长沙窑装饰风格演变研究  

Research on the Evolution of Decorative Style in Changsha Kiln

作　　者：杨坤雨 杨先艺[1] 艾伟澎 YANG Kunyu;YANG Xianyi;AI Weipeng(Wuhan University of Technology,Wuhan 430070,China)

机构地区：[1]武汉理工大学,武汉430070

出　　处：《中国陶瓷》2025年第3期88-99,共12页China Ceramics

摘　　要：长沙窑以彩瓷烧造而闻名,其是中晚唐时期外销的主要窑口。但长沙窑早期却以素釉瓷生产为主,关于其后期装饰风格突变的原因,目前尚无专门的研究。采用类型学梳理与文献研究,证明了长沙窑在装饰上经历了“无彩—有彩—彩绘”,从“平面”到“立体”的演变过程。再将长沙窑与他窑的实物进行比较,反推其生产动机,可发现长沙窑早期的素釉瓷,是对诸多古窑名瓷样式的模仿,而后期彩瓷的出现实际是商业策略调整的结果。同时,长沙窑在装饰上有着鲜明的“模件化”表现,有效实现了生产成本控制。通过这些研究,总结了长沙窑装饰风格的演变规律,论证了市场对于长沙窑装饰的影响,对于当下的陶瓷设计以及跨文化设计而言都具有重要的启示作用。Changsha kiln is famous for its colored porcelain and was a major kiln for exports during the middle and late Tang Dynasty.However,Changsha kiln was mainly producing plain glazed porcelain in the early days,and there has been no dedicated research on the reasons for the sudden change in its later decorative style.By using typology analysis and literature research,it is proved that the Changsha kiln has experienced an evolution in decoration from“no color”to“colored”and then to“painted,”transitioning from“flat”to“three-dimensional.”Then,by comparing the objects of the Changsha kiln with those from other kilns,the production motivations can be inferred.It can be found that the early plain glazed porcelain from the Changsha kiln was an imitation of many ancient kiln famous porcelain styles,while the emergence of color porcelain in the later period was actually a result of the adjustment in commercial strategy.At the same time,Changsha kiln has a distinctive“module”performance in decoration,which effectively controls production costs.Through these studies,the evolution patterns of Changsha kiln decoration style are summarized,and the influence of the market on its decoration is demonstrated,which has an important enlightening effect on the current ceramic design and cross-cultural design.

关 键 词：长沙窑 装饰 演变 

分 类 号：J509[艺术—艺术设计]