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我一直生活在南方,这一切也许是我作品中所谓“南方味”的深层原因。年幼时我认识了田世信先生,从此画画成了我生活中最重要的事。后来我考上了四川美院附中,由于受同时期学院中何多苓、罗中立等人的影响,我们的学习劲头大得惊人。每天的日程都安排得满满的,画风景、速写,经常下乡采风。生活的体验为后来的创作留下一笔宝贵的财富。也许是北方情结的开始,就在那时我报考了中央工艺美术学院。在报考前长辈们说,既要跨过长江,就改名“跃”字吧?但我选中了“尧”字,因为在贵州这两个字几乎同音。84年夏,我考入了中央工艺美院陶瓷美术系,在主动与被动之间,接受了相对专业的陶瓷技艺和理论知识训练。但在当时的情形下,即便像中央工艺美院这样的学府,陶艺创作也只能是处于萌芽状态。
I have been living in the South for a long time, all of which may be the underlying cause of the so-called “southern flavor” in my work. When I was young I met Mr. Tian Shixin, painting since then became the most important thing in my life. Later, I was admitted to the middle school of Sichuan Academy of Fine Arts. Due to the influence of He Duoling, Luo Zhongli and others in the same period, our learning momentum was staggering. The daily schedule is arranged full, painting landscapes, sketches, often go to the countryside to collect the wind. The experience of life leaves a precious treasure for later creation. Perhaps the beginning of the Northern Complex, just then I applied for the Central Academy of Arts and Crafts. Before applying, the elders said that it is necessary to cross the Yangtze River to change its name to “Yue”, but I chose the word “Yao” because the two words are almost identical in Guizhou. In the summer of 84, I was admitted to the Ceramics Fine Arts Department of the Central Academy of Fine Arts. Between the initiative and the passive, I received relatively professional training in ceramic art and theoretical knowledge. However, in the circumstances, pottery and art creation can only be in its infancy even in institutions like the Central Academy of Fine Arts.