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如今在景德镇,可以看到许多陶瓷釉色和绘画相融合的作品,呈现出抽象绘画的效果,丰富的色彩应用加上好看的器型,十分养眼。而早在20世纪90年代初,中国美术学院陶瓷与工艺美术系主任戴雨享教授就已经在尝试这一创作手法——他像画油画一样铺开装满数十种釉色的吹釉筒,将不同的釉色进行厚薄吹制和重叠,经过上千度的高温烧制,随后在陶瓷作品上呈现出各种绚丽多彩的艺术效果,这种经验的积累,对戴雨享之后的创作产生了重要的影响。彼时还以使用单色釉为主的景德镇同行对此都觉得新奇不已。
Now in Jingdezhen, you can see many works of ceramic glaze and painting fusion, showing the effect of abstract painting, rich color applications coupled with good-looking type, very seductive. As early as the early 1990s, Professor Dai Yu-shan, director of the Department of Ceramics and Art at the China Academy of Art, was already experimenting with this approach - he painted dozens of glaze blown-enamel tubes like paintings, The thickness of the glaze blown and overlapping, after thousands of degrees of high temperature firing, followed by ceramic works showing a variety of colorful artistic effect, the accumulation of this experience after Dai Yu enjoy the creation of an important impact. At that time, Jingdezhen counterparts, mainly using monochrome glaze, felt this novelty.