清中期“微物”工艺史的中兴——以“曼生壶”作为文化样本的讨论  

The Revival of“Micro Objects”In the History of Craftsmanship in the Mid-Qing Dynasty:A Discussion on“ManSheng Pot”as a Cultural Sample

作　　者：鲍相志 周学鹰 BAO Xiang-zhi;ZHOU Xue-ying(School of History,Nanjing University,Nanjing Jiangsu 210046,China)

机构地区：[1]南京大学历史学院,江苏南京210046

出　　处：《苏州大学学报（哲学社会科学版）》2023年第4期183-192,共10页Journal of Soochow University(Philosophy & Social Science Edition)

摘　　要：清中期以前的紫砂工艺处于一种停滞不前的状态,既缺少新的紫砂壶造型,审美上又缺少古雅气质,屡屡受到时人的批评。陈鸿寿所创制的曼生壶,从工艺和审美的角度改造了紫砂壶,破除繁冗媚俗,复归古法古意,扭转了时风,得到了后世“壶艺中兴”的评价。值得注意的是,砂壶确属微物,是日常生活之最为寻常者。当人们谈论文化浸润日常生活时,多注意人作为社会主体的行为,而对器物较为忽略。其实器物之名与实、形与用,无不受到文化的影响,它是文化的产物,又对文化传统的承续与建构产生作用。Before the mid-Qing Dynasty,the clay teapot art was in a stagnant state,lacking both new clay teapot shapes and aesthetic value.At that time,works were repeatedly criticized by contemporary people.The Mansheng pot created by Chen Hongshou has transformed the Yixing clay teapot from the perspective of technology and aesthetics,broken the tedious and kitsch,reverted to the ancient method,reversed the trend,and won the evaluation of“pot art thriving”in later generations.It is worth noting that the sand pot is indeed a micro object and the most common in daily life.When people talk about the infiltration of culture into daily life,they pay more attention to the behavior of people as social subjects,while neglecting artifacts.The name and reality of the artifact,as well as its shape and function,are all influenced by culture.They are both products of culture and influence the inheritance and construction of cultural traditions.

关 键 词：陈鸿寿 曼生壶 工艺史 中兴 

分 类 号：J527[艺术—艺术设计]