唐代长沙窑瓷器上云纹纹样特征研究
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摘要
研究致力于唐代长沙窑瓷器中云纹纹样的元素表现形式的分析,实现对长沙窑纹样研究的推进与唐代长沙窑纹样的深入探索,为日后长沙窑文化创意产品提供基础支持与设计来源,继承发扬传统文化。将收集的长沙窑瓷器上的纹样进行相关资料分类、汇总,并利用分析法分析唐代长沙窑瓷器上云纹纹样的特征。以唐代长沙窑瓷器上的云纹纹样为研究对象,讨论云纹纹样在长沙窑瓷器上的主要应用规律,提出新问题。通过找到长沙窑瓷器上云纹纹样的特征,找出其运用规律,将有效提升设计对象的内涵,对长沙窑瓷器上云纹纹样的特征有一个更好的梳理,为我们现代设计深入研究提供基础参考。继承传统文化,在新的创意设计中得到更贴切的融合,并促进传统文化的发展与创新。
To analyze the expressive forms for cloud patterns on Tang dynasty Changsha ware to further the research on its decorative patterns to provide theoretical basis and artistic inspirations for the design and manufacture of culturally creative products of Changsha ware. Sorting out and classifying the collected patterns on from Changsha wares, analyzing the characteristics of the cloud patterns, summarizing their application principles and proposing new problems. The research on cloud pattern characteristics and application principles will effectively deepen the understanding of this type of decorative patterns, enrich the content of the product design of Changsha ware, and lay a solid foundation for the production of modern design, which can carry forward traditional culture and promote innovation by interweaving it in new expressions.
To analyze the expressive forms for cloud patterns on Tang dynasty Changsha ware to further the research on its decorative patterns to provide theoretical basis and artistic inspirations for the design and manufacture of culturally creative products of Changsha ware. Sorting out and classifying the collected patterns on from Changsha wares, analyzing the characteristics of the cloud patterns, summarizing their application principles and proposing new problems. The research on cloud pattern characteristics and application principles will effectively deepen the understanding of this type of decorative patterns, enrich the content of the product design of Changsha ware, and lay a solid foundation for the production of modern design, which can carry forward traditional culture and promote innovation by interweaving it in new expressions.
引文
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[2]徐丽慧.中国历代云纹纹饰艺术[M].北京:人民美术出版社,2010.
[3]黄能馥,陈娟娟编著.中国历代装饰纹样[M].北京:中国旅游出版社,1999.
[4]苏丰.武则天时期意识形态关照下的云纹纹饰--以敦煌329窟"夜半逾城"为例[J].装饰,2017(07):130-131.
[5]长沙窑编辑委员会.《长沙窑》综述卷[M].长沙:湖南美术出版社,2012:239-284.
[6]陈晶,李婳.唐代长沙窑陶瓷山水纹饰艺术特征及成因探究[J].江苏陶瓷,2010(03):20.
[7]吴小平主编.《百问长沙窑》(上卷)[M].广州:广东经济出版社,2016.
[8]吴小平主编.《百问长沙窑》(下卷)[M].广州:广东经济出版社,2016.
[9]郑晋.长沙窑陶瓷艺术中的伊斯兰因素研究[D].苏州:苏州大学,2009.
[10]田自秉,吴淑生,田青,等.中国纹样史[M].北京:高等教育出版社,2003.
[11]徐雯.中国云纹装饰[M].桂林:广西美术出版社,2000.