本文的研究對象是南宋（1127-1279）至明代（1368-1644）龍泉窯宗教塑像。這裡所指的宗教塑像，是指佛教、道教和民間宗教的人物塑像。本文旨在探討宗教塑像的生產和使用情況，並特別探討當中龕像的年代和所表現的信仰。 / 本文的第一部分探討塑像的生產和使用情況。通過廣泛蒐集、對比和分析考古及傳世塑像，文章總結出龍泉窯在南宋起開始燒造宗教塑像，元代（1271-1368）時擴大規模，明中期以後停產。雖然宗教塑像並非龍泉窯的大宗產品，可是它們製作講究，經製模、模印、塑貼、雕刻、局部施釉和鬆漆多項工序，足見塑像並不因產量相對較少而顯得不重要，相反它們應是一種受到重視的產品。塑像的使用地點廣泛，除民間之外，明代宮廷也有使用。部分塑像更遠銷海外。 / 文章的第二部分集中探討龍泉窯宗教塑像中龕像的年代和所表現的信仰。鑒於收集所得的二十六尊龕像只有兩尊帶有年款，其餘龕像的年代並不明確，故此第二章首先判斷龕像的年代。通過與發掘所得的塑像及紀年龕像進行對比，文章論證這些龕像均約為明代早期的產品。此外，結合文獻和圖像，文章闡明上述龕像乃分別與道教九天應元雷聲普化天尊、佛教觀音以及觀音與道教真武組合信仰有關。 / This thesis studies religious sculptures made at the kilns in Longquan during Southern Song(1127-1279) and Ming dynasty(1368-1644). More specifically it examines sculptures from Buddhism, Daoism and popular religion. This thesis aims at investigating the production and the consumption of these sculptures, as well as elucidating religious beliefs they represent. / The first part of the thesis examines the production and the consumption of religious sculptures. Through delving into and analyzing a comprehensive collection of the excavated and extant sculptures, the thesis concludes that production of these religious sculptures first began in the Southern Song dynasty, with production scale largely increased in Yuan dynasty (1271-1368), and eventually halted in the late Ming. Albeit those religious sculptures comprise a small portion of Longquan wares, the detailed perfection in each and every step of production as demonstrated in their delicacy and exquisiteness render them significances. Furthermore, it is revealed that religious sculptures were widely used not only amongst commoners but also in the royal family of the Ming dynasty and overseas. / The second part of the thesis examines religious beliefs that 26 extant niche sculptures represent. By comparing the dated sculptures, it is justified to conclude that the religious sculptures were all produced around the early Ming dynasty. Through an integrated analysis of literatures and images, the present thesis shows that the sculptures denote different religious beliefs, namely, the belief of Heavenly Worthy of Universal Transformation of the Sound of the Thunder of Responding Origin in the Nine Heavens, Avalokiteśvara of the South Sea, as well as the association of Avalokiteśvara and the Dark Warrior. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / 黃煒均. / "2012年9月". / "2012 nian 9 yue". / Thesis (M.Phil.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 74-94). / Abstract in Chinese and English. / Huang Weijun. / 內容摘要 --- p.i / 謝辭 --- p.iv / 前言 --- p.1 / Chapter 一、 --- 研究回顧、 方法與目的 --- p.1 / Chapter 二、 --- 論文結構 --- p.3 / Chapter 第一章 --- 宗教塑像的生產與使用情況 --- p.5 / Chapter 一、 --- 考古及傳世塑像的整理 --- p.5 / Chapter 二、 --- 生產與使用情況的總結 --- p.12 / Chapter 第二章 --- 傳世龕像的年代 --- p.15 / Chapter 一、 --- 神龕造型的分類與辨識 --- p.15 / Chapter 二、 --- 龕像年代的斷定 --- p.17 / Chapter 第三章 --- 九天應元雷聲普化天尊龕像 --- p.24 / Chapter 一、 --- 洪武龕神祗身份的辨識 --- p.24 / Chapter 二、 --- 永樂龕神祗身份的辨識 --- p.32 / Chapter 三、 --- 神祗形象、 組合與神龕造型所表現的信仰 --- p.38 / Chapter 四、 --- 銘文與供奉的目的 --- p.44 / Chapter 第四章 --- 觀音龕像 --- p.49 / Chapter 一、 --- 觀音龕像神祗身份的辨識 --- p.49 / Chapter 二、 --- 神祗組合與神龕造型所表現的信仰 --- p.55 / Chapter 二、 --- 觀音與真武合龕神祗身份的辨識 --- p.58 / Chapter 四、 --- 神祗組合與神龕造型所表現的信仰 --- p.59 / 總結 --- p.72 / 參考書目 --- p.74 / 圖版 --- p.95

