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在我国陶瓷绘画史上,青花一直维持相对保守的发展轨迹。然而,随着20世纪80年代以来,西方后现代主义、表现主义、达达主义、观念主义等艺术思潮及风格的涌入,使得这一恒久的稳定结构被打破。其中最为典型的案例便属青花水墨,它将以工艺技法为核心的装饰性转化为一种艺术化的表达语言,使青花表现过程不再只是对形式法则的理性趋同,而成为一种能够为艺术家表达自身思维情感的感性载体。在此过程中,实验性便是作为其发展过程中的源动力。就当代青花水墨中的实验性这一论题展开探究,通过对其实验性表现及本质的分析与解读,来展现当代青花水墨的表现手法及审美文化。
In the history of ceramic painting in China, Blue and White has maintained a relatively conservative development path. However, with the influx of Western art trends and expressions such as Western postmodernism, expressionism, Dadaism and conceptualism since the 1980s, this permanent and stable structure has been broken. One of the most typical cases is the blue-and-white ink and wash. It transforms the decorativeness of craftsmanship at the core into an artistic expression language, so that the performance process of the blue-and-white flower is no longer merely a rational convergence of formal rules, The artist’s emotional carrier expressing his own thoughts and emotions. In this process, experiment is as the driving force in its development process. This paper explores the experimental theme of contemporary blue-and-white ink and wash, and expounds the performance techniques and aesthetic culture of contemporary blue-and-white ink through its experimental performance and analysis and interpretation.