元代青花瓷器人物與龍鳳紋飾之研究

Research on the Patterns of Figure , Dragon and Phoenix of the Yuan Dynasty Blue-and-White

王昱婷(Yu-Ting Wang)

指導教授 ： 曾肅良

國立臺灣師範大學/藝術學院/美術學系在職進修碩士班/碩士(2006年)

摘要

元代景德鎮一改唐宋燒製白、青瓷，改以釉下彩為主。磁州窯、吉州窯以鐵呈色，至景德鎮改以鈷料的藍色調代替，同時，由於元自波斯進口回青，青花呈色濃豔純正，使釉下彩結合鈷料這種絢麗藍白對比的視覺效果，元代青花瓷製作水準進步，以繪畫紋飾取代了唐宋廣為流行的刻、劃、印花等裝飾技法，也奠定未來明清青花盛行的基礎。
1952年波普博士（John Alexnder Pope）首先提出「至正型青花瓷器」的理論，才開啟了歐美、日本、香港與中國學界對元青花的各項研究工作，並開始將一些原來劃歸明代的青花瓷訂正為元代。自此也在全世界引發了尋找、研究與收藏中國元青花瓷器的熱潮，時至現代，雖然對於元青花的瞭解已經更為清楚，但是對於細部的研究仍有待努力。
2005年6月元代青花故事瓷罐「鬼谷子下山」在倫敦佳士得拍賣會以1568.8萬英鎊的天價成交，創下中國古瓷器最高價格，一時間元青花瓷器在國外拍賣市場的身價水漲船高，許多贗品、偽品或仿作已經流入市場，不但擾亂市場機制，抹殺了真品的價值，更干擾學界對元青花相關的學術研究，造成許多謬誤或混淆。
在本研究中以元青花紋飾入手，深入探討其歷史演化脈絡，並進行紋飾特色與風格之分析與統計，期望藉由其紋飾本身藝術風格，內在意涵以及在材料上特色的研究。一方面試圖歸納出一套以紋飾鑑定元青花真偽的原理原則，或可提供將來收藏家鑑定元青花之參考，另一方面也從其紋飾本身藝術風格進行其時代背景的意義關連性以及材料特色上的探討，進一步深入地瞭解有關元青花紋飾所顯現或隱含的各方面知識與意義。

關鍵字

元代 ； 瓷器 ； 青花瓷

並列摘要

Jing-De Zheng was noted for making white and green porcelain in the Tang and Song Dynasty, however, it changed its policy to produce under-grazed porcelain in the Yuan Dynasty. Blue-and-white is the main production in Jing-De Zheng of the Yuan Dynasty. Potters in Song Dynasty are accustomed to use iron to paint on the porcelain; however, the potters in the Yuan Dynasty used cobalt to express a diversity of contrast effects onto the porcelain.
John Alexnder Pope, American scholar, focused on Yuan Dynasty Blue-and- white in 1962. He used Zhi-Zhen style Blue-and White vases, the pair of vases collected by the David Foundation in U.K., as stander sample to develop his theory. His essay has encouraged many scholars to continually study Yuan Dynasty Blue–and–White and also urged many museums and private collectors to purchase Yuan Blue-and–White in the international art market. This has dramatically raised the market price of Yuan Blue-and White since then In June, 2005, the Yuan Blue-and White Jar, called “Guai-Gu-Zi” ,fetched to?15,688,000 at Christie’ auction in London. It is believed that more fakes have poured into the international art market due to the higher price in the art market. These fakes not only stirred up the dealing in the art market, but also confused the academic world.
In terms of authenticity of the Yuan Blue-and White, a lot of questions such as patterns, styles, material and so on are needed to be further examined systematically. Researcher would like to focus on decoration patterns of Yuan Blue-and White. On one hand researcher will compare their painting styles and analyze their social meanings in details. On the other hand, based on the decoration styles researcher will make efforts to set up some principles for authentication purpose.

並列關鍵字

Yuan Dynasty ； porcelain ； Blue-and-white

參考文獻

彭盈真（2005），琉球出土中國陶瓷：十五世紀陶瓷消費地之個案研究，台灣大學，碩士論文。

施靜菲（2003），蒙元宮廷中瓷器使用初探，國立臺灣大學美術史研究集刊，第15期，P.69-203。

施靜菲（1990），元代景德鎮青花瓷在國內市場的角色和性質，國立台灣大學美術史研究集刊，第8期，P.137-185。

John Alexander Pope (1956) ,Chinese Porcelains from The Ardebil Shrine, Sotheby Parke Bernet.

John Carswell (2000),Blue & white : Chinese porcelain around the world ,London : British Museum.