陶瓷壁画的装饰应用
摘要
陶瓷被称为最简单和最复杂的东西,其最简单是因为它的基本材料是无处不在、就地可取的泥土；其最复杂的不仅在于通过某种化学变化后,由一种物质变成另一种物质,而且更重要的是它反映了人类智慧、思想情感及艺术境界。从远古到现在人类的发展历程中,陶瓷形成一整套独特的语言和审美形态,具有可塑性特质,陶瓷造型变化的无限性和肌理美的观赏性,反映了人的价值追求和精神审美的需要。陶瓷壁画泥性的特征在塑造成型和视觉感觉体验时表现出来的柔软性的触动,按自身的感性认识发掘陶瓷壁画的造型变幻和丰富的观赏性表现。陶瓷壁画创作过程融入了作者大量的情感和生活体验,以及对人生的感悟和艺术阅历积累,开拓了不可被任何其他艺术形式所代替的特性领域。以人性化、自然美、多变化、亲和力、易加工、技术多样等为主要工艺技法创造审美品质,深刻地诠释陶瓷壁画艺术更广泛的审美空间。随着人类物质和精神生活的不断提高,科学技术和艺术水平不断发展,陶瓷出现了不同的品种样式和艺术风格。陶瓷材料的开拓和陶瓷壁画工艺的改进,为艺术设计活动提供了广泛的空间和技术条件,也为各个历史时期的人们由于生活习惯和审美观念的变化,创造出适应不同需求的艺术样式和风格的陶瓷壁画。陶瓷壁画必须与建筑空间相协调,体现历史文化、科学技术和民族精神的一种艺术形式,艺术就是要将审美情感化隐为显,它具有强烈的时代轰动艺术效应。陶瓷壁画是建筑空间环境的一个有机部分,其内容和形式要服从于建筑空间的布局和使用功能,装饰空间环境要适应不同需要的个性化,艺术设计效果不仅在于画面本身,更重要的是它能够满足建筑空间环境的整体和谐。
Ceramic is known as the simplest and most complex things simply because it is the most basic material is ubiquitous on the spot desirable soil; the most complex is through a chemical change only after the change by a material into another substance, but more importantly, it reflects the human wisdom, thoughts and emotions and artistic realm. From ancient times to the present course of human development, ceramic form a unique language and set of aesthetic form, with the plasticity characteristics of ceramic shapes and texture changes in the infinite beauty of ornamental, reflecting the pursuit of human values and spiritual aesthetic needs.Ceramic mural in the shape of the characteristics of clay forming and visual sense of experience shown by the softness of touch, according to their own perceptions to explore changing shape of ceramic murals and rich view of the performance. Ceramic mural of the creative process into a lot of emotion and life experience, and perception of life and art on the accumulated experience, to develop the art form can not be replaced by any other characteristics of the field. To human, natural beauty, varied, affinity, easy processing, technology and diverse techniques as the main process to create the aesthetic quality, a profound interpretation of a wide range of ceramic mural art aesthetic Space. As human material and spiritual life continued to improve, the level of science and technology and the continuous development of arts, pottery appeared in different styles and varieties of artistic style. Develop ceramic materials and ceramic murals process of improvement, design activities for the arts provides a wide range of space and technical conditions for the Ge Ge Ye Lishishiqi of that since one living habits, and aesthetic conception, Chuang Zaochu meet Butongxuqiu of Yishuyangshi and Feng Ge ceramic murals. Ceramic murals must be coordinated with the architectural space, reflecting history, culture, science and technology and national spirit of an art Form of art is to implicitly as the obvious aesthetic emotional, it has a strong artistic effect of age sensation.
