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与中国陶瓷艺术发展的历史和当代陶艺创作的繁荣局面相比,陶瓷艺术批评的维度依然显得非常单薄。一方面,由于陶艺面向的历史文化遗产极其深厚,许多著述更多着墨于古陶瓷技术与历史研究;另一方面,艺术批评面对自在自为的陶瓷艺术世界往往表现为理论乏力、表扬胜于批评。近十年来,随着现当代陶艺创作的异军突起,艺术家的文化环境和思维观念整体上发生了巨大变化,“中国陶艺家对本土文化情结有
Compared with the history of the development of Chinese ceramic art and the prosperity of contemporary pottery creation, the dimension of ceramic art criticism is still very thin. On the one hand, due to the profound historical and cultural heritage of pottery, many works have been written more about ancient ceramic technology and historical research. On the other hand, art criticism has always been characterized by lack of theory in the world of ceramic art, criticism. Over the past decade, with the sudden emergence of contemporary ceramic art creation, the artist’s cultural environment and thinking concept have undergone tremendous changes as a whole. ”Chinese ceramic artisans have a profound understanding of the local cultural complex