本文以明清古彩为研究对象,以明清古彩的装饰性技法为主要研究内容。古彩是釉上彩绘艺术,在烧制完成的釉面上用红、黄、蓝、绿、紫等五种低温铅釉低温铅釉:低温铅釉是以氧化铅为助溶剂,烧成温度在1000°C以下,上在已烧成的瓷器上,入炉二次烧成的颜色釉。 绘制画面,为玻璃透明质感。题材多为鱼藻、动物、人物、山水等。古彩始于明代,康熙时,经济,文化,和制瓷工艺的进步,使得古彩在康熙时代发展到成熟的阶段,明清是能代表古彩艺术高度的重要时期。工艺是古彩重要的一部分,古彩装饰材料精良,流程规范,这些为古彩的装饰性效果提供了技术支持。明清古彩的装饰技法体现在三个方面。一是技法的写意性 写意性: 以简单的笔墨勾勒出物体的形态,以表达意境。 ,明清古彩通过简单的线条和主观的色彩来表达情感。二是图案的装饰性,明清古彩形象夸张概括,构图讲究平衡圆满,使古彩具有装饰感和趣味性。三是题材的寓意性 寓意性:语言文字或艺术作品里所寄托、隐含的意思。 ,明清古彩通过祥瑞题材,民间故事等题材来表达人们美好的愿望。这些是明清古彩的共同特征。因时代的不同,明清古彩在装饰技法上也有各自的特点。段茂发、施于人、李磊颖、朱乐耕等现代古彩艺术家深受明清古彩装饰性技法的影响,在题材、图案、用笔、构图、色彩等方面继承了明清古彩,同时勇于创新,赋予了古彩新的风貌。 论文通过对明清古彩的历史背景和工艺过程的阐述,尤其是对明清古彩的绘画、用色技法,图案的装饰形式,题材等方面进行了比较研究,可以看出,明清古彩色彩对比强烈,形象概括夸张,图案装饰性强,具有民俗性,并且明代古彩粗放活泼,而清代古彩丰富细致的不同的特点。对明清古彩装饰性技法的研究,可以总结出古彩的装饰技法,文化内涵以及传承的要点,对未来古彩的发展有着重要的指导意义,这也是研究明清古彩的重要性所在。
This paper takes ancient color in the Ming and Qing Dynasties as research object and its decorative technique as main research content. Ancient color is the art of color painting on glaze. Five kinds of low-temperature lead glazes such as red, yellow, blue, green and purple are used to draw pictures on the finished glaze surface with transparent glass texture. Most of the subjects are fish, algae, animals, people, landscapes and so on. The ancient color began in the Ming Dynasty. During the reign of Kangxi, the ancient color developed into the mature stage with the progress of economy, culture and making process of porcelain. Ming and Qing Dynasties is an important period which can represent the achievement of the ancient color art. Technique is an important part of the ancient color. The decoration material of ancient color is excellent and the process is normative, which provide technical support for the decorative effect of the ancient color. The decoration techniques of the Ming and Qing dynasties are reflected in three aspects. The first is the freehand brushwork of technique. Ancient color in Ming and Qing dynasties color express emotion through simple lines and subjective color. The second is the decoration of the pattern. The image of ancient color in the Ming and Qing Dynasties is exaggerated and general. The composition is balanced and complete, making the ancient color with decorative sense and fun. The third one is the implied meaning of subject. Ancient color in the Ming and Qing dynasties express people's good wishes through auspicious themes, folk stories and others. These are the common characteristics of the Ming and Qing dynasties. Because of the different times, the decoration techniques of ancient color of the Ming and Qing dynasties have their own characteristics. Duan Maofa, Shi Yuren, Li Leying, Zhu Legeng and other modern ancient color artists are deeply influenced by the decorative techniques of ancient color in the Ming and Qing dynasties. They inherit the ancient color of the Ming and Qing Dynasties in the aspects of subject, pattern, brush usage, composition, color and so on. Meanwhile, they strive for innovation and give the ancient color a new look. This paper expounds the historical background and technological process of the ancient color in the Ming and Qing Dynasties, especially makes a comparative study on the painting, color techniques, decorative forms of patterns, subjects and other aspects of the ancient color in the Ming and Qing Dynasties. It can be seen that the color contrast of ancient color of the Ming and Qing Dynasties is strong and the image is exaggerated. The patterns are decorative and folk. The ancient color of Ming Dynasty is extensive and lively, while the ancient color of Qing Dynasty is rich and delicate. From the study of decorative techniques of ancient color in the Ming and Qing Dynasties, we can make a summary that decorative techniques, cultural connotation and key points of inheritance of ancient color has important guiding significance for the future development of ancient color, which is also the importance of the study of ancient color in the Ming and Qing Dynasties.