北宋汝瓷与道家美学的对照关系  

The Contrastive Relationship between Ru Porcelain in the Northern Song Dynasty and Taoist Aesthetics

作　　者：王亚然 王斐然 洪燕 WangYaran;WangFeiran;Hong Yan(Ruzhou Ru Porcelain Museum, Ruzhou City, 46759923;Ruzhou Mass Art Museum, Ruzhou City, 46759923;Jiangxi Ceramic Arts and Crafts Vocational and Technical College, Jingdezhen City, 333000)

机构地区：[1]汝州市汝瓷博物馆,汝州市46759923 [2]汝州市群众艺术馆,汝州市46759923 [3]江西省陶瓷工艺美术职业技术学院,景德镇市333000

出　　处：《陶瓷研究》2019年第1期42-44,共3页Ceramic Studies

摘　　要：《周易·系辞上》有文:“形而上者谓之道,形而下者谓之器。”“道”和“器”是阴阳互生共根的关系,无道,则不成器,没有器,便无以载道。北宋的社会环境和主流的审美理念影响并决定着当时工艺美术的走向,汝瓷作为北宋工艺美术中浓墨重彩的一笔,它的繁荣也从侧面体现了宋代文人的生活态度和美学思想。本文便以有形的北宋汝瓷器皿为参考来探究北宋时期无限的“道”。"Zhouyi xici" has a text:"metaphysics is the Tao, while metaphysics is the Qi.""Tao" and "Qi" are the relationship of the symbiosis of yin and yang. Without Tao, there will be no Qi. Without Qi, there will be no Tao.The social environment of the Northern Song Dynasty and the mainstream aesthetic ideas influenced and decided the trend of Arts and crafts at that time. As an important part of Arts and crafts in the Northern Song Dynasty, Ru Porcelain embodied the life attitude and aesthetic ideas of scholars in the Song Dynasty.This article will take the tangible Northern Song Ru porcelain as a reference to explore the unlimited "Tao" in the Northern Song Dynasty.

关 键 词：汝瓷 北宋 道家 美学思想 

分 类 号：J01[艺术—艺术理论]