本文選題：周國楨　切入點：動物雕塑　出處：《景德鎮(zhèn)陶瓷學(xué)院》2008年碩士論文

【摘要】： 中國動物雕塑的歷史悠久而燦爛,而采用陶瓷這一特殊材質(zhì)創(chuàng)作的動物陶瓷雕塑具有其獨特的魅力。作為一名享有很高聲譽的現(xiàn)代陶藝家、雕塑家,周國楨以其創(chuàng)作的一系列動物陶瓷雕塑而在中國現(xiàn)代陶藝史上占有一席之地。 本文首先回顧了周國楨動物雕塑藝術(shù)風(fēng)格形成的幾個階段。早期以人物雕塑為主,受著名動物雕塑家周輕鼎的影響后,掌握了動物雕塑的基本技法,對動物雕塑產(chǎn)生了濃厚的興趣,開始創(chuàng)作動物雕塑并嶄露頭角,但并沒有對動物雕塑進行深入的研究和探索。文革期間,周國楨受到了嚴重沖擊和不公正的待遇,引發(fā)了他對人與人、人與社會的關(guān)系的一系列反思,從而真正走上了專攻動物雕塑的道路。此后,周國楨在陶藝的創(chuàng)作技法上進行了多種嘗試,他率先試驗高溫顏色釉應(yīng)用于動物雕塑的技法,首創(chuàng)了高溫顏色釉與動物陶瓷雕塑的完美結(jié)合,打破了中國陶藝延續(xù)了上千年的傳統(tǒng)。其后,在陶藝創(chuàng)作材料的研究上又不斷創(chuàng)新和突破,又首創(chuàng)了缺陷肌理的藝術(shù)轉(zhuǎn)化,將傳統(tǒng)陶藝中視作嚴重缺陷的釉面開裂、起泡、結(jié)珠等特殊肌理效果,與動物雕塑完美結(jié)合。緊接著,受民間陶瓷藝人的啟發(fā),將泥條盤筑的這一古老而傳統(tǒng)的工藝應(yīng)用于動物陶瓷雕塑的創(chuàng)作,在中國陶瓷史上第一次將盤筑泥條從形體的附屬中解放出來,使線條具備了獨立的審美價值,開創(chuàng)了一種全新的陶藝語匯。他還將匣缽?fù)烈活惖拇仲|(zhì)材料,運用于動物雕塑的創(chuàng)作中,為之注入新的觀念、新的表現(xiàn)手法,使之獲得藝術(shù)的生命,大大突破了中國陶藝的傳統(tǒng),拓寬了陶瓷原料的應(yīng)用范圍。另外,他還研究了燒窯過程中,火焰效果對藝術(shù)品的重要影響。另外,本文深入分析了周國楨動物雕塑藝術(shù)人文品格的形成過程。第一代藝術(shù)教育家的影響和中國傳統(tǒng)民間手工藝的滋養(yǎng),文革的重創(chuàng)與改革開放的新生,博大宏偉的漢唐文化所帶來的精神上的強烈震撼等,這些多重因素的作用,使得周國楨的動物雕塑形成了獨特的東方現(xiàn)代人文品格,總的來說,可以用“拙中見巧”一詞來加以概括。 最后,本文回顧與反思了中國現(xiàn)代陶藝的發(fā)展歷史,高度評價了周國楨對中國現(xiàn)代陶藝所做出的突出貢獻及其在中國現(xiàn)代陶藝史上的重要地位。
[Abstract]:Chinese animal sculpture has a long history and brilliant history, and the animal ceramic sculpture created with ceramic as a special material has its unique charm. As a modern ceramic artist with a high reputation, the sculptor, the sculptor, Zhou Guozhen occupies a place in the history of Chinese modern ceramics with a series of animal ceramic sculptures. This paper first reviews several stages of the formation of Zhou Guozhen's artistic style of animal sculpture. After being influenced by the famous animal sculptor Zhou Guangding in the early years, he mastered the basic techniques of animal sculpture. Interested in animal sculptures, he began to create animal sculptures and made his mark, but he did not deeply study and explore animal sculptures. During the Cultural Revolution, Zhou Guozhen was seriously attacked and treated unjustly. This led to a series of reflections on the relationship between man and man, man and society, so that he really embarked on the road of specializing in animal sculpture. Since then, Zhou Guozhen has made many attempts in the creative techniques of pottery art. He took the lead in experimenting with the techniques used in animal sculptures by using high-temperature colored glazes. He pioneered the perfect combination of high-temperature colored glazes with animal ceramic sculptures, breaking the tradition of Chinese pottery that lasted for thousands of years. On the research of ceramic creation materials, he also innovated and broke through, and also created the artistic transformation of defective texture. The traditional pottery art was regarded as a special texture effect of serious defects such as glaze cracking, foaming, beading and so on. In addition, inspired by folk ceramic artists, the ancient and traditional technique of making clay strips and plates was applied to the creation of animal ceramics sculptures. For the first time in the history of Chinese ceramics, he liberated the plate building sliver from the attachment of the body, which made the lines have independent aesthetic value and created a brand new vocabulary of ceramic art. He also made coarse materials such as sagger soil. Applied to the creation of animal sculptures, new concepts and new performance techniques were injected into them, so that they gained artistic life, which greatly broke through the tradition of Chinese ceramic art and widened the scope of application of ceramic materials. He also studied the important effects of flame effects on art in the process of firing kilns. This paper deeply analyzes the forming process of Zhou Guozhen's animal sculpture art humanistic character, the influence of the first generation of art educator, the nourishment of Chinese traditional folk handicraft, the heavy blow of the Cultural Revolution and the new life of reform and opening up. The powerful spiritual shock brought about by the vast and magnificent Han and Tang culture, and so on. These multiple factors have made Zhou Guozhen's animal sculpture form a unique modern Oriental humanistic character. In general, Can be summed up with the word "in the case of Qiao". Finally, this paper reviews and reflects on the development history of Chinese modern ceramic art, and highly evaluates Zhou Guozhen's outstanding contribution to Chinese modern ceramic art and its important position in the history of Chinese modern pottery art.
【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】：2008
【分類號】：J527