Ceramic is known as the simplest and most complex things simply because it is the most basic material is ubiquitous on the spot desirable soil; the most complex is through a chemical change only after the change by a material into another substance, but more importantly, it reflects the human wisdom, thoughts and emotions and artistic realm. From ancient times to the present course of human development, ceramic form a unique language and set of aesthetic form, with the plasticity characteristics of ceramic shapes and texture changes in the infinite beauty of ornamental, reflecting the pursuit of human values and spiritual aesthetic needs.Ceramic mural in the shape of the characteristics of clay forming and visual sense of experience shown by the softness of touch, according to their own perceptions to explore changing shape of ceramic murals and rich view of the performance. Ceramic mural of the creative process into a lot of emotion and life experience, and perception of life and art on the accumulated experience, to develop the art form can not be replaced by any other characteristics of the field. To human, natural beauty, varied, affinity, easy processing, technology and diverse techniques as the main process to create the aesthetic quality, a profound interpretation of a wide range of ceramic mural art aesthetic Space. As human material and spiritual life continued to improve, the level of science and technology and the continuous development of arts, pottery appeared in different styles and varieties of artistic style. Develop ceramic materials and ceramic murals process of improvement, design activities for the arts provides a wide range of space and technical conditions for the Ge Ge Ye Lishishiqi of that since one living habits, and aesthetic conception, Chuang Zaochu meet Butongxuqiu of Yishuyangshi and Feng Ge ceramic murals. Ceramic murals must be coordinated with the architectural space, reflecting history, culture, science and technology and national spirit of an art Form of art is to implicitly as the obvious aesthetic emotional, it has a strong artistic effect of age sensation.
引文
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[19]邱正伦.审美价值取向研究[M].北京：文化艺术出版社,2007
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[21]Hugh Honour, John Fleming. Art History of World[M]. International Cultural Publishing Company,1989
[22]Herbert Read,Art and Industry[M]. Bloomington:Indiana University Press,1961
[1]金艺.综述公共艺术中的陶瓷壁画创作[J].陶瓷科学与艺术.2007,7：23-26
[2]张玉萍,周勇.论现代陶艺中的功能陶艺[J].中国陶瓷.2006,42(6)：54-56
[3]陈吴.论当代艺术对陶艺发展的影响[J].装饰.2004,4
[4]程云,杨丽坤.中国绘画与陶瓷装饰比较论[J].中国陶瓷.2005,4
[5]张亚林,高进.谈陶艺创作中手工痕迹的价值[J].装饰.2006,7
[6]陈晖.浅谈陶艺创作的精神与功利性[J].景德镇陶瓷.2000,10(4)：39-41
[7]张守智.火与土的淬炼——朱乐耕的陶艺创作[J].美术.1994,9
[8]陈孟新.生活陶艺论[J].西北美术.2005,2
[9]万长林.从文化的视点看中国陶瓷艺术[J].中国陶瓷.2004,40(1)：67-68,64
[10]曾令可,王慧,张海文,张明,程小苏.高性能陶瓷材料的发展现状及展望[J].佛山陶瓷.2002，6：1-7
[11]杨志.试论计算机辅助设计在陶瓷艺术设计中的优越性[J].景德镇陶瓷.2002,3：5-11
[12]黄胜.谈陶瓷壁画装饰风格的多样化[J].中国陶瓷工业.1998,04：39-40
[1]何佳.壁画在建筑环境中的视觉分析[D]：(硕士论文).北京：中央美术学院,2004.
[2]王堑.现代壁画与城市空间[D]：(硕士论文).北京：中央美术学院,2003.
[3]何科丁.生活陶艺的创新性设计[D]：(硕士论文).江西：景德镇陶瓷学院,2007年.
[4]杨新华.解析“现代陶艺”的装饰语意[D]：硕士论文).苏州：苏州大学,2007.
[5]徐微.陶瓷壁饰的发展与应用[D]：(硕士论文).北京：清华大学,2004.
[6]王小芹.论现代陶艺对公共环境的介入[D]：(硕士论文).山西：山西大学,2008.
