略论唐至元代的瓷器象生枕  

A Brief Discussion on Porcelain Xiangsheng Pillows from the Tang Dynasty to the Yuan Dynasty

作　　者：董翰飞 冯恩学 Dong Hanfei;Feng Enxue(School of Archaeology,Jilin University)

机构地区：[1]吉林大学考古学院

出　　处：《草原文物》2024年第3期96-105,F0003,共11页Steppe Cultural Relics

摘　　要：本文在梳理唐至元代发现的象生枕基础上,从艺术设计理念的角度,将象生枕细分为象生形和象生座两类,并将其表现手法归纳为“展形法”和“藏形法”两种。其发展历程可以概括为新兴、鼎盛和衰落期,从不同时代的纵向轴线中能够发现象生枕的装饰艺术功能逐渐强化,从单纯的瓷质枕器演变成为融合了艺术性和实用性的寝室用具,从同一时代的横向层面可以窥见象生枕还蕴含着使用者渴望辟邪、示勇、求子等意图,反映着人们的起居方式和审美取向。由此可见象生枕的艺术水平、制作技艺和文化内涵远高于其他瓷枕。In this paper,from the perspective of artistic design concepts,the Xiangsheng pillow is subdivided into two categories:lifelike shape and lifelike base,and its expression method is summarized as the"spreading shape method"and"hiding shape method"based on the carding and inspection of the Xiangsheng pillow found in the Tang Dynasty to the Yuan Dynasty.The development course of which can be summarized as the emerging,flourishing,and declining period.From the vertical axis of different eras,it can be observed that the decorative art function of Xiangsheng pillows has gradually strengthened.They have evolved from simple porcelain pillows to dormitory utensils that integrate art and practicality.From the horizontal level of the same era,it can be seen that Xiangsheng pillows also contain users'desires to ward off evil,show courage,and seek offspring,reflecting people's living habits and aesthetic preferences.It can be seen that the artistic level,production techniques and cultural connotations of Xiangsheng pillows are far higher than those of other porcelain pillows.

关 键 词：象生枕 分类 瓷枕 造型艺术 

分 类 号：K876.3[历史地理—考古学及博物馆学] K23[历史地理—历史学]