磁州窑瓷枕造型艺术研究
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摘要
磁州窑作为北方最为著名的民间窑场,千百年来,磁州窑瓷器与平民百姓朝夕相处,成为北方民间瓷器的典范,决非偶然。其根本原因主要在于它有着浓厚的民间生活气息,在于其淳厚质朴、粗犷豪放的艺术风格和独特的制作工艺。磁州窑聪明的匠师们,能够面向生活。无论在造型或装饰上都着眼于实用、美观和经济。产品多是日常生活必须的盘、碗、罐、瓶、盆、盒、枕之类的用具,使用绘、划、剔、刻等不同手法,用十分简练的笔调画出人们生活中喜闻乐见的画面,线条流利、自由奔放,表现出民间艺术所共有的豪放朴实的风格。尤其是大量的题字画装饰,不仅明确地标明了器物的用途或表达了当时人民的内心活动,而且为我们今天研究古代民间文学、书法艺术、绘画艺术留下了十分宝贵的实物资料。
孕育了民族几千年的生活方式及价值体系,并不都只表现在经典文献之中,在人们日常生活行为的载体—物质形式的生活用具,劳动及生产设施,文化传承用品中,也蕴涵着丰富的精神内涵,这就是“造物行为”的层面意识与传统文化精神的基点。“造物行为”是人类制造生活品物,营造生活环境,创造生活方式,推动社会文明进步的最基本的活动方式之一,当造物活动发展到一定阶段,造物关系复杂到一定程度时,也必然产生出对于以物为媒介所延伸出的各方面矛盾关系进行协调处理,对“造物—用物—传物”行为的合理规范的迫切要求。瓷枕作为磁州窑的一个重要代表,它的产生、发展过程反映出人们在生活中进行艺术创造的过程和结果。对于磁州窑瓷枕的研究,一直包含在对磁州窑进行的综合研究之中,并侧重于考古、鉴赏上面,从目前出版物来看,都共同存在一个问题即图例较丰富,专门对瓷枕的造型艺术进行较为系统的、全面的、综合性的研究专著则很少,只是停留在对图例的简单介绍上,缺少深入。本文试图从瓷枕的民俗文化层面、美学角度层面、非物质文化层面进行探析,以此来阐释磁州窑瓷枕造型艺术的发展形成是与中国传统文化的影响不可分割的。
The most famous as our country north kiln popular of Cizhouyao, Through the ages, kiln porcelain and rank and file in the magnetic state are together from morning to night, become the model of folk porcelain in the North, non- accidental. It's basic reason mainly lies in it has strong folk vitality, lie in its pure and honest and simple, rough and bold and unconstrained artistic style and unique making craft. Clever craftsman's teacher of kiln of magnetic state, can face life. Focus on practical, esthetic and economy at being ornamental in model. The products are mostly apparatuses such as one, bowl, pot, bottle, basin, box, pillow with necessary daily life,etc, use different tactics of painting, rowing, picking, carving etc., draw the picture loved by all in people's life with very terse style, the lines are fluent, freedom is bold and unrestrained, demonstrate the bold and unconstrained and sincere style that the folk art owns in common. Especially a large number of question calligraphy and painting is ornamental, not merely indicate the uses of the implements or the people's heart activity at that time of expression clearly, study for us ancient folk literature, calligraphy art, graphics art leave the most valuable material object materials today.
