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大家好
今天我们来谈谈青花瓷风韵
“至正型”青花瓷的基本特征是
器型硕大、造型端庄雄浑
青花呈色浓艳、晕散
并有铁锈斑,地釉多为青白釉或卵白釉
纹饰题材丰富
布局繁密多层次
在这些特征中
最能反映元代青花瓷风韵的
是其独特的造型艺术和以钴蓝料绘制的
青花呈色、纹饰图案和装饰题材
有代表性的
“至正型”元青花瓷器
有梅瓶、玉壶春瓶、执壶
高足杯、大罐、大盘等
由于销售对象主要是西亚的伊斯兰国家
其装饰手法和图案
器物的造型、品种都有鲜明的特点
大盘一般折沿
有圆口和棱花口两种形式
在土耳其、伊朗
其收藏品
及印度托古拉古宫殿出土的大件青花瓷器中
以大盘居多有菱口和圆口两种
菱口盘口径一般在45厘米左右
大的达57厘米以上
40厘米以下的则较少
圆口盘口径多在40厘米左右
也有少数在45厘米以上
这类大盘也是
传世元青花瓷中较常见的器物
但是在国内
仅北京故宫博物院
和上海博物馆收藏了几件
绝大部分在国外以西亚地区为最多
据说
是为适应当地居民席地而坐
用手抓饭而食的风俗面定烧的
有一类大型钵
也主要见于西亚
有敞口及敛口两种
其口径一般在35厘米到40厘米之间
较小的为25厘米到30厘米
大的达58厘米以上
大罐也是传世元青花瓷中
较多的器物
以日本收藏最多
此外
风格特殊的扁壶
国内除元大都一件外
基本上都发现于中东地区
至于梅瓶
江西高安窖藏一次就发现六件
说明国内
及国外市场都需要
高足杯亦称“马上杯”,创制于元
是为方便蒙古民族的游牧生活而制作
国外发现极少
主要是供应国内市场
迄今为止
在国内还很少发现典型
元青花、碗盘之类的日用器皿
元青花大量输出后
对促进中国与其他国家
的文化交流起到了重要作用
其中士耳其
伊朗和越南等国家
都仿制出了出色的青花瓷作品
每个国家的仿制品
都有各自的民族风格
都是中外文化交融的历史见证
今天的课就到这里
谢谢大家
下节课再见
-1.1 Introduction
-1.2 Ceramics in Neolithic, East Han and Wei-Jin Dynasties
--Ceramics in Neolithic, East Han and Wei-Jin Dynasties
-1.3 Sui and Tang dynasties and Song Dynasty ceramics
--Sui and Tang dynasties and Song Dynasty ceramics
-1.4 Ming and Qing Dynasties
-Unit 1 test
--Unit 1 test
-Discussion questions
-2.1 The Unique Chinese Ceramic Culture
--The Unique Chinese Ceramic Culture
-2.2 The Historical Development of Chinese Ceramic Making
--The Historical Development of Chinese Ceramic Making
-2.3 Chinese Ceramic Shape Art
-2.4 Chinese Ceramic Painting Art
--Chinese Ceramic Painting Art
-2.5 Chinese Ceramic Folk Stories
--Chinese Ceramic Folk Stories
-Unit 2 test
--Unit 2 test
-Discussion questions
-3.1 CeramicCulture and the Zodiac
--CeramicCulture and the Zodiac
-3.2 The heritage of traditional ceramic culture
--The heritage of traditional ceramic culture
-3.3 The development and innovation of ceramic art
--The development and innovation of ceramic art
-Unit 3 test
--Unit 3 test
-Discussion questions
-4.1 Gorgeous Colored Pottery
-4.2 The Method of Making Colored Pottery
--The Method of Making Colored Pottery
-4.3 Primitive Colored Pottery Ⅰ
-4.3 Primitive Colored Pottery Ⅱ
-4.3 Primitive Colored Pottery Ⅲ
-4.4 Black Earthenware
-4.5 White Pottery and Primitive Porcelain
--White Pottery and Primitive Porcelain
-Unit 4 test
--Unit 4 test
-Discussion questions
-5.1 Terracotta Warriors in Qin Dynasty
--Terracotta Warriors in Qin Dynasty
-5.2 Potteries in Han Dynasty
-Unit 5 test
--Unit 5 test
-Discussion questions
-6.1 Dragon kiln and Celadon
-6.2 Yue Kiln and Wuzhou kiln
-6.3 Deqing Kiln and Ou kiln
-6.4 Longquan Wares
-6.5 Yaozhou Wares
-Unit 6 test
--Unit 6 test
-Discussion questions
-7.1 Tang Tri-Colored Pottery
--7.1 Tang Tri-Colored Pottery
--7.1 Tang Tri-Colored Pottery
-7.1Tang Tri-Colored Pottery
--7.1 Tang Tri-Colored Pottery
--7.1 Tang Tri-Colored Pottery
-Discussion questions
-Unit 7 test
--Unit 7 test
-8.1 The flourishing age of the Song Dynasty
--8.1 The flourishing age of the Song Dynasty
-8.2 The flourishing age of the Song Dynasty
--8.2 The flourishing age of the Song Dynasty
-8.3 Ding Wares
-8.4 Ru Wares
-8.5 Guan Wares
-8.6 Ge Wares
