearly see the Song Dynasty Longquan celadon engraving decoration is the reference and transplantation Yue Kiln, Wuzhou kiln and Ou kiln development. Longquan kiln made the process of engraving effect is not a cumbersome transplantation, but based on the unique characteristics of Longquan celadon made to adapt and adapt. From the collection of physical and image data, Longquan kiln engraved decorative diversity and innovative spirit is not found in other celadon kiln system. It can be said that the Song Dynasty Longquan kiln celadon engraving process is the development of China’s ceramic reference and transplantation of the dialectical application of a model to form a ceramic engraving process since