中国美学和艺术是农耕文明的产物。就陶器以泥土为材质的特性而言,它天然关联于农业,是农耕文明的直接产品,也是这种文明向美和艺术生成的最早见证。与史前时期其他器具相比,陶器作为一种充分为己的器具,表现出更高的人类性;作为贮存类器具,它是人类时间认知和时间经验的触点;作为容器,它拓展了人关于生存资料认知的边界,也为虚与实、空与用的辩证关系提供了最早的实物印证。在新石器时期,中国远古陶器表现出鲜明的区域差异,但相邻区域之间审美风格的交叠重合,又使其共同构成了一个工艺连续体。这种连续关系昭示了一张审美之网的存在,它为后来华夏审美共同体的形成提供了值得注意的背景。 Chinese aesthetics and art are the products of farming civilization. As far as the soil-based character of pottery is concerned, it is naturally associated with agriculture, a direct product of farming civilization, and the earliest witness to the beauty and art that such civilization produces. Compared with other devices in prehistoric times, pottery, as a self-sufficient device, showed a higher humanity; as a storage device, it was the contact of human time cognition and time experience; as a container, it expanded The boundary of people’s cognition of living materials also provides the earliest material evidence for the dialectical relationship between emptiness, reality and emptiness. In the Neolithic period, ancient Chinese pottery exhibited distinctive regional differences, but the overlap and overlap of aesthetic styles between adjacent areas made them together form a continuum of craftsmanship. This continuous relationship shows the existence of an aesthetic network, which provides a noteworthy background for the later formation of the Chinese aesthetic community.