Pregnant with the life styles of several thousand years of nationality and value system, does not all only display in the classical literature, in the carriers that people's daily life is behavioral - life apparatus in the material form, work and production facility, in the cultural continuity articles, contain abundant spiritual intension, this is aspect consciousness of " behavior of divine force that created the universe " and basic point of the traditional culture spirit. " divine force that created the universe behavior " whether mankind make life product thing, build living environment, create life style, promote social civilization progressive basic activity way most one of, spread to sure stage as divine force that created the universe activity, divine force that created the universe relation complicated to until a certain degree, must produce until of various fields contradiction relation happened to extend go on, coordinate, punish by media with thing too, to the behavioral urgent requirement rational to be normal that " the divine force that created the universe - uses things - spreads things ". Porcelain pillow as magnetic state one important representative of kiln, production, evolution of it reflect people carry on course and result that art create among life. As to the research of the kiln porcelain pillow in the magnetic state, have been including to in the comprehensive research that the kiln of magnetic state is being carried on all the time, lay particular emphasis on the archaeological studies, appreciate the above, according to publication at present, it is relatively abundant that a problem i.e. figure exists together, plastic arts of pillow it goes on to be comparatively system, a overall one, comprehensive research treatise few to porcelain specially, just stay on introducing briefly to the figure, lack deepening. This text attempts to carry on analysis from folk culture aspect, aesthstic angle aspect, nonmaterial culture aspect of the porcelain pillow, so as, explain magnetic state kiln porcelain pillow development of plastic arts it forms to be and China influence of traditional culture inalienable.
孕育了民族几千年的生活方式及价值体系,并不都只表现在经典文献之中,在人们日常生活行为的载体—物质形式的生活用具,劳动及生产设施,文化传承用品中,也蕴涵着丰富的精神内涵,这就是“造物行为”的层面意识与传统文化精神的基点。“造物行为”是人类制造生活品物,营造生活环境,创造生活方式,推动社会文明进步的最基本的活动方式之一,当造物活动发展到一定阶段,造物关系复杂到一定程度时,也必然产生出对于以物为媒介所延伸出的各方面矛盾关系进行协调处理,对“造物—用物—传物”行为的合理规范的迫切要求。瓷枕作为磁州窑的一个重要代表,它的产生、发展过程反映出人们在生活中进行艺术创造的过程和结果。对于磁州窑瓷枕的研究,一直包含在对磁州窑进行的综合研究之中,并侧重于考古、鉴赏上面,从目前出版物来看,都共同存在一个问题即图例较丰富,专门对瓷枕的造型艺术进行较为系统的、全面的、综合性的研究专著则很少,只是停留在对图例的简单介绍上,缺少深入。本文试图从瓷枕的民俗文化层面、美学角度层面、非物质文化层面进行探析,以此来阐释磁州窑瓷枕造型艺术的发展形成是与中国传统文化的影响不可分割的。
The most famous as our country north kiln popular of Cizhouyao, Through the ages, kiln porcelain and rank and file in the magnetic state are together from morning to night, become the model of folk porcelain in the North, non- accidental. It's basic reason mainly lies in it has strong folk vitality, lie in its pure and honest and simple, rough and bold and unconstrained artistic style and unique making craft. Clever craftsman's teacher of kiln of magnetic state, can face life. Focus on practical, esthetic and economy at being ornamental in model. The products are mostly apparatuses such as one, bowl, pot, bottle, basin, box, pillow with necessary daily life,etc, use different tactics of painting, rowing, picking, carving etc., draw the picture loved by all in people's life with very terse style, the lines are fluent, freedom is bold and unrestrained, demonstrate the bold and unconstrained and sincere style that the folk art owns in common. Especially a large number of question calligraphy and painting is ornamental, not merely indicate the uses of the implements or the people's heart activity at that time of expression clearly, study for us ancient folk literature, calligraphy art, graphics art leave the most valuable material object materials today.
Pregnant with the life styles of several thousand years of nationality and value system, does not all only display in the classical literature, in the carriers that people's daily life is behavioral - life apparatus in the material form, work and production facility, in the cultural continuity articles, contain abundant spiritual intension, this is aspect consciousness of " behavior of divine force that created the universe " and basic point of the traditional culture spirit. " divine force that created the universe behavior " whether mankind make life product thing, build living environment, create life style, promote social civilization progressive basic activity way most one of, spread to sure stage as divine force that created the universe activity, divine force that created the universe relation complicated to until a certain degree, must produce until of various fields contradiction relation happened to extend go on, coordinate, punish by media with thing too, to the behavioral urgent requirement rational to be normal that " the divine force that created the universe - uses things - spreads things ". Porcelain pillow as magnetic state one important representative of kiln, production, evolution of it reflect people carry on course and result that art create among life. As to the research of the kiln porcelain pillow in the magnetic state, have been including to in the comprehensive research that the kiln of magnetic state is being carried on all the time, lay particular emphasis on the archaeological studies, appreciate the above, according to publication at present, it is relatively abundant that a problem i.e. figure exists together, plastic arts of pillow it goes on to be comparatively system, a overall one, comprehensive research treatise few to porcelain specially, just stay on introducing briefly to the figure, lack deepening. This text attempts to carry on analysis from folk culture aspect, aesthstic angle aspect, nonmaterial culture aspect of the porcelain pillow, so as, explain magnetic state kiln porcelain pillow development of plastic arts it forms to be and China influence of traditional culture inalienable.
