本文關(guān)鍵詞： 青花 現(xiàn)代 表現(xiàn)形式 多元性 趨勢　出處：《景德鎮(zhèn)陶瓷學(xué)院》2012年碩士論文　論文類型：學(xué)位論文

【摘要】：青花是泥與火的神奇藝術(shù)，因其純樸典雅的氣質(zhì)，深厚的傳統(tǒng)工藝，精湛的民族文化精髓而經(jīng)久不衰。青花歷史凝聚著中國人民的智慧，是中華民族乃至世界藝術(shù)之林中一朵不朽的奇葩。從唐代以來，青花主要以紋飾表現(xiàn)為主，青花斗彩、青花玲瓏、青花釉里紅等多種形式都曾經(jīng)出現(xiàn)過，在明清時(shí)代也出現(xiàn)具有文人畫意味的青花瓷繪畫。20世紀(jì)80年代以來，世界藝術(shù)的發(fā)展和變化，，加之中國民族藝術(shù)的傳承和革新，隨著人們對審美觀念和審美情趣的不斷追求，其多元性表現(xiàn)形式與自由創(chuàng)作時(shí)代走向必然，同時(shí)也直接催生了藝術(shù)家創(chuàng)作向觀念化、個(gè)性化、民族化的方向發(fā)展�，F(xiàn)代青花瓷的創(chuàng)作，其多元化的表現(xiàn)形式已經(jīng)形成，其勢不可擋，并在不斷衍生。 古老的青花藝術(shù)，傳統(tǒng)的工藝流程，現(xiàn)代陶藝家運(yùn)用全新的創(chuàng)作理念，采用多種工藝與多維藝術(shù)相結(jié)合，拓展了青花裝飾新的藝術(shù)空間.器型的注重，現(xiàn)代設(shè)計(jì)理念的運(yùn)用，繪畫和綜合裝飾，奠定了現(xiàn)代青花表現(xiàn)形式向開放性、多樣性以及可持續(xù)性發(fā)展的基礎(chǔ)，這就是現(xiàn)代青花藝術(shù)的繁榮及其展望。也就是說呈現(xiàn)給人們的不僅僅是一種現(xiàn)代陶瓷文化的發(fā)展過程，也是藝術(shù)家對藝術(shù)不斷追求的精神，具有明顯時(shí)代特征。
[Abstract]:Blue and white flower is the magic art of mud and fire. It has survived because of its simple and elegant temperament, profound traditional craft and exquisite national cultural essence. The history of blue and white flowers condenses the wisdom of the Chinese people. It is an immortal flower in the forest of Chinese nation and even the world art. Since the Tang Dynasty, the blue and white flowers have mainly been represented by ornaments, the blue and white flowers have been fighting colors, the blue and white flowers are exquisite, the blue and white flowers are red in the glaze, and many other forms have appeared. Since 80s of the 20th century, the development and change of the world art, in addition to the inheritance and innovation of the Chinese national art, along with people's constant pursuit of the aesthetic concept and aesthetic taste, also appeared in the Ming and Qing dynasties. Its pluralistic forms of expression and the trend of the free creation times are inevitable. At the same time, it also directly promotes the artists' creation to the direction of concept, individuation and nationalization. The creation of modern blue and white porcelain has formed its diversified forms of expression. It is unstoppable and continues to grow. The ancient blue and white art, the traditional technological process, and the modern pottery artists use new creative ideas, adopt a variety of techniques and multi-dimensional art, expand the new artistic space of blue and white decoration, pay attention to the instrumental type, and apply the modern design idea. Painting and comprehensive decoration have laid the foundation for the development of modern blue and white flowers towards openness, diversity and sustainability. This is the prosperity and prospect of modern blue and white art, that is to say, it presents people not only with the development process of modern ceramic culture, but also with the spirit of artists' constant pursuit of art, with obvious characteristics of the times.
【學(xué)位授予單位】：景德鎮(zhèn)陶瓷學(xué)院
【學(xué)位級別】：碩士
【學(xué)位授予年份】：2012
【分類號】：J527

【引證文獻(xiàn)】

相關(guān)碩士學(xué)位論文 前2條

1 王菁菁;明代青花瓷的器型和紋飾研究[D];蘭州大學(xué);2013年

2 楊柳青;景德鎮(zhèn)四大傳統(tǒng)名瓷藝術(shù)元素的舞臺(tái)應(yīng)用與其效果[D];景德鎮(zhèn)陶瓷學(xué)院;2013年

本文編號：1554435