摘要
长沙窑是唐代以彩绘瓷烧造而闻名的民间瓷窑,其所绘制的装饰类型多样,样式繁多.但经对其彩绘瓷装饰纹样加以研究,可发现其具有程式化的表现倾向.长沙窑彩绘瓷中装饰纹样通常由主图案与边饰的组合而成,并且常以固定的图式样式而呈现,绘制手法近乎一致,色彩选取也有所僵化.经研究,长沙窑彩绘瓷的程式化表现实际是"模件化"生产体系的产物,其有助于生产效率的提高,并能够让窑口实现最终的盈利目的.但这种巧妙的生产方式也并非毫无问题,随着"模件化"生产体系的推进,在长沙窑彩绘瓷的装饰绘制过程之中也出现了"粗制滥造",但考虑到经济成本问题,这一问题对于生产方与购买方而言变得可以忍受,因此才会被长期留存使用.
Abstract
The Changsha Kiln is a folk porcelain kiln famous for its painted porcelain during the Tang Dynasty.The decorative types it produced were diverse and numerous in style.However,upon studying the decorative patterns of its painted porcelain,it can be observed that there was a tendency towards a stylized presentation.The decorative patterns on the painted porcelain of the Changsha Kiln typically consisted of a combination of the main pattern and the border decoration,often presented in a fixed schema style.The drawing techniques were nearly uniform,and the color selection was rather inflexible.The research indicates that the stylized expression of the painted porcelain from the Changsha Kiln was actually an outcome of the"modularization"production system.This contributed to enhanced production efficiency and enabled the kiln to achieve its ultimate profit-making objective.Nevertheless,this ingenious production method was not without flaws.With the advancement of the"modularization"production system,there emerged"shoddy and poor workmanship"in the decorative painting process of the Changsha Kiln's painted porcelain.Despite this flaw,the economic considerations made this imperfection tolerable for both the producers and the purchasers,and thus was perpetuated over a long period.
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