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我国的陶瓷艺术博大精深,其发展不仅凝聚了我们民族的审美心理的发展历程,而且还凝聚了千百年来劳动人民的聪明才智。正如邓白先生曾云:“其美学内涵之宏大、意境之美妙、体系之独特,特别是火的魅力,是一般工艺美学所不能概括和不曾涉及的”。但我们从陶瓷艺术语言本身去分析,不难看出陶瓷艺术语言是在不断借鉴与吸收其它门类的艺术之长,并以加强自身的独特艺术表现力的基础上,建立和完美起来的。陶瓷艺术和其它艺术门类一样,面临着现代艺术思潮的冲击。为此我们应强调陶瓷审美观念的更新,勇于在新的工具、材料,新的表现手法,新的艺术语言等方面进行探索。
China’s ceramic art is profound and profound. Its development has not only embodied the development process of the aesthetic psychology of our nation, but also brought together the wisdom and wisdom of the working people for thousands of years. Just as Mr. Deng Bai once said: “The magnificent aesthetic connotation, the wonderful artistic conception, the unique system, especially the charm of fire, can not be generalized or not covered by the general process aesthetics.” However, from the analysis of the ceramic art language itself, it is not hard to see that the ceramic art language is built and flawlessly based on the continuous borrowing and absorption of other art genres and strengthening its unique artistic expression. Like other art genres, ceramic art faces the impact of modern art trends. To this end, we should emphasize the renewal of the aesthetic concept of ceramics, the courage to explore new tools, materials, new performance techniques, new artistic language and so on.