浅绛彩瓷绘在景德镇釉上彩瓷绘及其审美发展中的地位  

The Position of Light Reddish-Purple Porcelain Painting in Jingdezhen Overglaze Enamel Porcelain Painting and its Aesthetic Development

作　　者：贺颖洁 HE Ying-jie(Yichun University,Yichun 336000,China)

机构地区：[1]宜春学院,宜春336000

出　　处：《中国陶瓷》2024年第6期101-104,共4页China Ceramics

摘　　要：景德镇浅绛彩瓷绘出现在一个极其特殊的历史时期。起初它由文人画家承担,从中国浅绛山水画中吸收了各种绘制要素,从而构成了景德镇釉上彩瓷绘技艺及其审美的新范畴。它包括瓷绘的新材料及其工艺、绘制技术、绘制题材、绘制内容与相应的表现形式,尤其包含了视觉审美的新变化等,为景德镇瓷绘技艺自粉彩衰落之后的再度复兴起到了承前启后的作用。奠定了新粉彩工艺及其艺术审美规范的新格调,在中国陶瓷绘画发展中具有极其重要的历史作用和现实意义。Jingdezhen’s light reddish-purple porcelain painting emerged during a particularly unique historical period.Initially undertaken by literati painters,it absorbed various drawing elements from Chinese light reddish-purple landscape paintings,thereby forming a new category of Jingdezhen overglaze enamel porcelain painting techniques and its aesthetic expression.This includes new materials and techniques,painting skills,painting themes,content,and corresponding forms of expression used in porcelain painting,particularly embracing new visual aesthetic changes.Qianjiangcai played a key role in reviving Jingdezhen porcelain painting techniques after the decline of fencai,laying a new artistic aesthetic norm for the new fencai technique.It has significant historical importance and practical significance in the development of Chinese ceramic painting.It played a key role in the revival of Jingdezhen porcelain painting techniques following the decline of powder doped colors,laying the foundation for a new style of powder doped color craftsmanship and artistic aesthetic standards.It has significant historical importance and practical implications for the development of Chinese ceramic painting.

关 键 词：浅绛彩瓷绘 景德镇瓷绘技艺 审美 新格调 

分 类 号：J505[艺术—艺术设计]