【摘要】：隨著我國陶瓷文化藝術(shù)的迅速發(fā)展，當(dāng)代青花藝術(shù)成為焦點。青花瓷藝術(shù)是我國的國粹藝術(shù)，是景德鎮(zhèn)對世界陶瓷的巨大貢獻。近年來，學(xué)界圍繞陶瓷與繪畫藝術(shù)掀起的討論層出不窮，越來越多的職業(yè)畫家到景德鎮(zhèn)畫瓷，對于當(dāng)代景德鎮(zhèn)陶瓷藝術(shù)融合起到了積極的作用，但與此同時，也帶來了諸多問題，比如陶瓷繪畫中是否需要筆墨；筆墨如何在青花藝術(shù)創(chuàng)作中具備時代感；當(dāng)代青花藝術(shù)中的精神何在等。在這些問題的驅(qū)使下，筆者通過對相關(guān)史籍與陶瓷標本研究，，以及長期從事的青花創(chuàng)作實踐和紙本中國畫藝術(shù)實踐心得，對當(dāng)代青花藝術(shù)創(chuàng)作中的筆墨精神進行了系統(tǒng)的研究。
[Abstract]:With the rapid development of ceramic culture and art in China, contemporary blue-and-white art has become the focus. The art of blue-and-white porcelain is the quintessence of our country and the great contribution of Jingdezhen to the world ceramics. In recent years, more and more professional painters have come to Jingdezhen porcelain painting, which has played a positive role in the integration of contemporary Jingdezhen ceramic art, but at the same time, Also brought a lot of problems, such as ceramic painting whether the need for ink; Pen and ink in the creation of blue-and-white art has a sense of the times; contemporary blue-and-white art, where is the spirit. Driven by these problems, the author systematically studies the spirit of pen and ink in the contemporary art creation of blue and white flowers through the study of related historical books and ceramic specimens, as well as the long-term experience in the practice of blue-and-white creation and the practice of Chinese painting on paper.
【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

【參考文獻】

相關(guān)期刊論文 前6條

1 陳孟龍;;談?wù)勍醪角嗷ǖ募记擅繹J];景德鎮(zhèn)陶瓷;1984年02期

2 鄧白;;論民間青花瓷器的裝飾藝術(shù)[J];景德鎮(zhèn)陶瓷;1986年03期

3 歐陽之川;;景德鎮(zhèn)青花裝飾渲染技法演變研究[J];陶瓷學(xué)報;2009年04期

4 劉江輝;丁傳國;;淺談青花瓷藝術(shù)創(chuàng)作的審美變形[J];現(xiàn)代技術(shù)陶瓷;2011年02期

5 歐陽世彬;釉上青花技術(shù)與青花的定義——兼論青花的起源[J];中國陶瓷;1983年06期

6 袁迪中;;談?wù)劕F(xiàn)代青花瓷的料色[J];中國陶瓷;1982年03期

相關(guān)碩士學(xué)位論文 前2條

1 郭其會;明代民窯青花線的情感表達[D];景德鎮(zhèn)陶瓷學(xué)院;2010年

2 劉穎;論文人畫對十七世紀民窯青花的影響[D];景德鎮(zhèn)陶瓷學(xué)院;2010年

本文編號：2432627