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80年代以来,出于对保守的批判和全盘西化的影响,传统一概为前卫陶艺家所唾弃,然而至90年代中后期,由于后殖民文化意识逐渐被发展中国家的知识分子所厌弃,又因为后现代艺术思潮开启了重新观照、挪用“传统”资源之门,中国的陶艺家在过去“民族化”的基础上,又遭遇了“本土化”情境,因而有了新的思考。艺评家皮道坚将陶艺的此种情况与中国传统水墨发展相提并论,他说,“在中国当代艺术精神中,就物质媒材的古老、艺术传统的悠久博大深厚而言,陶艺语言与水墨艺术语言具有相近的性质和相同的文化背景,也都同样面临在东西文化的碰撞中如何更好地利用文化资源、因势利导完成自身现代嬗变的问题。”中国陶艺不断发生变化过程中的讨论,历来只是针对着各个时期的主流话题,并不需要刻意强调正在讨论中的现代陶艺概念。然而,对于近现代时期占据了
Since the 1980s, because of its influence on conservative criticism and overall westernization, tradition has always been cast aside by avant-garde potters. By the mid-to-late 1990s, however, as the awareness of post-colonial culture was gradually discarded by intellectuals from developing countries, The trend of post-modern art opened the door to reconsider and divert “traditional ” resources. On the basis of the past “nationalization ”, Chinese potters encountered “localization Thinking. Art critic Pi Kennedy compared this situation with that of traditional Chinese ink and wash development. He said: ”In the spirit of contemporary Chinese art, in terms of the ancient and profound tradition of material media, Ink art language has similar nature and same cultural background, and also faces the same problem of how to make better use of cultural resources in the collision of Eastern and Western cultures and make the best use of their own modern evolution. "The Discussion on the Changing Process of Chinese Ceramic Art , Has always been the mainstream topic for all periods, and does not need to deliberately emphasize the concept of modern ceramics under discussion. However, occupied for the modern period