-8.7 Jun Wares
-Discussion questions
-Unit 8 test
--Unit 8 test
-9.1 Reasons for the maturity of Qinghua porcelain in Yuan Dynasty
--9.1 Reasons for the maturity of Qinghua porcelain in Yuan Dynasty
-9.2 The Invention of Blue-and-white Porcelain in the Tang Dynasty
--9.2 The Invention of Blue-and-white Porcelain in the Tang Dynasty
-9.3 Fine China Ware became the Symbol of ChinaⅠ
--9.3 Fine China Ware became the Symbol of ChinaⅠ
-9.3 Fine China Ware became the Symbol of ChinaⅡ
--9.3 Fine China Ware became the Symbol of ChinaⅡ
-9.3 Fine China Ware became the Symbol of ChinaⅢ
--9.3 Fine China Ware became the Symbol of ChinaⅢ
-9.4 The charm of QinghuaⅠ
-9.4 The charm of QinghuaⅡ
-9.4 The charm of QinghuaⅢ
-Discussion questions
-10.1 Da Ming Wucai
-10.2 Wooden engravings influence on Wucai porcelain
--10.2 Wooden engravings influence on Wucai porcelain
-10.3 Kangxi Wucai
-10.4 Liling Under-glaze multicolored porcelainⅠ
--10.4 Liling Under-glaze multicolored porcelainⅠ
-10.4 Liling Under-glaze multicolored porcelainⅡ
--10.4 Liling Under-glaze multicolored porcelainⅡ
-Discussion questions
-11.1 The advent of Fencai
-11.2 Fencai Porcelain in the Yong zheng period
--Fencai Porcelain in the Yong zheng period
-11.3 Fencai Porcelain in the Qianlong Period
--Fencai Porcelain in the Qianlong Period
-Discussion questions
-13.1 Zisha-pottery
-13.2 The Zisha Teapot
-13.3 The Zisha tea set in the Ming Dynasty
-Discussion questions
-14.1 Development of Contemporary Chinese ceramic art
--14.1 Development of Contemporary Chinese ceramic art
-14.2 The internationalization trend of Chinese modern ceramics
--14.2 The internationalization trend of Chinese modern ceramics
-14.3 A new style of contemporary ceramic art Ⅰ
--14.3 A new style of contemporary ceramic artⅠ
-14.3 A new style of contemporary ceramic art Ⅱ
--14.3 A new style of contemporary ceramic art Ⅱ
-14.4 The Trade of the Artisans Ⅰ
--14.4 The Trade of the Artisans Ⅰ
-14.4 The Trade of the Artisans Ⅱ
--14.4 The Trade of the ArtisansⅡ
-Discussion questions
-15.1 Unique Cloisonné technique
--15.1 Unique Cloisonné technique
-15.2 The Craftsmanship and Development of Cloisonné
--15.2 The Craftsmanship and Development of Cloisonné
-15.3 The Problems Facing the Inheritance of Cloisonné
--15.3 The Problems Facing the Inheritance of Cloisonné
-15.4 The inheritance and development of Cloisonné
--15.4 The inheritance and development of Cloisonné
-Unit 15 Test
--Unit 15 Test
-Discussion questions
-16.1 Appreciation of Chinese ceramics
--16.1 Appreciation of Chinese ceramics
-16.2 Explore the origins of ancient ceramics Ⅰ
--16.2 Explore the origins of ancient ceramics Ⅰ
-16.2 Explore the origins of ancient ceramics Ⅱ
--16.2 Explore the origins of ancient ceramics Ⅱ
-Unit 16 Test
--Unit 16 Test
-17.1 Traditional Chinese Decorative Patterns
--17.1 Traditional Chinese Decorative Patterns
-17.2 Application of Traditional Chinese decorative patterns in ceramics
--17.2 Application of Traditional Chinese decorative patterns in ceramics
-Unit 17 Test
--Unit 17 Test
-Discussion questions