[7]李静.论现代陶瓷壁画艺术介入现代家具环境设计[D]：(硕士论文).景德镇：景德镇陶瓷学院,2008
[2]吴明娣,袁粒.中国艺术设计简史[M].北京：中国青年出版,2008
[3]张延刚.壁画艺术与环境[M].安徽：安徽美术出版社,2003
[4]徐志坚.走进壁画,壁画创作与设计[M].福建：福建美术出版社,2001
[5]祝重寿.东方壁画史纲[M].北京：文物出版社,2005
[6]祝重寿.欧洲壁画史纲[M].北京：文物出版社，2005
[7]唐鸣岳,赵松青,近现代室内外壁画[M].黑龙江：黑龙江美术出版社,1996
[8]任梦璋.欧洲环境艺术[M].辽宁：辽宁美术出版社,1996
[9]侯一民.中国百年壁画[M].北京：中国建筑工业出版社,2004
[10]迟轲.西方美术理论文选——古希腊到20世纪[M].江苏：江苏教育出版社,2005
[11]易存国.敦煌艺术美学——以壁画艺术为中心[M].上海：上海人民出版社,2005
[12]刘敦桢.中国古代建筑史[M].北京：中国建筑工业出版社,1980
[13]梁思成.中国建筑史[M].北京：中国建筑工业出版社,1986
[14]冯先铭.中国陶瓷[M].上海：上海古籍出版社,2001
[15]远宏,祥波.中国民间陶瓷艺术[M].黑龙江：黑龙江美术出版社,1996
[16]叶喆民.中国陶瓷史.生活·读书[M].济南：新知三联店,2006.
[17]黄永健.艺术文化论[M].北京：文化艺术出版社,2008
[18]舒也.中西文化与审美价值诠释[M].上海：上海三联书店,2008
[19]邱正伦.审美价值取向研究[M].北京：文化艺术出版社,2007
[20]陈大柔.美的张力[M].上海：商务印书馆出版社,2009
[21]Hugh Honour, John Fleming. Art History of World[M]. International Cultural Publishing Company,1989
[22]Herbert Read,Art and Industry[M]. Bloomington:Indiana University Press,1961
[1]金艺.综述公共艺术中的陶瓷壁画创作[J].陶瓷科学与艺术.2007,7：23-26
[2]张玉萍,周勇.论现代陶艺中的功能陶艺[J].中国陶瓷.2006,42(6)：54-56
[3]陈吴.论当代艺术对陶艺发展的影响[J].装饰.2004,4
[4]程云,杨丽坤.中国绘画与陶瓷装饰比较论[J].中国陶瓷.2005,4
[5]张亚林,高进.谈陶艺创作中手工痕迹的价值[J].装饰.2006,7
[6]陈晖.浅谈陶艺创作的精神与功利性[J].景德镇陶瓷.2000,10(4)：39-41
[7]张守智.火与土的淬炼——朱乐耕的陶艺创作[J].美术.1994,9
[8]陈孟新.生活陶艺论[J].西北美术.2005,2
[9]万长林.从文化的视点看中国陶瓷艺术[J].中国陶瓷.2004,40(1)：67-68,64
[10]曾令可,王慧,张海文,张明,程小苏.高性能陶瓷材料的发展现状及展望[J].佛山陶瓷.2002，6：1-7
[11]杨志.试论计算机辅助设计在陶瓷艺术设计中的优越性[J].景德镇陶瓷.2002,3：5-11
[12]黄胜.谈陶瓷壁画装饰风格的多样化[J].中国陶瓷工业.1998,04：39-40
[1]何佳.壁画在建筑环境中的视觉分析[D]：(硕士论文).北京：中央美术学院,2004.
[2]王堑.现代壁画与城市空间[D]：(硕士论文).北京：中央美术学院,2003.
[3]何科丁.生活陶艺的创新性设计[D]：(硕士论文).江西：景德镇陶瓷学院,2007年.
[4]杨新华.解析“现代陶艺”的装饰语意[D]：硕士论文).苏州：苏州大学,2007.
[5]徐微.陶瓷壁饰的发展与应用[D]：(硕士论文).北京：清华大学,2004.
[6]王小芹.论现代陶艺对公共环境的介入[D]：(硕士论文).山西：山西大学,2008.
[7]李静.论现代陶瓷壁画艺术介入现代家具环境设计[D]：(硕士论文).景德镇：景德镇陶瓷学院,2008