化善为美·回归自然本性——明代后期民窑青花婴戏纹饰艺术审美研究
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摘要
明代后期的民窑青花婴戏纹体现出了人们期盼美好生活的愿望,儿童吉祥、多福的传统文化内涵和寓意,推动了明代后期民窑青花婴戏纹饰题材审美的创作。明代嘉靖、万历、天启、崇祯时期的民窑青花婴戏纹民俗内涵植根于中国传统文化的深厚土壤之中,传统哲学思想都对婴戏纹饰产生了深远的影响。儒家"仁"的伦理思想与天人合一的哲学观念、佛教莲花化生童子的信仰以及道家"复归于婴儿"的自然审美观,构成了明代民窑青花瓷婴戏纹饰深刻的精神文化内涵。中国传统文化性格对于明代后期民窑青花婴戏纹饰艺术表现有着巨大以致不可估量的影响。明代后期民窑青花婴戏纹包含着中华民族文化基因的同时也表现出超越时代的价值,这也正是明代民窑青花婴戏纹饰文化艺术不断创新与传承的意义所在。
Blue and white children-playing patterns on commercial ceramic wares in the late Ming dynasty reflect people's desire for a better life. In traditional culture, children are much adored for being auspicious and blessed. This association promoted the creation of blue and white children-playing patterns on commercial wares in the late Ming Dynasty. The implications of the patterns of this kind on the ceramic products of Jiajing, Wanli, Tianqi and Chongzhen periods are rooted in the deep soil of Chinese traditional culture. The Confucian ethical thought of "benevolence", the philosophical concept of the unity of heaven and man, the Buddhist belief in the transformation of a lotus flower into a child, and the Taoist natural aesthetic view of "returning to the baby" constitute their spiritual and cultural essence. The Chinese traditional character of has its influence felt on their artistic expression. Bearing on them the genes of Chinese culture, the patterns are of value beyond the times, showing the continuous commitment of the craftspeople of Late Ming Dynasty to both inheritance and innovation of the traditional culture and art.
Blue and white children-playing patterns on commercial ceramic wares in the late Ming dynasty reflect people's desire for a better life. In traditional culture, children are much adored for being auspicious and blessed. This association promoted the creation of blue and white children-playing patterns on commercial wares in the late Ming Dynasty. The implications of the patterns of this kind on the ceramic products of Jiajing, Wanli, Tianqi and Chongzhen periods are rooted in the deep soil of Chinese traditional culture. The Confucian ethical thought of "benevolence", the philosophical concept of the unity of heaven and man, the Buddhist belief in the transformation of a lotus flower into a child, and the Taoist natural aesthetic view of "returning to the baby" constitute their spiritual and cultural essence. The Chinese traditional character of has its influence felt on their artistic expression. Bearing on them the genes of Chinese culture, the patterns are of value beyond the times, showing the continuous commitment of the craftspeople of Late Ming Dynasty to both inheritance and innovation of the traditional culture and art.
引文
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[6]凌继尧.美学十五讲[M].北京:北京大学出版社, 2014.
[7]余勇,张亚林.常用陶瓷装饰纹样[M].南昌:江西美术出版社,2002.
[8]李泽厚.美的历程[M].天津:天津社会科学院出版社, 2001.
[2]矫克华.中国陶瓷·泥火传奇[M].青岛:青岛出版社, 2016.
[3]董学文.美学概论[M].北京:北京大学出版社, 2013.
[4]李泽厚.中国美学史[M].北京:中国社会科学出版社, 1984.
[5]马希桂.中国青花瓷[M].上海:上海古籍出版社, 1999.
[6]凌继尧.美学十五讲[M].北京:北京大学出版社, 2014.
[7]余勇,张亚林.常用陶瓷装饰纹样[M].南昌:江西美术出版社,2002.
[8]李泽厚.美的历程[M].天津:天津社会科学院出版社, 2001.