论刻划花在当代景德镇陶艺作品中的形式演变及成因  

Discussion on the Formal Evolution and Causes of Engraved Flower in Contemporary Jingdezhen Ceramic Art

作　　者：徐杰妤 刘惠之 邹雯 吕子青 赖艺璇 XU Jieyu;LIU Huizhi;ZOU Wen;LYU Ziqing;LAI Yixuan(Ceramic Reserch Institute of Light Industry of China,Jingdezhen 333001,China;General Education Center Shanghai University of Engineering Science,Shanghai 201620,China;Shangrao Normal University,School of Fine Arts and Design,Shangrao 334001,China)

机构地区：[1]中国轻工业陶瓷研究所,景德镇333001 [2]上海工程技术大学通识教育中心,上海201620 [3]上饶师范学院美术与设计学院,上饶334001

出　　处：《中国陶瓷》2025年第2期88-94,114,共8页China Ceramics

摘　　要：刻划花作为陶瓷传统工艺形式,景德镇地区于五代时期开始流行,宋代以后逐渐式微。通过实例分析、因素分析、归纳总结的方法,将当代刻划花作品与宋代进行横向比较,总结其一方面继承了传统刻划工艺重线条、讲意境的形式,另一方面融合了剔花工艺、西方艺术语言,呈现出重体块、更写实的分离形态。通过当代景德镇刻划花工艺形式、语言表现,归纳当代景德镇刻划花表现及成因,反思传统刻划花如何在时代发展中走向创新。Engraved flower,as a traditional ceramic craftsmanship form,became popular in the Jingdezhen area during the Five Dynasties and gradually declined after the Song Dynasty.Through case analysis,factor analysis,and inductive summarization,this study conducts a horizontal comparison between contemporary engraved flower works and those from the Song Dynasty.The findings leading to the following insights:on one hand,the traditional engraved techniques retain the form of emphasized lines and artistic conception;on the other hand,they integrate carved techniques of floral patterns and Western artistic languages,thus presenting a more substantial and realistic separation form.Through the forms and linguistic expressions of contemporary engraved flower techniques in Jingdezhen,this study induces the expressions and causes of contemporary engraved flower,reflecting on how traditional engraved floral diverge and reconcile with the times towards innovation.

关 键 词：刻划花 形式 成因 

分 类 号：J504[艺术—艺术设计]