三国两晋时期越窑蟾蜍水盂的造型演变与文化内涵  

Modeling Evolution and Cultural Connotation of the Toad Jars from the Yue Kiln in the Period of the Three Kingdoms and the Two Jin Dynasties

作　　者：陈宁 曾宝宝 CHEN Ning;ZENG Baobao(Jingdezhen Ceramic University,Jingdezhen 333403,China)

机构地区：[1]景德镇陶瓷大学,景德镇333403

出　　处：《中国陶瓷》2025年第3期65-74,共10页China Ceramics

摘　　要：蟾蜍水盂是三国两晋时期越窑的代表性产品,造型精巧,装饰精美。系统梳理了三国、西晋、东晋时期越窑蟾蜍水盂的各种造型并总结了器物造型的特征,认为其造型演变经历了初创、成熟、衰落三期,表现为整体高度、堆塑所处位置、堆塑形象及堆塑细部造型等方面的变化。其造型背后蕴含的文化内涵与此时社会的审美风尚、时代的思想观念、民众的美好愿景等因素密切相关。Toad jars,as a representative product of the Yue Kiln during the period of the Three Kingdoms and the Two Jin Dynasties,characterized by exquisite modellings and elegant decorations.The various modellings of toad jars from Yue Kiln in the Three Kingdoms,Western Jin,and Eastern Jin Dynasties were systematically sorted out and summarized the characteristics of the vessel shapes.It is believed that the evolution of these shapes underwent three phases:inception,maturity,and decline,reflected in changes in overall height,the location of the sculpted decorations,the images of the sculptures,and the details of the sculpted forms.The cultural connotations behind their shapes are closely related to the aesthetic trends,ideological concepts,and the beautiful aspirations of the people during that era.

关 键 词：蟾蜍水盂 越窑 造型演变 文化内涵 三国两晋时期 

分 类 号：J506[艺术—艺术设计]