安居与足食:元青花鱼藻大罐植物纹图像探析  

Living in Peace and Having Enough to Eat:An Analysis of the Botanical Patterns of the Yuan Dynasty’s Blue and White Porcelain with Fish and Algae Jars

作　　者：毕耜岩 Bi Siyan(Nanjing Normal University)

机构地区：[1]南京师范大学

出　　处：《景德镇陶瓷》2024年第4期118-121,共4页Jingdezhen Ceramics

摘　　要：鱼藻纹是元代青花瓷的重要题材之一,日本大阪市立东洋陶瓷博物馆所藏的鱼藻纹大罐,纹饰精美,品相完整,可作为鱼藻纹的典型代表。据《陶书》载,明代将此类鱼藻纹大罐称为“藻鱼罐”,其凸显了植物纹在整体设计中的重要性。然而,以往研究中植物纹由于体量较小等因素,未得到充分关注。本文通过图像细读和文献考证,分析了鱼藻纹中的植物种类及其文化含义。研究发现,这些植物纹饰不仅是对水下世界的再现,而是工匠们结合文学想象,将水底、水面、水上的现实元素融合创作,旨在描绘鱼类的生活环境和食物来源。此外,这些图案还隐含着对元末明初动荡时期人们渴望安稳生活和丰富食物的美好祝愿。Fish algae pattern is one of the important themes of blue and white porcelain in the Yuan Dynasty,and the large jar offish algae pattern in the collection of the Osaka Municipal Museum of Oriental Ceramics in Japan has exquisite decoration and complete appearance,which can be used as a typical representative offish algae pattern.According to the Book of Pottery,the Ming Dynasty called this kind offish algae pattern jar"algaefish jar",which highlights the importance of plant pattern in the overall design.However,in previous studies,botanical patterns have not received sufficient attention due to their small size.In this paper,the plant species and their cultural meanings in thefish algae pattern were analyzed through close reading of images and literature research.The study found that these plant ornaments are not only a representation of the underwater world,but also a combination of literary imagination by craftsmen who combine the realistic elements of the water,the surface and the water to depict the living environment and food sources offish.In addition,these motifs also imply good wishes for people's desire for a stable life and abundant food during the turbulent times of the late Yuan and early Ming dynasties.

关 键 词：元青花 鱼藻纹大罐 植物纹 图像细读 纹饰寓意 

分 类 号：J527[艺术—艺术设计]