中国南北方现代陶艺发展比较研究
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摘要
中国现代陶艺的发展虽然紧跟着现当代艺术的脚步如火如荼的发展着,其面貌却错综复杂,这似乎也符合着中国当代社会政治经济发展的现状,然而当我们纵观中国的现当代陶艺的时候,不难发现,同为中国当代艺术大背景下的现代陶艺,由于地域位置、人文历史、艺术环境的差异,南北方现代陶艺还是显著有别的。
在中国古代陶瓷本身虽未形成一套美学系统的建构,但她与古代美学思想和其他艺术领域有着千丝万缕的联系,传统的南北地缘美学差异还是潜移默化的影响着现代陶艺的审美发展。中国先锋艺术是以“北京中心”和“北重南轻”的地域格局拉开的。北京比中国其他的城市有更多的国际化氛围和艺术家参与国际事务交往的经验,以北京为中心的现代陶艺相比较其他城市更具有先锋意识。中国现代陶艺在中国大陆发展以来,主要从事陶艺创作的陶艺家都是中国美术学院、景德镇陶瓷学院、清华大学美术学院等设陶艺系的教师以及从这些院校毕业分配到全国各地的毕业生,他们确立了现代陶艺的创作观念和探索方向。从南北方学院陶艺教学的方向上,我们也基本上可以看到南北方现代陶艺的发展趋势。南北方的陶艺教育还是充分的利用了当地的资源。
以南北来谈艺术的不同流派在历史上也是有广泛的讨论。本文着眼于中国当代艺术的大背景下,参照当代艺术理论和现代陶艺研究理论,结合历史人文发展,以历史上南方和北方的美学品格差异为引,通过分析艺术风格和渊源以及具体艺术形式的分析的研究方法来诠释南北现代陶艺,进一步认清中国现代陶艺语言自身的发展状况。
China's modern ceramics while keeping up with the development of contemporary art in the footsteps of the development of a full swing, the outlook is complicated, it seems to be in line with China's economic development in contemporary social and political status quo, but whenwe Throughout China's modern and contemporary pottery, It is not difficult to find, with the Chinese contemporary art against the backdrop of the modern ceramics, as geographical location, cultural history, art environmental differences, the South and the North modern pottery or a significant other.
Ancient Chinese Ceramics in itself not yet formed a system of aesthetic construct, but she and the Aesthetics of ancient art and other areas are inextricably linked, the traditional North-South geopolitical aesthetic differences or subtle impact on the aesthetic development of modern ceramics. China's vanguard art of "Beijing Center" and "North-South Light" opened the geographical pattern. Beijing than other Chinese cities have more of an atmosphere of international artists to participate in international affairs and exchanges of experience to Beijing as the center of modern ceramics compared to other cities with more awareness of Pioneer. China's modern development of ceramics in China, mainly engaged in pottery created by potters are all Chinese Academy of Fine Arts, JINGDEZHEN CERAMICS INSTITUTE, Art Institute of Qinghua University established potters of the teachers and graduates from these institutions throughout the country assigned to the graduates They established the modern pottery and exploring the concept of creative direction. North-South Institute of pottery from the direction of teaching, we can basically see that the South and the North of the development trend of modern ceramic art. North and South of ceramic art education or full use of local resources.
North-South and talk to different schools of art in history is also a wide-ranging discussion. This article focus on Chinese contemporary art in the context, in the light of contemporary art theory and modern pottery study theory, the history of human development, to the history of North and South for the difference between the aesthetic character of primers, through analysis of artistic style and origin and the specific form of art Analysis of North-South approach to the interpretation of modern ceramics, pottery further understand China's modern development in their own language.
在中国古代陶瓷本身虽未形成一套美学系统的建构,但她与古代美学思想和其他艺术领域有着千丝万缕的联系,传统的南北地缘美学差异还是潜移默化的影响着现代陶艺的审美发展。中国先锋艺术是以“北京中心”和“北重南轻”的地域格局拉开的。北京比中国其他的城市有更多的国际化氛围和艺术家参与国际事务交往的经验,以北京为中心的现代陶艺相比较其他城市更具有先锋意识。中国现代陶艺在中国大陆发展以来,主要从事陶艺创作的陶艺家都是中国美术学院、景德镇陶瓷学院、清华大学美术学院等设陶艺系的教师以及从这些院校毕业分配到全国各地的毕业生,他们确立了现代陶艺的创作观念和探索方向。从南北方学院陶艺教学的方向上,我们也基本上可以看到南北方现代陶艺的发展趋势。南北方的陶艺教育还是充分的利用了当地的资源。
以南北来谈艺术的不同流派在历史上也是有广泛的讨论。本文着眼于中国当代艺术的大背景下,参照当代艺术理论和现代陶艺研究理论,结合历史人文发展,以历史上南方和北方的美学品格差异为引,通过分析艺术风格和渊源以及具体艺术形式的分析的研究方法来诠释南北现代陶艺,进一步认清中国现代陶艺语言自身的发展状况。
China's modern ceramics while keeping up with the development of contemporary art in the footsteps of the development of a full swing, the outlook is complicated, it seems to be in line with China's economic development in contemporary social and political status quo, but whenwe Throughout China's modern and contemporary pottery, It is not difficult to find, with the Chinese contemporary art against the backdrop of the modern ceramics, as geographical location, cultural history, art environmental differences, the South and the North modern pottery or a significant other.
