摘要
新石器时代陶器衍生的夏商周三代青铜器彰显了礼仪之威,成就了中华民族的礼器规范。始于汉代的瓷器经历了唐代的广泛应用,至宋代在崇古尚礼文化浪潮的冲刷下,以“礼化的审美”为典型特征的宋瓷。这一由陶至铜、再由铜至瓷的进程中,跨越材质的构件“附耳”从器用把手渐而固化为中国礼仪器物的经典元素。当附耳之饰成为南宋龙泉棒槌附耳瓶的点睛之笔时,也奏响了两宋“铜”“瓷”交响的最美和音。这一器型形成与嬗变的轨迹,映射了审美与礼仪、风格与功用在器物形态上的调适,从中可以洞见中华成器法则、造物思想。两宋之际,瓷器不仅作为皇家典仪之器,还在市井街巷传播与泛化,礼器专属性的弱化和陈设瓷的“礼化”同时发生。
The bronzes of the Three Dynasties,evolving from Neolithic pottery,established the authority of etiquette and standardized ritual practices that the Chinese people worshiped.Porcelain was first developed during the Han Dynasty and widely adopted in the Tang Dynasty and was influenced by the cultural wave of the Song Dynasty,which advocated ancient rituals.This cultural shift gave rise to the distinctive“ritualized aesthetics”that characterized Song ceramics.This evolutionary trajectory-from pottery to bronze,then from bronze to porcelain-shows how the attached ears transitioned from functional handle and gradually solidified as a classic element of Chinese ritual vessels.When these attached ears became the finishing touch of the Southern Song Longquan mallet vase,they also played the two Song Dynasties“copper”and“porcelain”symphony of the most beautiful harmony.The formation and transmutation trajectory of this type can reflect the adjustment of aesthetics,etiquette,style and utility in the form of artifacts,from which we can gain insight into the principle of Chinese artifacts and the idea of creation.During the two Song periods,porcelain not only served as imperial ceremonial objects but also spread through urban streets and lanes and became generalized,the weakening of the exclusive nature of the ceremonial ware and furnishings porcelain“ritualized”at the same time.
作者
蔡花菲
罗浩
CAI Huafei;LUO Hao(Schlool Of Design Art,Changsha University Of Science&Tenchnology,Changsha 410114,China)
出处
《中国陶瓷》
北大核心
2025年第6期86-92,共7页
China Ceramics
基金
国家社会科学基金后期资助项目“南宋龙泉青瓷研究”(18FYS027)。
关键词
礼器
南宋龙泉窑
棒槌附耳瓶
造物思想
Ritual vessels
Southern Song Dynasty longquan celadon
Mallet vase
Design philosophy
