康熙五彩瓷对明清版画的借鉴模式——以“园林”图像为例
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摘要
明末清初戏曲、小说文化的盛行导致了出版业的蓬勃发展,各类戏曲、小说故事的版画插图随着出版业的发展而不断被创新。由于这些戏曲、小说故事的受欢迎程度较高,瓷器上的图像装饰也关注同类故事题材创作并富有时代特征。而"园林图像"在戏曲、小说故事版画中涵盖面大、形式丰富、质量精美。康熙五彩瓷"园林图像"在发展过程中不但借鉴了当时各类戏曲小说的版画插图故事,还大量借鉴了版画插图的装饰元素,并通过其独特的陶瓷彩绘工艺,形成了不同于版画风格的"园林图像"面貌。
In the late Ming dynasty and early Qing dynasty, the popularity of drama and novel culture led to the vigorous development of the publishing industry. The Wood-block Carving and illustrations of various dramas and stories were constantly being innovated with the development of the publishing industry. Due to the high popularity of these dramas and stories, the image decoration on porcelain also focuses on the genre of similar stories and the characteristics of The Times. And the "Garden Image" in the opera, the story of the story of the cover of a large, rich in form, quality. Kangxi wucai Porcelain "Garden Image" in the process of development not only draw lessons from the print illustration of all kinds of drama novel story at that time, also borrowed large amounts of Wood-block Carving illustrations of decorative elements, and through its unique ceramic painting process, the formation of the "Garden Image" is different from print style.
In the late Ming dynasty and early Qing dynasty, the popularity of drama and novel culture led to the vigorous development of the publishing industry. The Wood-block Carving and illustrations of various dramas and stories were constantly being innovated with the development of the publishing industry. Due to the high popularity of these dramas and stories, the image decoration on porcelain also focuses on the genre of similar stories and the characteristics of The Times. And the "Garden Image" in the opera, the story of the story of the cover of a large, rich in form, quality. Kangxi wucai Porcelain "Garden Image" in the process of development not only draw lessons from the print illustration of all kinds of drama novel story at that time, also borrowed large amounts of Wood-block Carving illustrations of decorative elements, and through its unique ceramic painting process, the formation of the "Garden Image" is different from print style.
引文
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[4]刘乐君,胡旋尹.“瓷上蕉叶”——五彩瓷中蕉叶纹图式变迁[J].中国陶瓷,2016:9.[5][清]李渔《闲情偶寄居室部》[M].选自郭廉夫《中国设计理论辑要》.南京:江苏美术出版社,2008.6(P201).
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