器的空间与维度——关于紫砂艺术的思考  

The Space and Dimension of Pottery:Thoughts on Zisha Art

作　　者：陈昊[1] Chen Hao

机构地区：[1]浙江工商大学艺术设计学院

出　　处：《中国陶瓷工业》2023年第4期51-55,共5页China Ceramic Industry

摘　　要：紫砂艺术在明代中晚期的生发,成就了一段社会各阶层参与的紫砂文化。本文着力于以紫砂材料为载体而产生的各类紫砂器物间相互关联而产生的有趣文化现象。其生发于民间,后又走向宫廷,并与其他工艺发生横向联系,形成了迥异的风格,相互影响同时双向发生。由于紫砂色彩丰富,可塑性强,拓宽了它的表现力,各类文玩大行其道,形成了丰富的产品路线。文人参与紫砂的设计,大大提高了紫砂的文化品位。雍正、乾隆等人也频发各类“设计意见”。全形拓的出现将其艺术展示维度带入了平面图形领域,表达了一种含蓄唯美的东方气质。The development of Zisha art in the mid to late Ming Dynasty resulted in a period of Zisha culture with the participation of various social classes.This article focuses on the interesting cultural phenomena that arise from the interrelationships between various types of Zisha artifacts using Zisha materials as carriers.It originated from the people and later went to the court,forming a completely different style through horizontal connections with other crafts,influencing each other and occurring in both directions.Due to its rich colors and strong plasticity,Zisha has broadened its expressive power,and various types of stationery and toys have become popular,forming a rich product line.The participation of literati in the design of Zisha greatly enhances its cultural taste.Yongzheng,Qianlong,and others also frequently issued various"design opinions".The emergence of Quanxing Tuo has brought its artistic display dimension into the field of flat graphics,expressing a subtle and beautiful Eastern temperament.

关 键 词：紫砂艺术 文人紫砂 宫廷紫砂 全形拓 

分 类 号：J527[艺术—艺术设计]