| 摘要: | 磁州窯的研究如雨後春筍般，有不少的研究資料發表於期刊和論文研討會中。如同研究的結果，磁州窯是宋金元時期民間最大的窯場，由觀台窯的考古報告，也證明了這一點。之所以可以成為當時最大窯場，成為民間喜聞樂見的瓷器，與磁州窯的紋飾設計相關。
宋金元時期磁州窯最大的特色，在於瓷器上裝飾題材的創新。磁州窯在初創時期大量仿製其他窯場的劃花、刻花、剔花、剔劃花等工藝技巧，到了宋代晚期時，才獨立創新，以白地黑花瓷的裝飾方式，突破當時的所有裝飾技法，而成為磁州窯最具代表性的裝飾技藝。
足以讓磁州窯成為當時最大窯場的重要因素，並非單一的創新技法，更重要的是裝飾題材足夠吸引大眾。和其他窯場一樣，裝飾紋樣有花鳥、蟲魚、人物、詩詞曲賦、山水之外，獨創性地增添了走獸與故事畫等裝飾效果，表現的裝飾題材性質強烈、內容豐富、題材多元、還具備教化作用，在繼承、演變與創新上的表現，促使磁州窯在中國陶瓷史的發展中具有重要影響地位，並延續至今日。
本論文以宋金元時期磁州窯最具特色的白地黑花紋飾特點作為研究的方向。白地黑花的黑色彩度，受到斑花石於繪製時濃度的影響以及窯爐內溫度與氣氛等因素，經燒製完成，會出現黑色、黑褐色與褐色間的色調，因此除了白地黑花之外，白地褐彩亦屬於研究的範圍。另外，白地黑花在繪製過程，為了呈現出最佳的效果，會視情況，在必要時，加入劃花技法。因此，白地繪劃花一併用於此論文作為紋飾的討論。
為了深入了解磁州窯繪圖特性，採用墨水筆臨摹圖檔，運用手繪方式來感受磁州窯白地黑花紋飾繪圖時的運筆過程與線條的韻律性。並前往鶯歌陶瓷博物館學習，藉由窯場中的塑陶和瓷器彩繪來體會畫師運用毛筆於瓷器坯體上作畫的狀態。
目前磁州窯紋飾相關的研究已相當豐富，提供筆者考證依據。磁州窯的畫師來自於民間，繪畫取材來自於生活中的體悟，因此，對於圖像的理解，生活中的觀察與社會文化的探索是必要的。在本論文中，除了參考目前出版的圖錄與學者專家們提出的研究報告，採取藝術史視角並加入小兒科醫學理論，以及瓷器彩繪實作的經驗之外，另外嘗試理解畫師當時的時空背景對於繪畫構圖的想法與民間美學需求上的流行趨勢做一整理。本論文主要以紋飾作為研究，其他書法、詩詞類不在本研究範疇中。
Research on Cizhou kiln has sprung up like bamboo shoots after a rain, and many research materials have been published in journals and seminars. As the result of the research, Cizhou kiln was the largest folk kiln in the Song, Jin and Yuan Dynasties. The archaeological report of Guantai kiln also proved this point. The reason why it could become the largest kiln at that time, It has become a popular porcelain among the folks, and is related to the decorative design of the Cizhou kiln.
The biggest feature of Cizhou kilns in the Song, Jin and Yuan Dynasties, It lies in the innovation of decorative themes on porcelain. During its inception, Cizhou kiln imitated a large number of other craftsmanships such as cutting, engraving, picking, and picking flowers in other kilns. It was only in the late Song Dynasty that he innovated independently, using white ground and black flower porcelain to decorate. It broke through all the decoration techniques at that time and became the most representative decoration technique of Cizhou kiln.
Enough to make Cizhou kiln become an important factor of the largest kiln yard at that time, not a single innovative technique.
More importantly, the decorative themes are enough to attract the public. Like other kilns, The decorative patterns include flowers, birds, insects, fish, characters, poetry, songs, and landscapes. Originally added decorative effects such as walking beasts and story paintings, The decorative subject matter represented is strong in nature, rich in content, diverse in subject matter, and has an instructive effect. The performance of inheritance, evolution and innovation has promoted the Cizhou kiln to have an important position in the development of Chinese ceramic history, and it continues to this day.
This dissertation takes the most characteristic white ground and black pattern decorations of Cizhou kilns in the Song, Jin and Yuan Dynasties as the research direction. The black chroma of white ground and black flowers, Affected by the concentration of margarite when drawing, as well as factors such as temperature and atmosphere in the kiln, After firing, the tones of black, dark brown and brown will appear. Therefore, in addition to the white ground and black flowers, the white ground brown color also belongs to the scope of research. In addition, in the drawing process of white ground and black flowers, in order to show the best effect, According to the situation, if necessary, the drawing technique will be added. Therefore, white ground drawing and drawing flowers are used in this paper as a discussion of ornamentation.
In order to gain an in-depth understanding of the drawing characteristics of Cizhou kilns, Use ink pen to copy pictures, Use the hand-painted method to feel the strokes and the rhythm of the lines when drawing with the white ground and black patterns in the Cizhou kiln. And went to the Yingge Ceramics Museum to study, and through the pottery and porcelain painting in the kiln to experience the state of the painter using the brush to paint on the porcelain body.
At present, the research related to the decoration of Cizhou kiln has been quite rich, which provides the author's research basis. The painters of Cizhou kiln come from the folk, and the painting materials come from the experience in life. therefore, For the understanding of images, observation in life and exploration of social culture are necessary. In this paper, in addition to referring to the currently published catalogues and research reports proposed by scholars and experts, Taking the perspective of art history and adding the theory of pediatric medicine, as well as the experience of porcelain painting practice, In addition, try to understand the painter's time and space background at the time for the painting composition ideas and the popular trend of folk aesthetics needs to sort out. This thesis mainly focuses on decorative patterns, and other calligraphy and poetry are not included in the scope of this research. |
