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Title: | 明代的陶瓷鑑賞與「傳世哥窯」問題 The Connoisseurship of Ceramics in the Ming Dynasty and the Issue of Heirloom Ge wares |
Authors: | 鄒培姍 Pei-Shan Zou |
Advisor: | 謝明良 Ming-Liang Hsieh |
Keyword: | 哥窯,傳世哥窯,官窯系,開片,陶瓷鑑賞,明代,格古要論, Ge Ware,Heirloom Ge Wares,Guan Ware System,Crackle,Connoisseurship of Ceramics,Ming Dynasty,Gegu Yaolun, |
Publication Year : | 2019 |
Degree: | 碩士 |
Abstract: | 過去幾十年來,有關「傳世哥窯」的研究非常多,產地來源的部分就有杭州老虎洞窯、江西景德鎮、北方地區等幾種不同說法。另外,「傳世哥窯」至今還存在著部分器物與南宋官窯相似,也就是所謂「官哥不分」的問題。本論文立基於過去的研究,並整合前人所提出之各種說法,試圖以明代的陶瓷鑑賞,來解釋「傳世哥窯」產地來源複雜的背後原因,並重新觀看哥窯之出現以及其意象轉變之過程。
本論文首先整理出目前現存的「傳世哥窯」,以及墓葬窖藏中出土的官哥窯型器,分析兩者與南宋官窯的密切關係。進一步透過文獻的梳理,試圖佐證過去學者曾提出─現在的「傳世哥窯」器中,有相當一部分作品可能為南宋官窯或南宋至元杭州老虎洞窯等官窯系窯口所生產的假設。並且指出哥窯從明初《格古要論》中地位不高,形象伴隨著官窯而來,未具有明確開片形象,至晚明遂然成為開片瓷器的代表,並且與官窯齊名,其關鍵的轉折在於嘉靖年間出現的龍泉哥窯,使哥窯被賦予明確開片特徵之緣故。另外,加上晚明仿古風氣的盛行,象徵古的瓷釉開片成為民間競相仿製的對象,使得今日的「傳世哥窯」中,也包含了明代以後的仿品。而有關「碎器」在晚明之流行過去雖已有學者指出,但本文透過明初墓葬與景德鎮御窯場等地出土開片釉瓷器與「傳世哥窯」的比較,以及《策彥入明記》中有關「碎器」的記載,推測這類官窯系以外的開片釉瓷器,可能早至明代嘉靖以前就已經開始流行,至晚明到達鼎盛。 最後,本文以《宣德鼎彝譜》的記載以及鐫刻有乾隆皇帝詠哥窯御製詩集的作品,來說明現今的「傳世哥窯」為何會與歷史上的哥窯密切連結。因此,若從明代的陶瓷鑑賞之影響來看,過去研究中所得出相去甚遠的結論便情有可原,原因是我們現今所得出的「傳世哥窯」風格特徵,是受到明代文獻敘述的影響,而一步步被添加形塑出而成。 In the past few decades, there are many studies on the Heirloom Ge wares. According to these studies, the possible production site of the Heirloom Ge wares includes Laohudong kiln, Jingdezhen in Jiangxi, and the North area. In addition, some of the Heirloom Ge wares are highly similar to the Southern Song Guan wares; it is also the so-called “ hardly differentiating Guan wares from Ge wares 官哥不分 ”. Based on the past studies, and integrating the various ideas put forward by the predecessors, this paper tries to use the connoisseurship on ceramics in the Ming dynasty to explain why the origin production site of the Heirloom Ge wares is so complicated and to review the appearance of Ge ware and the process about how it to be shaped. This paper firstly collects and organizes the existing Heirloom Ge wares and the Guan or Ge Type wares in the tombs and hoards, and then analyzes the relationship between the two and the Southern Song Guan wares. Secondly, through the combination of historic texts, this paper tries to prove the surmise proposed by scholars in the past that there are a considerable part of the Heirloom Ge wares deriving from the Southern Song Guan ware or produced from the Hangzhou Laohudong kiln between the Southern Song and Yuan period. Then, this paper indicate that in Gegu Yaolun 格古要論, compiled in the early Ming period, neither did the Ge ware hold a high position, nor did it have a clear crackle image. But in late Ming period, Ge wares had become a representative of the crackled ceramics, and had shared equal status with the Guan wares. The key turning point is the appearance of Longquan Ge wares in the Jiajing period, which gave Ge ware a clear crackle feature. Coupled with the antiquarian trends in the late Ming period, the crackled glaze on ceramics, as the symbol of the ancient times, has become the object of folk competition, so that the existing Heirloom Ge wares also contains some imitations after the Ming period. Besides, although scholars had pointed out that the crackled ceramics are popular in the late Ming period, this paper through the comparison about the unearthed crackled ceramics in tombs and Jingdezhen imperial kiln in the early Ming period with the Heirloom Ge wares, and at the same time analyze the record about “crackled ceramics 碎器 ” in Ce Yan Ru Ming Ji 策彥入明記, this paper speculates that the crackled glaze ceramics outside the Guan ware system might had been popular before the Jiajin period (1522-1566) dynasty, and reached to the peak in the late Ming period. Finally, this paper also probes the records in Xuande ding yi pu 宣德鼎彝譜 and the ceramics engraved with Emperor Qianlong’s poetry to explain why the existing Heirloom Ge wares are connected with the legendary Ge ware so closely. Considering the influence of the connoisseurship on ceramics in the Ming dynasty, it is understandable that why the conclusions of the past studies are so far apart. The reason is that the style characteristics of the Heirloom Ge wares we attach on today are influenced and shaped by the narrative of the Ming Dynasty and later . |
URI: | http://tdr.lib.ntu.edu.tw/jspui/handle/123456789/74522 |
DOI: | 10.6342/NTU201902541 |
Fulltext Rights: | 未授權 |
Appears in Collections: | 藝術史研究所 |
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