陶瓷壁饰的发展与应用
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摘要
本论文横向从中国和外国两部分对陶瓷壁饰的发展历史和应用情况进行了阐述;纵向分别从古代、中世纪、近现代等三个阶段阐述了陶瓷壁饰的发展进程。论文的第二章阐述陶瓷壁饰发展的历史:外国部分主要是对古代巴比伦神庙、中世纪的伊斯兰清真寺和欧洲基督教堂、王宫以及近现代欧美、日本公共环境中的陶瓷壁饰进行阐述。在中国部分的章节里着重介绍了画像砖、琉璃饰面、砖刻等三种有代表性的壁饰形式。第三章介绍各个国家现代陶瓷壁饰的应用,以及工业化的现代墙壁砖。第四章从环境艺术的角度分析现代陶瓷壁饰广泛应用的前景及其形式特征。
我在做这个课题研究时,看到国外陶瓷壁饰大量出现,且发展迅速。我一直在想:为什么我们没有把自己祖先留下的宝贵遗产继续发扬下去,而外国却做得比中国好呢?本课题从回顾中外陶瓷壁饰发展的历史开始,找出世界从古至今运用陶材装饰建筑墙壁的例子,无非是想引起陶艺家、雕塑家、城市环境设计者、建筑师等所有从事艺术设计的人们能对陶材及其使用更加关注,希望大家能够认识到陶材的艺术魅力,同时,也试图让人们了解到陶瓷不仅仅是一种材料,更是一种文化,一种情感的历史符号。也能让每一位市民深刻体会到:首先,陶瓷是人的技能与自然物质相互交融的产物,陶之质和制成的形来自天然的土与火,最具自然属性,具有内在的和谐和朴素的特质和精神;其次,陶瓷材料作为建筑构件,其功能性和审美性早已被人们所认识,并由来已久,它深刻地体现着传统和地域的特性;再次,陶材具有强度好、耐腐、坚固、易洁等特性,无论是在护壁功能和装饰形式上都是较好的材料,这无疑成为公共环境艺术的首选材料,也是最能体现现代艺术的材料之一。
因此,我认为有关陶瓷壁饰的应用研究无论在理论上和还是实践上,都变得相当重要了。
In this thesis, from Chinese and overseas part I expatiate history of the development and application of ceramic mural decoration breadthwise. At the same time I expound the progress of ceramic mural decoration from three stages of Ancient times, Middle Ages, Neoteric and Modern times lengthways. In the second chapter, there is a history of ceramic mural decoration. There are three main stages of ceramic mural decoration at abroad including hierons in ancient Babylon, Islamic mosques, mediaeval European palace and Christ church, as well as public environment in modern Europe, America and Japan. Then I introduce the three representative forms of mural decoration including brick of figure, the veneer of colored glaze and brick engraved in the chapters of Chinese part. In the second chapter, there is the application of modern ceramic mural decoration in the various nations, along with modern wall brick that industrialize. At last from the point of view of the art of environment, I show its foreground and characteristic.
Doing the research, I have seen a great deal of ceramic mural decoration abroad appears and makes rapid progress. I have always been thinking: Why not develop precious inheritance left by ancestry continuously, while the foreigners do better than us. At the beginning of looking back history of Chinese and Foreign ceramic mural decoration, there are illustrations found out in the world, nothing but do I want to arouse the potters, sculpturers, city environment design, and architects and so on pay great attention to ceramic material an its application, and hope everybody can know the artistic fascination ceramic. At the same time, I try to let people understand ceramic is not only a kind of material, but also a kind of culture and a kind of affective historical sign. Also make each citizen profoundly realize: First, porcelain and pottery is outcome that technical ability of human beings and natural material
blend into each other, because the quality and the form of the pottery comes from the natural soil and fire, it is most of natural attribute, having inside harmonious and inornate characteristic. Secondly, earthen materials, which are regarded as one of components of architecture characteristic for, it embody characteristic of tradition and region. Thirdly, because ceramic is of fine intension, rottenless solidity clean, ceramic has become principal material of the public environment, as well one of materials of modern art.
Therefore, I think the relevant study of application of the ceramic mural decoration has become quite important in not only theory but also practice.
