《韩熙载夜宴图》中陶瓷器物的窑口来源之辨析  

A study on the producers of ceramic kilns in the painting“Han Xizai’s Night Banquet”

作　　者：胡小兵 HU Xiao-bing

机构地区：[1]安庆师范大学美术学院,安徽安庆246052

出　　处：《东南大学学报（哲学社会科学版）》2023年第4期141-153,156,共14页Journal of Southeast University(Philosophy and Social Science)

基　　金：教育部人文社会科学研究项目“繁昌窑青白瓷研究”(20YJA760028);安徽省高校学科(专业)拔尖人才学术基金资助项目(gxbjZD2021005)成果之一。

摘　　要：中国有众多名画在世界艺术史上有着重要影响。由于时代的变迁,名画几经易手,加上好者喜欢模之,使画作的断代成为难题,《韩熙载夜宴图》便是其中之一。诸史家通过对文献与画作中的人物、服饰、器用、家具等进行研究,建构各自的时代归属之文本。然美术史家依赖图像中的诸多视觉要素,本身具有多源性特点,对《韩》卷鉴别形成的文本亦同样有多样性和争议性。这些文本在流传时,由于是立足于各自鉴别立论背景下,势必反过来对《韩》卷中的陶瓷器物的窑口归属形成相异性,在器物的释读方面亦造成干扰。故而,通过出土器物形制与画作中的器物样式及窑口史料比较分析,可探究《韩》卷中器物的窑口来源。China has produced numerous famous paintings in the history of world art.Factors such as long time,imitations and changes of ownership make it difficult to determine the dating of these paintings.“Han Xizai’s Night Banquet”is one such painting.Historians have studied the characters,clothing,utensils,furniture,and other elements depicted in the relevant literature and the painting itself to justify their conclusions on the historical contexts of the painting.Among them,art historians rely on the visual elements when doing so.However,none of the conclusions are uncontroversial.None of the conclusions are uncontroversial,though.This paper aims to ascertain the producers of the ceramic vessels in the painting by comparing them with the excavated ceramic artifacts,and analyzing the relevant historical records.

关 键 词：韩熙载夜宴图 窑口来源 陶瓷器物 繁昌窑 

分 类 号：J212[艺术—美术] J527[历史地理—历史学] K23[历史地理—中国史]