希冀与坚守:唐代长沙窑“雁纹壶”研究  

Hope and Adherence:A Study on the"Wild Goose Pattern Pot"of Changsha Kiln in the Tang Dynasty

作　　者：胡芬 

机构地区：[1]南昌师范学院

出　　处：《中国陶瓷工业》2023年第6期113-117,共5页China Ceramic Industry

基　　金：2021年江西省文化艺术科学规划一般项目(YG2021112)阶段性成果;2020年南昌师范学院校级重点科研项目(21RWZD01)阶段性成果。

摘　　要：长沙窑的“雁纹壶”是长沙窑中比较具有代表性的产品之一。本文通过研究分析“雁纹壶”的工艺特征、纹饰特征以及文化内涵,揭示“雁纹壶”在唐代中晚期盛行的原因。“南北相融”的釉下彩绘技术是“雁纹壶”在当时大量产生的物质前提。而“雁纹壶”上所营造的“衡阳雁”意象,以及其在当时婚庆礼仪中的吉祥寓意,则为其盛行提供了实际可能。The"wild goose pot"of Changsha kiln is a relatively representative product of Changsha kiln.This paper studies and analyzes the technological characteristics,decorative features and cultural connotation of the"wild goose pot",thus revealing the reason why the"wild goose pot"prevailed in the middle and late Tang Dynasty.The underglaze color painting technology of"blending the northern and southern styles"was the material premise for the large number of"wild goose pot"at that time.The image of"Hengyang wild goose"created on the"wild goose pot"and its auspicious implication in the wedding ceremony at that time provided a practical possibility for its popularity.

关 键 词：长沙窑 雁纹壶 釉下彩绘 衡阳雁 

分 类 号：J527[艺术—艺术设计] K242[历史地理—历史学]