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在中国要当一个陶瓷艺术家可能是最困难的了。且不说一般人对陶瓷根深蒂固的审美心理在短期内不会骤变,就是有志于陶瓷艺术的人,也面临着一个是否能自我解脱的问题。中国陶瓷自宋元以来向非实用性美的方面的快速发展,以及对含蕴、纯真、精美的刻意追求,使中国陶瓷(尤其是瓷器)无论是工艺材料或是科学技术都居世界领先的地位,而中国陶瓷更以一种东方特有的优雅、精致的诗情画意独立于世界艺苑。陶瓷中体现出来的这种丰富的文化沉积,既是从事陶艺者的丰厚遗产,也是他们沉重的包袱。可以说,今天从事陶艺的人若不走出传统投下的阴影,就不可能迈出一个真正陶艺家的
To be a ceramic artist in China may be the most difficult. Not to mention that most people’s deep-rooted aesthetic psychology of ceramics will not change suddenly in the short term, that is, people who are interested in ceramic arts also face a problem of whether they can be liberated themselves. The rapid development of Chinese ceramics since the Song and Yuan Dynasties to non-functional beauty and the deliberate pursuit of containing pure, pure and exquisite porcelain make Chinese ceramics (especially porcelain) both the world’s leader in process materials and science and technology, The Chinese ceramics more to an oriental unique elegance, exquisite poetic independent of the world Arts Court. The rich cultural deposits embodied in ceramics are both the rich legacy of potters and their heavy burden. It can be said that if people engaged in pottery work today do not cast out the shadows cast by tradition, it is impossible to take a real potter’s