我在做这个课题研究时,看到国外陶瓷壁饰大量出现,且发展迅速。我一直在想:为什么我们没有把自己祖先留下的宝贵遗产继续发扬下去,而外国却做得比中国好呢?本课题从回顾中外陶瓷壁饰发展的历史开始,找出世界从古至今运用陶材装饰建筑墙壁的例子,无非是想引起陶艺家、雕塑家、城市环境设计者、建筑师等所有从事艺术设计的人们能对陶材及其使用更加关注,希望大家能够认识到陶材的艺术魅力,同时,也试图让人们了解到陶瓷不仅仅是一种材料,更是一种文化,一种情感的历史符号。也能让每一位市民深刻体会到:首先,陶瓷是人的技能与自然物质相互交融的产物,陶之质和制成的形来自天然的土与火,最具自然属性,具有内在的和谐和朴素的特质和精神;其次,陶瓷材料作为建筑构件,其功能性和审美性早已被人们所认识,并由来已久,它深刻地体现着传统和地域的特性;再次,陶材具有强度好、耐腐、坚固、易洁等特性,无论是在护壁功能和装饰形式上都是较好的材料,这无疑成为公共环境艺术的首选材料,也是最能体现现代艺术的材料之一。
因此,我认为有关陶瓷壁饰的应用研究无论在理论上和还是实践上,都变得相当重要了。
In this thesis, from Chinese and overseas part I expatiate history of the development and application of ceramic mural decoration breadthwise. At the same time I expound the progress of ceramic mural decoration from three stages of Ancient times, Middle Ages, Neoteric and Modern times lengthways. In the second chapter, there is a history of ceramic mural decoration. There are three main stages of ceramic mural decoration at abroad including hierons in ancient Babylon, Islamic mosques, mediaeval European palace and Christ church, as well as public environment in modern Europe, America and Japan. Then I introduce the three representative forms of mural decoration including brick of figure, the veneer of colored glaze and brick engraved in the chapters of Chinese part. In the second chapter, there is the application of modern ceramic mural decoration in the various nations, along with modern wall brick that industrialize. At last from the point of view of the art of environment, I show its foreground and characteristic.
Doing the research, I have seen a great deal of ceramic mural decoration abroad appears and makes rapid progress. I have always been thinking: Why not develop precious inheritance left by ancestry continuously, while the foreigners do better than us. At the beginning of looking back history of Chinese and Foreign ceramic mural decoration, there are illustrations found out in the world, nothing but do I want to arouse the potters, sculpturers, city environment design, and architects and so on pay great attention to ceramic material an its application, and hope everybody can know the artistic fascination ceramic. At the same time, I try to let people understand ceramic is not only a kind of material, but also a kind of culture and a kind of affective historical sign. Also make each citizen profoundly realize: First, porcelain and pottery is outcome that technical ability of human beings and natural material
blend into each other, because the quality and the form of the pottery comes from the natural soil and fire, it is most of natural attribute, having inside harmonious and inornate characteristic. Secondly, earthen materials, which are regarded as one of components of architecture characteristic for, it embody characteristic of tradition and region. Thirdly, because ceramic is of fine intension, rottenless solidity clean, ceramic has become principal material of the public environment, as well one of materials of modern art.
Therefore, I think the relevant study of application of the ceramic mural decoration has become quite important in not only theory but also practice.
引文
陈进海: 《世界陶瓷艺术史》,黑龙江美术出版社,1995年4月版。
白明:《世界现代陶艺概览》,江西美术出版社出版,1999年1月版。
赵云川:《陶瓷壁画艺术》,辽宁美术出版社出版, 2001年6月版
田卫平:《现代装饰艺术》,黑龙江美术出版社出版,1995年1月版
吕品晶;《中国传统艺术》,中国轻工业出版社出版,2000年1月版
徐志坚:走近壁画——壁画创作也设计》,福建美术出版社,2001年6月版
中国硅酸盐学会:《中国陶瓷史》,文物出版社,1982年9月版
株式会京都书院:《日本的陶壁》,株式会京都书院出版,1992年2月版
汪立信 鲍树民:《徽州明清民局雕刻》,文物出版社,1986年6月版
李沿:《西方美术史纲》,辽宁美术出版社,1980年版
张万夫:《汉画造》,天津人民美术出版社,1982年3月版
周锦林、林冰:《陶瓷装饰艺术》,辽宁科学技术出版社,1994年11月版
白明:《世界现代陶艺概览》,江西美术出版社出版,1999年1月版。
赵云川:《陶瓷壁画艺术》,辽宁美术出版社出版, 2001年6月版
田卫平:《现代装饰艺术》,黑龙江美术出版社出版,1995年1月版
吕品晶;《中国传统艺术》,中国轻工业出版社出版,2000年1月版
徐志坚:走近壁画——壁画创作也设计》,福建美术出版社,2001年6月版
中国硅酸盐学会:《中国陶瓷史》,文物出版社,1982年9月版
株式会京都书院:《日本的陶壁》,株式会京都书院出版,1992年2月版
汪立信 鲍树民:《徽州明清民局雕刻》,文物出版社,1986年6月版
李沿:《西方美术史纲》,辽宁美术出版社,1980年版
张万夫:《汉画造》,天津人民美术出版社,1982年3月版
周锦林、林冰:《陶瓷装饰艺术》,辽宁科学技术出版社,1994年11月版