题名 |
唐宋翠色青瓷色彩美-以越窯、龍泉窯為例 |
并列篇名 |
Beauty of Colors in Celadon of Tang and Song Dynasties: Examples of Yue and Longquan Kilns |
作者 |
康才媛(Tsai-Yuan Kang) |
关键词 |
翠色 ; 青瓷 ; 越窯 ; 龍泉窯 ; Cui Se ; celadon ; Yue Celadon ; Longquan Celadon |
期刊名称 |
淡江史學 |
卷期/出版年月 |
26期(2014 / 09 / 01) |
页次 |
85 - 111 |
内容语文 |
繁體中文 |
中文摘要 |
翠色青瓷審美觀的產生肇因於審美文化以及窯爐燒造技術進步的影響。其中審美文化源自唐代越窯青瓷,陸羽《茶經》:「青則益茶」乃最早的色彩追求,此後文人訴諸對青翠山林與青碧湖水的審美與嚮往,「翠色」遂成為青瓷核心的美感,越窯秘色青瓷便是此風影響下的產物。此外,隨著南宋瓷藝技術的精進,龍泉窯透過改善窯爐、燒造氣氛、胎成份、釉成份的改進,翠色青釉的效果更進加精進,獲得世人普遍的讚賞。然而,從美感追求的發展而言,宋代翠色青瓷的表現形式也受到宋代山水繪畫藝術理論的引導,在不斷精進歸納大自然形貌的啟發下,觀想角度擴大,從越窯青瓷補捉自然山水色彩,進而龍泉窯除山水外,更擴大表現蔥、梅等植物細膩的質感,不斷嘗試不同自然物的形貌與特質,造就豐富多樣的翠色美感。此外,從直觀的經驗而言,翠色是大自然中旺盛生命生機的展現,反映文人在生命經驗中追求奮進向上的體驗與追求,反映傳統華人民族心靈深處的審美傾向,色彩遂提昇為內在生命經驗與精神昇華的心靈層次表達。 |
英文摘要 |
Aesthetic appreciation of celadon porcelain derived from aesthetic culture and advancement in kiln technology. The aesthetic culture began with celadon of Yue Kiln in Tang dynasty. The earliest postulation of color was recorded in Lu Yu's The Classic of Tea in describing the color of green glaze as "surpassing the color of tea." Later on, with the literatis' love of the green colors in mountains, forests, and lakes, Cui Se or emerald green color became the core aesthetic standard for celadon porcelain. Mi-se-ci porcelain from Yue Kilns embodied this trend. Furthermore, with the advancement of porcelain technology in Southern Song dynasty, Longquan Kilns improved the kiln environment, atmosphere, and ingredients of biscuit and glaze to produce an even more advanced celadon porcelain, which was pursued by all. In terms of aesthetic pursuit, however, expressive forms of celadon porcelain of Song dynasty were also influenced by the aesthetic theory of landscape painting in Song dynasty. Inspired by artists' analysis of the forms of nature, artisans had wider spectrum of observation and tried to capture the colors of nature through celadon porcelains in the Yue Kilns. This trend expanded to capturing details of plant kingdom in the Longquan Kilns. Artisans kept trying to represent the forms, textures, and qualities of various natural objects, creating a multi-layered aesthetics of emerald green color. In terms of a more intuitive experiences, the idea of emerald green color embodies the vitality of nature. It reflects the elevating experience and pursuit in literatis' life experience. The emerald green color is essential to the aesthetic pursuit in the traditional Chinese mind, making color an experience of life and an expression of inner spirit. |
主题分类 |
人文學 >
歷史學 |
参考文献 |
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