摘要
对比景德镇元青花和土耳其伊兹尼克陶瓷的产生背景以及它们之间的互动是一个很有意义的现象,可以发现元青花的产生除了当时高岭土的发现之外,更为重要的是在元朝政府特殊的背景和与西亚的贸易中形成的。这个因素甚至是决定性的因素。而土耳其伊兹尼克的陶瓷从产生之初就是把来自中国的青花瓷作为能够到达的终点站从模仿开始到最后形成自己的文化内涵。本文试图探讨不仅伊兹尼克陶瓷风格的产生是在汲取景德镇青花营养基础上发展出来的一曲华丽乐章,而且景德镇元青花的产生除了技术和高岭土的发现,也是拜元朝的蒙古皇帝和被西亚直接订制所要求的风格中转换所赐,元青花无论造型或青花料还是装饰风格都带有明显的西亚风格,这种国家间的传播方式也直接促成了元青花迅速代替影青等单色釉,成了中国符号。元青花产生在先,但其产生的根源在伊斯兰和波斯文化需求和对青花画料以及装饰风格的直接影响,伊兹尼克陶瓷产生在后,但其对元青花风格显而易见的模仿是伊兹尼克陶瓷的直接动力所在。这是本文探讨的重点所在;即寻找出元青花与西亚文化之间,以及土耳其陶瓷与元青花关系的互动和关联关系,来试图说明当代文化产生的潜在影响并非是寻找独创,而是生成语言。
there is a significant phenomenon could be found through the background interaction and connections between Jingdezhen Yuan blue and white porcelain and Turkey Iznik ceramics. The key point for Yuan blue and white not only Kaolin was found but the relationship that Yuan government （Mongolian） with the mid-east countries and cultures. Turkey Iznik ceramics begins from the Chinese blue and white porcelain as imitation and finally formed own culture. This article is aimed to study not only Iznik ceramics style is developed from the connection of Jingdezhen Blue-and white, but simultaneously, Jingdezhen Yuan blue and white porcelain was also Mid-Asianllzed regardless of forms or blue pigment material, or decoration with obvious western style. Yuan blue and white comes first, but its roots in Islamic and Persian culture in some way, Iznik ceramics produced in later, but the Yuan porcelain obviously is the premier motivation of Iznik ceramics. The discussion of this paper is to find out the clue between Yuan and the Islamic, trying to illustrate the potential of contemporary culture that is not only to find the original identity, but focus on the generated language.
出处
《中国陶瓷》
CAS
CSCD
北大核心
2013年第12期103-106,共4页
China Ceramics
关键词
景德镇
伊兹尼克
元青花
伊斯兰文化
模仿
创造
Jingdezhen
Isnik
Yuan Blue
white porcelain
Islamic culture
Imitation
Creation
