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《考工记》卷上云:“知者创物,巧者述之守之,世谓之工。百工之事,皆圣人之作也。烁金以为刃,凝土以为器,作车以行陆,作舟以行水,此皆圣人之所作也。”这段话体现了先民对传统陶瓷手艺深层次的理解以及对手工陶瓷器物的认知和对生活的态度。回溯历史,陶瓷器物关乎宫延、官宦、百姓不同层面人的生活状况,更是生活品质、文化品格之标尺。从广义上来说,陶瓷艺术是一门综合性的艺术,它综合了平面的绘画语言、立体的建筑与雕塑的空间语言和复杂的工艺语言以及丰富的材料语言等多种门类语言;它采用与人类最具亲切感的泥土为媒材进行艺术创作。“学院派陶瓷艺术”关注的并不仅仅是陶瓷本身,它更倾向于重新认识泥、釉、火和人之间的内在联系,重新认识陶瓷艺术表现与社会文化的关系。
“Kaogongji” volume on the cloud: “Knowing the creation of things, clever who keep the statement, the world that work. Hundreds of things, are made of saints also. Shuojin thought blade, concrete device, for the car to This line shows the ancestors’ deep understanding of traditional ceramic arts and crafts as well as their understanding of handmade ceramic objects and their attitude toward life. Back to history, ceramic objects related to Gong Yan, Guan Huan, people at different levels of people’s living conditions, but also the quality of life, the standard of cultural rulers. Broadly speaking, ceramic art is a comprehensive art which integrates a wide range of languages, such as graphic language of painting, three-dimensional space language of architecture and sculpture, complex language of craftsmanship, and rich material language; The most intimate earth of human beings is the medium for artistic creation. ”Academic ceramic art " not only concerned about the ceramic itself, it is more inclined to re-understand the internal relations between mud, glaze, fire and people, to re-understand the relationship between ceramic art performance and social culture.