框格之间——清康熙五彩瓷上的开光形式设计探微  

Between the Frame and the Grid——Exploring the Design of the Reserved Panel Form on the Wucai Porcelain of Kangxi in the Qing Dynasty

作　　者：赵琪琪 Zhao Qiqi(Jingdezhen Ceramic University,Jingdezhen,333403)

机构地区：[1]景德镇陶瓷大学,景德镇333403

出　　处：《陶瓷研究》2023年第3期31-34,共4页Ceramic Studies

摘　　要：“尺幅窗,无心画”,瓷器上的“开光”装饰借用了中国古典园林建筑中“开窗”的艺术手法,透过形式万千的框格,于瓷器表面构造出一幅幅令人叹为观止的“有心图画”。清康熙时期五彩瓷上开光的形式种类更为多样,进入了鼎盛阶段。本文从分析“开光”与“开窗”二者在艺术表现手法上的联系出发,着重探究清康熙五彩瓷上开光形式的设计变化,从轮廓形式特征和布局设计手法两个方面加以论述,进而引发关于清康熙五彩瓷上的开光如何上演时空维度的关注。"Large window,careless painting",the "reserved panel" decoration on the porcelain imitated the art technique of "window" in the Chinese classical garden architecture,through the various forms of the frame,on the surface of the porcelain to construct a stunning "heart for picture".During the reign of Emperor Kangxi of the Qing Dynasty,the forms of Wucai porcelain were more diverse and entered its heyday.Based on the analysis of "reserved panel" and "window" in both the contact on the artistic technique of expression,to probe the Qing emperor Kangxi wucai reserved panel forms of design change,from the outline form characteristic and design technique about the layout,causing about the Qing emperor Kangxi wucai how far out on the dimensions of time and space.

关 键 词：五彩瓷 开光 设计 

分 类 号：J527[艺术—艺术设计]