试论明代晚期文人画对民窑瓷绘的影响论文.doc

目录摘要和关键词······································1第一章、明代中晚期的社会状况······················2第二章、文人美术与工艺美术························4第一节、文人的参与制作························4第二节、民窑瓷器绘画风格的转变················5第三章、文人画与民窑瓷绘··························6第一节、题材··································6（一）山水画···································6（二）花鸟画···································7（三）人物画···································7第二节、绘画方式······························8第三节、表现形式······························9结语··············································10参考文献··········································1111摘要明代中晚期封建政权趋于衰落，皇帝和官贵人们贪图享乐，江南地区竞尚奢华，附庸风雅，粉饰太平，对美术品的需求量徒增。商业的发展，工匠地位的提高，文人画主流地位的确立无不刺激着美术创作的繁荣。再至明末御窑厂的停产更是使得民窑瓷器产业思想大解放，在这时期民窑青花瓷题材多样完全突破官窑器图案的束缚，并且在工艺美术文人化的大潮流下，民窑瓷器绘画也渐渐受其影响，绘画风格，形式都相较于前代发生着巨大的变化，与御窑相比，更加洒脱、奔放、自然、朴素的瓷器绘画风格由此诞生，并对后世影响深远。关键词晚明文人画民窑瓷绘AbstractFeudalregimeinthelateMingDynasty,tendstodecline,theemperorandthepeopleinyourpleasure-seekingofficials,theJiangnanregionisstillcompetingluxury,arty,falsepictureofpeace,tocreatemoredemandforart.Commercialdevelopment,theadvancementofartisans,theestablishmentofmainstreamliteratipaintingallstimulatetheprosperityofFineArts.AndthentothelateMingimperialkilnplantshutdownismakingkilnsporcelainindustryideologicalemancipation,blueandwhiteporcelainkilnsinthevarioustopicsduringthekilncompletelybreaktheshacklesofcontrolpatterns,andliteraryartsofthemajortrend,kilnsporcelainpaintinghasgraduallyaffected,paintingstyles,formscomparedtothepreviousgenerationofgreatchangestakingplace,andtheimperialkilncomparedtoamorefreeandeasy,unrestrained,natural,simplestyleofporcelainpaintingwasborn,andfar-reachingimpactonfuturegenerations.KeywordsLateMingpaintingpaintedporcelainkilns试论明代晚期文人画对民窑瓷绘的影响第一章、明代中晚期的社会状况明代中晚期是一个独具魅力的变革时代，社会动荡却还未危急到政权。正、嘉以后，明王朝自上而下出现没落趋势，可谓是承平日久。但统治阶级的腐败并未影响到当时文化艺术的发展，政治险恶，仕途坎坷使得当时许多文人更乐于寄情于山水，追求一种悠闲适意的、艺术化的生活情趣。江南地区的繁盛，生活的富足奢靡，对美术品的需求徒增，也客观的带动着美术创作的繁荣。就嘉靖时松江华亭人何良俊所著的笔记小说《四友斋从说》之卷三十四正俗一种所描述，“余小时见人家请客，只是果无色，肴五品而已。惟大宾或新亲过门，则添虾、蟹、蚬、蛤三四物，亦岁中不一二次也。今寻常燕会，动辄必用十肴，且水陆