【參考文獻】

相關(guān)期刊論文 前10條

1 朱良志;;關(guān)于大巧若拙美學(xué)觀的若干思考[J];北京大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);2006年03期

2 張法;八十年代中國現(xiàn)代藝術(shù)一瞥[J];北京大學(xué)學(xué)報(哲學(xué)社會科學(xué)版);1999年01期

3 馬心伯;;培養(yǎng)“通才”的導(dǎo)師——憶鄭可教授[J];雕塑;2006年01期

4 何齊宗;當(dāng)代人格的困境與出路[J];江西師范大學(xué)學(xué)報;2003年03期

5 孟慶祝;;奪泥土之魂 燃精神之火——我的陶瓷教育觀兼論中國美院雕塑系陶瓷材料教學(xué)[J];中國陶藝家;2007年01期

6 周國楨;;美術(shù)陶瓷的新風(fēng)格與粗質(zhì)材料[J];景德鎮(zhèn)陶瓷學(xué)院學(xué)報;1986年01期

7 周國楨;中國民間陶藝與現(xiàn)代陶藝[J];陶瓷研究;1994年01期

8 周國楨;本土意識的崛起──談泥條盤筑陶藝[J];陶瓷研究;1994年02期

9 洪惠鎮(zhèn);淺談中國古代雕塑的藝術(shù)特點——普通美術(shù)教育欣賞課教學(xué)參考[J];中國美術(shù)教育;1998年05期

10 張燕;論線化的中國藝術(shù)[J];藝術(shù)百家;1999年03期

，

本文編號：1692941