Ancient Chinese Ceramics in itself not yet formed a system of aesthetic construct, but she and the Aesthetics of ancient art and other areas are inextricably linked, the traditional North-South geopolitical aesthetic differences or subtle impact on the aesthetic development of modern ceramics. China's vanguard art of "Beijing Center" and "North-South Light" opened the geographical pattern. Beijing than other Chinese cities have more of an atmosphere of international artists to participate in international affairs and exchanges of experience to Beijing as the center of modern ceramics compared to other cities with more awareness of Pioneer. China's modern development of ceramics in China, mainly engaged in pottery created by potters are all Chinese Academy of Fine Arts, JINGDEZHEN CERAMICS INSTITUTE, Art Institute of Qinghua University established potters of the teachers and graduates from these institutions throughout the country assigned to the graduates They established the modern pottery and exploring the concept of creative direction. North-South Institute of pottery from the direction of teaching, we can basically see that the South and the North of the development trend of modern ceramic art. North and South of ceramic art education or full use of local resources.
North-South and talk to different schools of art in history is also a wide-ranging discussion. This article focus on Chinese contemporary art in the context, in the light of contemporary art theory and modern pottery study theory, the history of human development, to the history of North and South for the difference between the aesthetic character of primers, through analysis of artistic style and origin and the specific form of art Analysis of North-South approach to the interpretation of modern ceramics, pottery further understand China's modern development in their own language.
引文
[1]高氏兄弟编著,《艺术生态报告-中国当代艺术丛书》,第78页,湖南美术出版社,2002年
[2]程金城著,《中国陶瓷艺术论》第102页,山西教育出版社2000年
[3]宗白华著,《美学散步》第58页,上海人民出版社。1983年3月第三次印刷。
[4]郑宁著,《日本陶艺》,第273页,黑龙江美术出版社,2001年
《中国美术词典》,雄狮图书股份有限公司,1989年4月初版
《中国传统陶瓷艺术研究》,陈淞贤著,中国美术学院出版社,2001月第一版。
《中国当代艺术倾向丛书-超越泥性》,左正尧著。湖南美术出版社,2002年
《世界现代陶艺概览》,白明,江西美术出版社,1999年
《中国美术学院七十周年纪念(1928-1998)》,中国美术学院出版社
《工艺美术文选》,北京工艺美术出版社,1986年第一版第一次印刷
《判断力批判》,(德)康德著,邓晓芒译,人民出版社,2001年
《批评的时代》,第一卷:20世纪末中国美术批评文萃;贾方舟著,广西美术出版社2003年12月第一版第一次印刷
《拓展眼界的当代陶艺》,《演绎泥性》,皮道坚,广东美术馆,2000年
《青瓷的守望着-记著名陶艺家陈淞贤教授》,《中国陶艺家》,2006年
《陶瓷与当代雕塑》,吕品昌著,《中国陶艺家》第二期,2005年
《论新学院陶艺的崛起》,周武著,《中国陶艺家》第一期,2005年
《夺泥土之魂 然精神之火》,孟庆祝著,《中国陶艺家》第一期,2007年
Ceramics monthly,by sheerman hall,publisher charles spahr,November 2006,p57
[2]程金城著,《中国陶瓷艺术论》第102页,山西教育出版社2000年
[3]宗白华著,《美学散步》第58页,上海人民出版社。1983年3月第三次印刷。
[4]郑宁著,《日本陶艺》,第273页,黑龙江美术出版社,2001年
《中国美术词典》,雄狮图书股份有限公司,1989年4月初版
《中国传统陶瓷艺术研究》,陈淞贤著,中国美术学院出版社,2001月第一版。
《中国当代艺术倾向丛书-超越泥性》,左正尧著。湖南美术出版社,2002年
《世界现代陶艺概览》,白明,江西美术出版社,1999年
《中国美术学院七十周年纪念(1928-1998)》,中国美术学院出版社
《工艺美术文选》,北京工艺美术出版社,1986年第一版第一次印刷
《判断力批判》,(德)康德著,邓晓芒译,人民出版社,2001年
《批评的时代》,第一卷:20世纪末中国美术批评文萃;贾方舟著,广西美术出版社2003年12月第一版第一次印刷
《拓展眼界的当代陶艺》,《演绎泥性》,皮道坚,广东美术馆,2000年
《青瓷的守望着-记著名陶艺家陈淞贤教授》,《中国陶艺家》,2006年
《陶瓷与当代雕塑》,吕品昌著,《中国陶艺家》第二期,2005年
《论新学院陶艺的崛起》,周武著,《中国陶艺家》第一期,2005年
《夺泥土之魂 然精神之火》,孟庆祝著,《中国陶艺家》第一期,2007年
Ceramics monthly,by sheerman hall,publisher charles spahr,November 2006,p57