引文
(1)蔡子谔《磁州窑审美文化研究》 中国文联出版社2001年6月第一版
(2)张子英《磁州窑瓷枕》 人民美术出版社2000年3月第一版
(3)张子英 张利亚《磁州窑》 天津人民美术出版社2003年1月第一版
(4)郑一民 孙万宝《磁州窑的传说》 中国民间文艺出版社1986年8月第一版
(5)宋民《中国古代书法美学》 北京体育学院出版社1989年7月第一版
(6)杨学芹 安琪《民间美术概论》 北京工艺美术出版社1990年8月第一版
(7)黄宗贤《中国美术史纲要》 西南师范大学出版社 1993年3月第一版
(8)郝良真 赵学峰 马小青《磁州窑古瓷》陕西人民美术出版社2004年5月第一版
(9)远宏 祥波《中国民间陶瓷艺术》 黑龙江美术出版社 1996年10月第一版
(10)郑晓华《翰逸神飞》 中国人民大学出版社2000年5月第一版
(11)靳之林《中国民间美术》 五洲传播出版社2004年8月第一版
(12)伍蠡甫《中国画论研究》 北京大学出版社1983年7月第一版
(13)张子英《磁州窑历代烧造述略》 邯郸市专学报2000年12月第十卷第四期
(14)黄一健《浅谈宋代瓷器的美学特征与美学思想》 陶艺论坛
(15)詹嘉 齐曼《古代瓷枕民俗文化探析》 陶瓷研究2000年9月第十五卷第三期
(16)姚香勤《宋代瓷枕造型与装饰艺术》 中原文物2002年第二期
(17)唐家路 孙磊《中国吉祥装饰》 广西美术出版社2002年8月第一版
(18)李振球 乔晓光《中国民间吉祥艺术》 黑龙江美术出版社2000年1月第一版
(2)张子英《磁州窑瓷枕》 人民美术出版社2000年3月第一版
(3)张子英 张利亚《磁州窑》 天津人民美术出版社2003年1月第一版
(4)郑一民 孙万宝《磁州窑的传说》 中国民间文艺出版社1986年8月第一版
(5)宋民《中国古代书法美学》 北京体育学院出版社1989年7月第一版
(6)杨学芹 安琪《民间美术概论》 北京工艺美术出版社1990年8月第一版
(7)黄宗贤《中国美术史纲要》 西南师范大学出版社 1993年3月第一版
(8)郝良真 赵学峰 马小青《磁州窑古瓷》陕西人民美术出版社2004年5月第一版
(9)远宏 祥波《中国民间陶瓷艺术》 黑龙江美术出版社 1996年10月第一版
(10)郑晓华《翰逸神飞》 中国人民大学出版社2000年5月第一版
(11)靳之林《中国民间美术》 五洲传播出版社2004年8月第一版
(12)伍蠡甫《中国画论研究》 北京大学出版社1983年7月第一版
(13)张子英《磁州窑历代烧造述略》 邯郸市专学报2000年12月第十卷第四期
(14)黄一健《浅谈宋代瓷器的美学特征与美学思想》 陶艺论坛
(15)詹嘉 齐曼《古代瓷枕民俗文化探析》 陶瓷研究2000年9月第十五卷第三期
(16)姚香勤《宋代瓷枕造型与装饰艺术》 中原文物2002年第二期
(17)唐家路 孙磊《中国吉祥装饰》 广西美术出版社2002年8月第一版
(18)李振球 乔晓光《中国民间吉祥艺术》 黑龙江美术出版社2000年1月第一版
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