Le terme « céladon » désigne à lui seul trois éléments différents : d’abord héros de fiction issu de « L’Astrée » d’Honoré d’Urfé, puis, par extension, nom de couleur en Europe désignant une nuance de vert pâle ; finalement porcelaine chinoise créée durant au Ier Millénaire avant J.-C dont l’émail revêt des nuances bleu-vert, le céladon questionne autant sur son identité chromatique que ses sources de références. En effet, trouble et peut-être inclassable, le céladon est désigné, en Chine, par le terme qīng cí qui signifie « porcelaine verte ou bleue ». La présente étude se propose d’étudier le céladon à travers un double regard. D’une part, un point de vue occidental notamment avec la question de la nomination et, d’autre part, à travers une perception extrême-orientale où il est question de comprendre une pratique archaïque dont les fondements poétiques sont nourris par des imaginaires particuliers (jade, bronze). Toute la complexité du céladon réside ainsi dans ce pouvoir d’ubiquité qui lui a été involontairement conféré. La notion de fictionnalisation apparaît ainsi d’elle-même. Ce sont en effet les usages de l’objet lui-même, de sa couleur mais aussi de son nom qui vont engendrer de multiples imaginaires, de multiples fictions. D’une région du monde à l’autre, la perception diffère participant toujours plus à faire du céladon un objet insaisissable. Comment des imaginaires peuvent-ils nourrir la création dans le domaine des couleurs en céramique ? Comment réutiliser un savoir-faire sans en dénaturer les fondements ? Comment innover à partir d’une pratique archaïque ? / The term “celadon” refers to three definitions. First, it is a hero of a french fiction, “L’Astrée” written by Honoré d’Urfé. Then and by extension, it becomes a color name in Europe and it indicates a shade of pale green. But, finally, it makes mainly reference to one special Chinese porcelain created during the First Millennium (1250 before J.-C) which gets a blue-green glaze. Celadon questions so much about its chromatic identity that its reference sources. Indeed, shady and maybe unclassifiable, celadon is designated, in China, by the words “qing ci” which mean “green or blue porcelain”. Consequently, this research is done through a double look. On one hand, an occidental point of view question the naming, then Far East Asian perception where it is about to understand an archaic practice the poetic foundations of which are fed by specific imaginary (jade, bronze). All the complexity of the celadon so lives in this power of ubiquity which was involuntarily conferred on him. The notion of fictionnalisation so appears by itself. It is indeed the uses of the very object, of its color but also its name that are going to engender multiple imagination, multiple fictions. Of a region from the world to the other one, the perception differs always participating more to make of the celadon as an imperceptible object. How can imagination feed the creation in the field of the ceramic colors? How to reuse a know-how without distorting foundations? How can we innovate from an archaic practice?

The primary objective of this creative project is the exploration of Korean celadon pottery. This unassuming style of pottery has been highly revered in Asian cultures and has been called the "first under heaven" by the Chinese scholar Hsu Ching (Covall 46). But for Westerners, little is known. This makes the unique features of Korean celadon pottery a subject worthy of study, particularly the celadon vessels of the Koryo Dynasty.For this research, I first studied the Goryeo or Koryo Dynasty (918-1392 A.D.) during which time Korean celadon was revealed, developed to its zenith and declined. Secondly, I concentrated on the clay body, the style and shape, and the glaze and decorating techniques used in celadon vessels of the Koryo Dynasty.As a result of this study I have used the knowledge gained to 1). develop a body of pottery work which will incorporate Korean type clay, celadon glaze and the decorating techniques of incising, relief, impressed designs, inlay and carving or open work. 2). I have produced a disciplined-based art education curriculum which can be used in teaching advanced ceramics (10th-12th grades) high school level. / Department of Art