本文選題：清中期　切入點(diǎn)：粉彩　出處：《陶瓷學(xué)報(bào)》2016年03期 　論文類型：期刊論文

【摘要】：粉彩的產(chǎn)生背景具有一定的特殊性,其工藝基礎(chǔ)源于康熙五彩及琺瑯彩,裝飾形態(tài)及風(fēng)格則同時(shí)繼承了康熙、雍正、乾隆時(shí)期的宮廷花鳥畫的特征;加之這一時(shí)期的宮廷畫種流派多樣,并匯聚了本土與西洋的繪畫技法特點(diǎn),因此粉彩是一種文化復(fù)合的產(chǎn)物。論文對清中期宮廷花鳥畫的風(fēng)格特點(diǎn)進(jìn)行分析,來闡釋其對粉彩花鳥裝飾形態(tài)的影響。
[Abstract]:The background of pink color has certain particularity, its craft foundation originates from Kangxi multicolor and enamel color, the decorative form and style also inherit the characteristics of the court flower and bird painting of Kangxi, Yongzheng and Qianlong period. In addition, there are various genres of court paintings in this period, and the characteristics of local and Western painting techniques are converged. Therefore, pink color is a product of cultural compound. This paper analyzes the style characteristics of flower-and-bird paintings at court in the middle period of the Qing Dynasty. To explain its effect on the decorative form of pink flowers and birds.
【作者單位】： 景德鎮(zhèn)陶瓷大學(xué);
【分類號(hào)】：J527

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本文編號(hào)：1597990