试析元青花瓷器中灵芝纹艺术渊源及流行原因  

An Analysis of the Artistic Origin and Popular Reasons of Ganoderma Pattern in Yuan Blue and White Porcelain

作　　者：石瑞斋 万晓惠 SHI Ruizhai;WAN Xiaohui(Zibo Normal College,Zibo 255130,China;Ceramic Research Institute of Light Industry of China,Jingdezhen 333000,China)

机构地区：[1]淄博师范高等专科学校,淄博255130 [2]中国轻工业陶瓷研究所,景德镇333000

出　　处：《中国陶瓷》2025年第2期105-114,共10页China Ceramics

摘　　要：通过对考古发掘出土或传世馆藏元青花瓷器的收集和整理,可知此类瓷器上灵芝纹主要有两种设计样式,分别为折枝灵芝纹和缠枝灵芝纹。这两种不同设计样式的灵芝纹装饰来源有异,前者应该是受到了以《事林广记》收录《金刚般若波罗密经》所附插图为代表佛经版画的影响,后者则是受到以纳石失为代表蒙元贵族服饰的影响。元青花瓷器上灵芝纹之所以广泛流行,应该与蒙元时期民族政策、科举迟滞、佛道盛行及上层社会喜好金银器等因素有关。Through the collection and organization of Yuan blue and white porcelain unearthed from archaeological excavations or passed down collections,it is known that the ganoderma pattern on this type of porcelain primarily features two design styles:the folded branch ganoderma patterns and the tangled branch patterns.These two different design styles have different decorative origins;the former is likely influenced by the Buddhist scripture prints represented by the illustrations attached to the Vajra Prajnaparamita Sutra included in the Shilin Guangji,while the latter is influenced by the attire of the Mongolian Yuan aristocrats represented by Nasich.The widespread popularity of ganoderma patterns on Yuan blue and white porcelain should be related to factors such as ethnic policies,stagnation of the imperial examination system,the prevalence of Buddhism and Taoism,and the upper class’s preference for gold and silverware during the Mongolian and Yuan dynasties.

关 键 词：元青花 灵芝纹 佛经版画 贵族服饰 

分 类 号：J522[艺术—艺术设计]