从克莱夫·贝尔的艺术理论探讨元代青花瓷的绘饰语言  

Exploring the Decorative Language of Yuan Dynasty Blue-and-White Porcelain through Clive Bell's Art Theory

作　　者：熊露 赵雨晴 Xiong Lu;Zhao Yuqing(Jingdezhen Ceramic University,Research Centre of Ancient Ceramic,Jingdezhen,333001)

机构地区：[1]景德镇陶瓷大学古陶瓷研究中心,景德镇333001

出　　处：《陶瓷研究》2024年第6期31-33,共3页Ceramic Studies

摘　　要：本文基于克莱夫·贝尔的形式主义艺术理论,深入探讨元代青花瓷的绘饰艺术风格。首先,对贝尔提出的理论进行概念阐释,指出元青花绘饰语言不仅是外在的表现形式,更蕴含着匠人的情感和思想,属于一种“有意味的形式”。接着,结合元代青花瓷创作的历史背景,从“形式与意味的融合”等探讨元青花瓷图案如何通过线条、构图等艺术元素激发审美情趣,并通过具体实例进一步解读元青花瓷作品在视觉和情感上的体现,揭示其在艺术创作中的独特价值与深刻文化意义。This paper draws upon Clive Bell's formalist art theory to conduct an in-depth examination of the decorative art style embodied in Yuan Dynasty blue and white porcelain.Firstly,it elucidates the concepts put forth by Bell,emphasizing that the decorative language inherent in Yuan blue and white porcelain transcends mere external expression;it encapsulates the artisans'emotions and thoughts,thereby qualifying as a"significant form."Subsequently,by situating the creation of Yuan blue and white porcelain within its historical context,this study investigates how its patterns engage aesthetic interests through artistic elements such as line work and composition.Furthermore,it interprets the visual and emotional resonances present in specific examples of Yuan blue and white porcelain artifacts,ultimately revealing their unique value and profound cultural significance within the realm of artistic creation.

关 键 词：形式主义 元青花瓷 文化内涵 艺术价值 

分 类 号：J527[艺术—艺术设计]