明代景德鎮單色釉官窯瓷器之研究

The Research on the Ming Dynasty Monochrome Ceramics from the Imperial Kiln at Jingdezhen

林廉穎(Lin Lien -Ying)

指導教授 ： 曾肅良

國立臺灣師範大學/藝術學院/美術學系/碩士(2010年)

摘要

明代製瓷工藝承繼了宋元以來的成就，於景德鎮珠山御窯廠開創了新的風格和局面，單色釉瓷亦復如此。

本文的研究對象限定為景德鎮官窯器，第二章主要談官窯單色釉瓷的歷史背景以及工藝技術。從文獻中探討景德鎮官窯的發展、單色釉瓷的燒造情形，並利用珠山地區的考古挖掘報告與現有的殘片微顯結構報告，分析景德鎮官窯單色釉瓷的工藝技術與釉藥配方。

第三章討論的是單色釉瓷的社會功能，單色釉瓷主要作為祭器之用，本章意在重現當時宮廷使用單色瓷的場合、時機與方式，並從文獻中整理出單色釉瓷的次要功能，如膳食器、賜賚器與陳設瓷。

第四章著重於單色釉瓷的藝術發展，利用目前台海兩岸公立博物館出版之圖錄，整理出各類單色釉瓷的特徵、歷朝的燒造情形，探討單色釉瓷特有的藝術風格、紋飾與器型，並歸納出單色釉瓷款識位置與器型之間的關連性。

在第五章的部分，除了總結單色釉瓷的使用概況與藝術風格之外，也比較了明代另外兩處官窯：處州龍泉窯與磁州窯的單色釉瓷，並以這兩處官窯瓷器的角色為出發點，進一步梳理出三處官窯的製瓷地位與功能，此為研究者在撰寫論文之初，並未意料到的一大驚喜。最後則討論明代單色釉瓷的成就對於清康雍乾三朝的影響，除了釉色方面的承繼之外，清代單色釉瓷的規制與祭祀制度基本上都承襲自明代，並擁有更為明確的階級規範。

明代單色釉瓷在晚期逐漸帶有民窯的色彩，這部分有賴於更多的考古成果，如具有「官搭民燒」性質的觀音閣瓷窯遺址，未來筆者將進一步比較遺址的出土器，把晚明時期單色釉瓷的燒造情形整理得更為完整。

關鍵字

明代 ； 景德鎮 ； 官窯 ； 單色釉瓷

並列摘要

The porcelain workmanship of the Ming Dynasty inherited the grand legacy from the Song Dynasty and Yuan Dynasty. The imperial kilns in Zhushan of Jingdezhen not only fashioned a new style but opened a new page for porcelains, particularly monochrome ceramics.

The object of this research is confined to Jingdezhen imperial monochrome ceramics. The second chapter mainly discusses about the historical background and the workmanship of imperial monochrome ceramics. Historic records are applied to probe the development of Jingdezhen imperial kiln and the monochrome ceramic firing process. Moreover, both archaeological excavation reports from Zhushan area and the existing microstructure reports of ceramic pieces are used to analyze the technology and engobe formula of the Jingdezhen imperial kiln.

Social functions of monochrome ceramic will be discussed in the third chapter. The imperial monochrome ceramics were primarily used as ritual vessels. This essay is aimed to recreate the occasions, time and manners the monochrome ceramic was used in the royal court and to sort out its secondary function, such as eating utensil, bestowing utensil and ornamental porcelain from historic records.

Chapter four will focus on the artistic development of monochrome ceramic. With references from catalogues published by public museums in Taiwan and China, the features of all types of monochrome ceramics and the ceramic firing processes of each dynasty are sorted out to study the unique artistic style, ceramic shape and decorative design of monochrome ceramic. These sorted data are also used to induce the relationship between the ceramic shape and the position of the artist inscription on the monochrome ceramic.

Chapter five will also compare the other two imperial kilns, Longquan kiln and Cizhou kiln, besides summing up the general usage of monochrome ceramic and its artistic style. What came out as an unanticipated enormous surprise is that based on the historic roles these two imperial kilns played, this research has revealed the different statuses and the functions of the three imperial kilns. Finally this essay will discuss what influence does the achievement of the Ming dynasty’s monochrome ceramic has toward the era of Kangxi, Yongzheng and Qianlong in the Qing dynasty. Basically speaking, in addition to the inheritance of glaze color, the regulation and sacrificial system of monochrome ceramic in Qing dynasty are passed down from Ming dynasty except that Qing dynasty has a more explicit standard on the class of monochrome ceramic.

Monochrome ceramic in the later period of Ming dynasty gradually possess the features of private kilns. Yet the discussion about that issue will need more archaeological results from kilns such as Guanyinge Kiln, an imperially founded yet privately run kiln. In the future, researchers will further compare the unearthed artifacts to have a better picture of the monochrome ceramic firing process in the late Ming dynasty.

參考文獻

明‧李時珍，《本草綱目》，臺北：鼎文書局，1973。

翁宇雯，《明代官窯的伊斯蘭裝飾要素-以正德（1506-1521）官窯所見阿拉伯文與波斯文紋飾為例》，台灣大學藝術史所碩士論文，2008。

張秀政，《景德鎮出土明初官窯瓷器》，台北：鴻禧藝術文教基金會，1996。

一、中文書目

（一）文獻