论文部分内容阅读
作为陶瓷艺术之一的陶瓷装饰,在中国陶瓷艺术史上具有不容忽视的地位,也可算是中国绘画的源头。而更值得一提的是,“瓷器的彩绘装饰,自从吸收了绘画的技法以来,使它得到了惊人的发展,不论青花、五彩等新瓷,出现了绘画风的装饰之后,便呈现了崭新的面貌。”(邓白《邓白文集》浙江美术学院出版社,1992年7月)也就是说,中国绘画的成就反过来又推动了陶瓷艺术的发展。绘画是造型艺术中最主要的一种艺术形式。它是一门运用线条、色彩和形体等艺术语言,通过构图、造型和设色等艺术手段．在三维或二维空间之间塑造富有感性色彩的视觉形象的艺术。本文在此涉及的“陶瓷绘画”的概念,是创作主体以陶瓷材料、工艺、技术为媒介,摆脱装饰属性．强调情感的抒发以及自由、感性、表现性的绘画艺术形式。它有别于陶瓷装饰,具有纯粹的艺术性。由于人对三维立体物上的形象会随着视角的改变而产生一定的视觉变化,所以,不能将平面的绘画直接表现于立体的器皿表面,而要做到“饰以应物”。本文将从创作主体和创作客体两个角度加以分析陶瓷绘画如何获得自由表现的空间,以及其“金蝉脱壳”般的蜕变。
As one of the ceramic art ceramic decoration, in the history of Chinese ceramic art has a place to be ignored, can be regarded as the source of Chinese painting. What is more worth mentioning is that the decorative painting of porcelain has made astonishing development since absorbing the technique of painting. After the decoration of painting style appeared, no matter the blue and white or multicolored porcelain, New look. “(Deng White’s Collection of Literary Works, Zhejiang Academy of Fine Arts Press, July 1992) In other words, the achievements of Chinese painting in turn promote the development of ceramic art. Painting is the most important form of art in plastic arts. It is an art language that uses lines, colors and shapes, through artistic means such as composition, modeling and colorization. The art of creating a perceptually colorful visual image in three or two dimensions. This article refers to the concept of ”ceramic painting", which is the main body of creation with ceramic materials, technology, technology as a medium, get rid of decorative attributes. Emphasize the expression of emotion and free, emotional, expressive painting art form. It is different from the ceramic decoration, purely artistic. Because of the visual change of the image on the three-dimensional object with the changing of the perspective, the plane painting can not be directly displayed on the surface of the three-dimensional vessel, but must be decorated with the object. This article will analyze how to obtain the free expression space of the ceramic painting from the perspectives of the subject of creation and the object of creation as well as its metamorphosis.