本文選題：中國(guó)　切入點(diǎn)：傳統(tǒng)文化　出處：《藝術(shù)評(píng)論》2013年04期 　論文類型：期刊論文

【摘要】：正作為具有上千年陶瓷文明史的國(guó)家,我國(guó)窯口遍布各地、資源豐富,地域分布廣泛,在長(zhǎng)期的生產(chǎn)過程中逐漸形成了各自的特色,但是也形成了依靠經(jīng)驗(yàn)設(shè)計(jì)的模式化、概念化、教條化。思維的習(xí)慣性和手工操作的熟練功導(dǎo)致產(chǎn)品造型趨于大同小異,不關(guān)注產(chǎn)品的內(nèi)在品質(zhì)而一味的追求產(chǎn)量,使我國(guó)陶瓷產(chǎn)品在國(guó)內(nèi)泛濫,在國(guó)外卻步履維艱。一.中國(guó)當(dāng)代日用陶瓷設(shè)計(jì)中文化構(gòu)建的重要性如果說陶瓷這個(gè)物質(zhì)材料是設(shè)計(jì)的軀體,那么文化則是設(shè)計(jì)內(nèi)在的靈魂。
[Abstract]:As a country with a history of more than a thousand years of ceramic civilization, our country has a wide range of kilns with abundant resources and wide geographical distribution. It has gradually formed its own characteristics in the long process of production, but it has also formed a pattern based on experience design. Conceptualization, dogmatism. The habit of thinking and the skillful work of manual operation have led to the product modeling becoming more and more similar, without paying attention to the inherent quality of the product and blindly pursuing the output, which makes our country's ceramic products overflow in our country. The importance of cultural construction in China's contemporary daily ceramic design. If ceramics as a material material is the body of design, then culture is the inner soul of design.
【作者單位】： 中國(guó)藝術(shù)研究院;
【分類號(hào)】：J527
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本文編號(hào)：1619502