本文選題：傳統(tǒng)陶瓷藝術(shù) + 現(xiàn)代陶藝�。� 參考：《山東藝術(shù)學(xué)院》2014年碩士論文

【摘要】：當(dāng)今,中國現(xiàn)代陶藝的創(chuàng)作者們在當(dāng)代藝術(shù)的影響下,充分發(fā)掘陶瓷材料作為藝術(shù)創(chuàng)作的媒介性質(zhì),創(chuàng)作出既能夠展示陶藝作品獨特的藝術(shù)魅力,又能夠傳達藝術(shù)家個人情感,反映當(dāng)下社會現(xiàn)實的藝術(shù)作品,以嶄新的藝術(shù)面貌進入公眾的視野。雖然中國的現(xiàn)代陶藝與西方相比起步較晚,但綿延數(shù)千年的中國傳統(tǒng)陶瓷藝術(shù)為中國現(xiàn)代陶藝的發(fā)展提供了純熟的技術(shù)支持和深厚的文化支撐。經(jīng)過陶藝家們的不懈努力,中國的現(xiàn)代陶藝正逐步作為一種主流的藝術(shù)形式,獲得人們更多的認(rèn)可與關(guān)注,隨之在國際舞臺上展露鋒芒。 筆者在寫作論文的過程中運用了文獻搜集法和調(diào)查研究法。首先,搜集了中國現(xiàn)代陶藝相關(guān)論文、著作并對其進行梳理與總結(jié)。然后,有針對性地對國內(nèi)現(xiàn)代知名陶藝家進行采訪,積極參與現(xiàn)代陶藝的相關(guān)的論壇、展覽等文化活動。在此基礎(chǔ)上,筆者嘗試梳理自1984年以來的中國現(xiàn)代陶藝發(fā)展的大事年表,并依據(jù)在中國現(xiàn)代陶藝的發(fā)展過程中起引導(dǎo)作用的展覽、會議及事件,將中國的現(xiàn)代陶藝發(fā)展劃分為三個階段——轉(zhuǎn)型期、探索期和發(fā)展期,以此嘗試總結(jié)中國現(xiàn)代陶藝在不同時期的典型特征,探析中國現(xiàn)代陶藝在不同時期呈現(xiàn)不同面貌的原因,并對現(xiàn)代陶藝發(fā)展過程中遇到的問題進行思考與總結(jié)。 筆者認(rèn)為,中國現(xiàn)代陶藝近30年的發(fā)展傾向于一段由“反叛”到“回歸”的歷程�！胺磁选痹谟谥袊F(xiàn)代陶藝的轉(zhuǎn)型期現(xiàn)代陶藝的創(chuàng)作者對于中國傳統(tǒng)陶藝既定的造物觀念和審美意識的反叛：主要體現(xiàn)在當(dāng)時現(xiàn)代陶藝的創(chuàng)作者對傳統(tǒng)陶瓷藝術(shù)屬性的延伸,繼而嘗試為現(xiàn)代陶藝的發(fā)展提供更多的可能。經(jīng)過陶藝家們在現(xiàn)代陶藝探索期和發(fā)展期的不懈努力,中國的現(xiàn)代陶藝呈現(xiàn)出多元化的發(fā)展?fàn)顟B(tài),并逐步贏得國內(nèi)外藝術(shù)家們的關(guān)注。然而,在國際舞臺上中國的現(xiàn)代陶藝尚未表現(xiàn)出自身獨特的民族文化特征。因此,一些具有國際化視野的陶藝家們意識到傳承中國傳統(tǒng)文化精髓的重要意義,倡導(dǎo)對中國傳統(tǒng)文化的“回歸”,并結(jié)合當(dāng)下的時代語境,重新審視中國傳統(tǒng)的優(yōu)秀文化,將其更好地應(yīng)用于現(xiàn)代陶藝的藝術(shù)創(chuàng)作中,形成自身獨特的民族符號。
[Abstract]:At present, under the influence of contemporary art, the creators of modern Chinese ceramic art fully excavate the ceramic material as the medium of the artistic creation, create the artistic charm which can not only show the unique artistic charm of the pottery works, but also convey the artist's personal feelings, reflect the present social reality, and enter the public with a brand new artistic appearance. Although China's modern ceramic art starts relatively late compared with the west, Chinese traditional ceramic art, which stretches for thousands of years, provides sophisticated technical support and profound cultural support for the development of Chinese modern ceramic art. After the unremitting efforts of potters, China's modern ceramic art is gradually becoming a mainstream art form. People more recognition and attention, and then show their edge on the international stage.
In the process of writing, the author uses the method of literature collection and investigation and research. First, it collects and summarizes the related articles and works of modern Chinese pottery, and then makes an interview on the famous modern famous Tao Yijia in China, actively participates in the related forum, exhibition and other cultural activities of modern pottery art. On the basis of this, the author tries to sort out the chronological chronology of the development of modern Chinese ceramic art since 1984, and according to the exhibitions, meetings and events which play a leading role in the development of Chinese modern ceramic art, the development of modern ceramic art in China is divided into three stages: Transition period, exploration period and development period, so as to try to sum up the modern ceramic art in China. In the different periods of the typical features, the reasons for the different features of Chinese modern ceramic art in different periods are analyzed, and the problems encountered in the development of modern ceramic art are thought and summarized.
The author believes that the development of Chinese modern ceramic art in the past 30 years is inclined to a period from "rebellion" to "return". "Rebellion" lies in the rebellion of the creator of modern ceramic art in the transition period of Chinese modern ceramic art, which is mainly reflected in the creation of modern ceramic artists. The extension of the artistic attributes of the pottery and porcelain will provide more possibilities for the development of modern ceramic art. After the unremitting efforts of the potters in the exploration and development period of modern ceramic art, Chinese modern ceramic art presents a pluralistic development state and gradually wins the attention of artists both at home and abroad. However, China is now on the international stage. The pottery has not shown its own unique national cultural characteristics. Therefore, some of the ceramic artists with international vision are aware of the importance of inheriting the essence of Chinese traditional culture, advocating the "return" of Chinese traditional culture, and combining with the present context of the times to re examine the excellent culture of Chinese traditional culture and apply it to better application. In the artistic creation of modern pottery, it forms its own unique national symbol.
【學(xué)位授予單位】：山東藝術(shù)學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2014
【分類號】：J527

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本文編號：1994106