本文選題：陶瓷繪畫 + 審美觀念�。� 參考：《景德鎮(zhèn)陶瓷學(xué)院》2014年碩士論文

【摘要】：中國(guó)最早的繪畫來(lái)自于原始彩陶，并對(duì)日后繪畫的生成與發(fā)展產(chǎn)生深遠(yuǎn)的影響，而繪畫從古至今皆對(duì)陶瓷繪畫的發(fā)展同樣有著不可磨滅的作用及積極影響。二者相互貫通融為一體。從磁州窯白底黑花的繪畫技法到元青花的線條與分水，再到晚清淺降彩秉承董其昌的文人精神的空谷幽蘭。無(wú)不顯示著陶瓷繪畫與繪畫同源同宗的審美趣味。上世紀(jì)初東西方文化相互交融與碰撞，，而傳統(tǒng)的陶瓷繪畫已經(jīng)不能滿足當(dāng)今社會(huì)審美的需求。況且在繪畫藝術(shù)領(lǐng)域如此復(fù)雜混亂的今日，創(chuàng)作人的審美觀念與意識(shí)則成為最為值得探討與深思的中心源。本文將通過(guò)整理概括陶瓷繪畫在各個(gè)時(shí)期的典型特點(diǎn)以及影響其特點(diǎn)發(fā)展的時(shí)代背景及審美觀念。從美學(xué)、社會(huì)學(xué)的角度和影響創(chuàng)作人在各個(gè)時(shí)期審美觀念變化方面，來(lái)論證創(chuàng)作人在中國(guó)陶瓷繪畫中的審美意識(shí)與觀念緊隨當(dāng)今社會(huì)與人文情懷的重要性。在時(shí)間與空間上對(duì)照中國(guó)繪畫（包括中國(guó)畫與油畫）的審美意識(shí)與現(xiàn)代陶藝的發(fā)展進(jìn)行研究。論證當(dāng)今陶瓷繪畫創(chuàng)作以及發(fā)展的當(dāng)代性與前進(jìn)性的必要性，積極探討中國(guó)陶瓷藝術(shù)的發(fā)展與繼承。
[Abstract]:The earliest painting in China came from the original painted pottery and had a profound influence on the generation and development of painting in the future. Painting has also played an indelible role and positive influence on the development of ceramic painting from ancient to present. The two are intertwined into one another. From the painting techniques of white and black flowers in Cizhou Kiln to the lines and water distribution of blue and white flowers in Yuan Dynasty, to the hollow valley orchid of the literati spirit of Dong Qichang in the late Qing Dynasty. All show the same aesthetic taste of ceramic painting and painting. At the beginning of last century, the eastern and western cultures blended and collided with each other, but the traditional ceramic painting could not meet the needs of social aesthetics. Moreover, in the field of painting art such a complex and chaotic today, the creative people's aesthetic concept and consciousness is the most worthy of discussion and reflection of the central source. This paper will summarize the typical characteristics of ceramic painting in each period and the background and aesthetic concepts that affect the development of its characteristics. From the point of view of aesthetics, sociology and influence on the changes of aesthetic concepts of creators in various periods, this paper demonstrates the importance of creators' aesthetic consciousness and concept in Chinese ceramic painting following the current social and humanistic feelings. This paper studies the aesthetic consciousness of Chinese painting (including Chinese painting and oil painting) and the development of modern ceramic art in time and space. This paper demonstrates the necessity of contemporary and progressive development of ceramic painting, and probes into the development and inheritance of Chinese ceramic art.
【學(xué)位授予單位】：景德鎮(zhèn)陶瓷學(xué)院
【學(xué)位級(jí)別】：碩士
【學(xué)位授予年份】：2014
【分類號(hào)】：J527;J205

【參考文獻(xiàn)】

相關(guān)期刊論文 前1條

1 嚴(yán)文明;;甘肅彩陶的源流[J];文物;1978年10期

本文編號(hào)：1957987