【摘要】：傳統(tǒng)陶瓷藝術(shù)在中國(guó)工藝史上占有舉足輕重的地位,有些時(shí)期在對(duì)外交流中,甚至成為中國(guó)的代名詞。傳統(tǒng)陶瓷藝術(shù)不僅創(chuàng)造了舉世矚目的陶瓷藝術(shù)精品,還傳遞著豐富而博大的文化信息。在當(dāng)代藝術(shù)多元化的背景之下,傳統(tǒng)陶瓷藝術(shù)的傳承有著多重意義。從文化傳承的角度而言,傳統(tǒng)陶瓷藝術(shù)是一種文化積淀,是中國(guó)幾千年文明的一個(gè)代表符號(hào)之一,所以對(duì)于傳統(tǒng)陶瓷藝術(shù)的繼承,就是一種對(duì)傳統(tǒng)文化的保護(hù),對(duì)此國(guó)家也將大量傳統(tǒng)陶瓷藝術(shù)列為非物質(zhì)文化遺產(chǎn),來(lái)進(jìn)行有力的保護(hù)與傳承。對(duì)于流派紛呈,多元并存的現(xiàn)代藝術(shù)而言,傳統(tǒng)陶瓷藝術(shù)是一塊豐富的土壤,可以從中汲取營(yíng)養(yǎng)。嚴(yán)格意義上來(lái)講,中國(guó)現(xiàn)代陶藝的產(chǎn)生與傳統(tǒng)陶瓷藝術(shù)仿佛沒(méi)有關(guān)聯(lián),在初期可能還阻礙了現(xiàn)代陶藝?yán)砟畹谋磉_(dá),但是隨著民族意識(shí)的不斷加強(qiáng),很多藝術(shù)家開(kāi)始尋求本土化的陶藝語(yǔ)言,從而將視角觸及傳統(tǒng)陶瓷藝術(shù)。雖然,傳統(tǒng)陶瓷藝術(shù)不是構(gòu)建中國(guó)現(xiàn)代陶藝獨(dú)立藝術(shù)語(yǔ)境的唯一選擇,但不可否認(rèn)傳統(tǒng)陶瓷藝術(shù)與現(xiàn)代陶藝有著必然的聯(lián)系,故還是有探究的必要。鑒于此,本文將研究一位傳統(tǒng)民間制瓷老藝人,結(jié)合對(duì)老藝人的作品分析來(lái)探究傳統(tǒng)陶瓷藝術(shù)的魅力。之所以研究這樣一位傳統(tǒng)民間陶瓷藝人,是因?yàn)?這位老藝人有著極高的陶瓷藝術(shù)造詣,他是當(dāng)?shù)孛耖g傳統(tǒng)陶瓷藝術(shù)群體中的一個(gè)代表,而且其現(xiàn)在的生存狀態(tài)是當(dāng)?shù)貍鹘y(tǒng)民間陶瓷藝術(shù)發(fā)展現(xiàn)狀的一個(gè)縮影,通過(guò)對(duì)他的研究有助于探索民間傳統(tǒng)陶瓷藝術(shù)的當(dāng)代發(fā)展之路。更加難能可貴的是,這位老藝人在繼承傳統(tǒng)的基礎(chǔ)之上,進(jìn)行了大量的創(chuàng)新實(shí)踐,雖然因?yàn)闀r(shí)代原因,還是有一定局限性,但還是給予當(dāng)下陶瓷藝術(shù)發(fā)展一定的啟示。
[Abstract]:Traditional ceramic art plays an important role in the history of Chinese arts and crafts. In some times, it has even become a synonym of China in foreign exchanges. The traditional ceramic art not only creates the fine ceramic art that attracts worldwide attention, but also conveys rich and extensive cultural information. Under the background of contemporary art diversification, the inheritance of traditional ceramic art has many meanings. From the perspective of cultural heritage, traditional ceramic art is a kind of cultural accumulation and one of the representative symbols of Chinese civilization for thousands of years. Therefore, the inheritance of traditional ceramic art is a kind of protection of traditional culture. To this country, a large number of traditional ceramic art is listed as intangible cultural heritage to protect and inherit. Traditional ceramic art is a rich soil for modern art, which is diverse and diverse, and can draw nutrition from it. Strictly speaking, the emergence of modern ceramic art in China seems to have nothing to do with traditional ceramic art, which may have hindered the expression of modern ceramic art ideas in the early stage, but with the continuous strengthening of national consciousness, Many artists began to seek native ceramic language, thus touching the perspective of traditional ceramic art. Although the traditional ceramic art is not the only choice to construct the independent artistic context of Chinese modern ceramic art, there is no denying that the traditional ceramic art has an inevitable connection with the modern ceramic art, so it is necessary to explore it. In view of this, this paper will study a traditional folk porcelain old artist, combined with the analysis of the work of the old artist to explore the charm of traditional ceramic art. The reason for studying such a traditional folk ceramic artist is that this old artist has very high ceramic artistic attainments, and he is a representative of the local folk traditional ceramic art community. And its current living state is a microcosm of the development of local traditional folk ceramic art, through his research, it is helpful to explore the contemporary development of folk traditional ceramic art. What is more commendable is that this old artist has carried out a lot of innovative practices on the basis of inheriting the tradition. Although there are still some limitations due to the reasons of the times, he still gives some enlightenment to the development of ceramic art.
【學(xué)位授予單位】：青島大學(xué)
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2012
【分類(lèi)號(hào)】：J527

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