中国陶瓷绘画造境研究
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摘要
本文以中国陶瓷绘画造境为论题,从学术角度对陶瓷绘画做一次梳理,以获得一些有利于创作的启示。造境观照了陶瓷绘画创作的各个环节,以造境为目的进行创作对陶瓷绘画发展大有裨益。本文从中国绘画与陶瓷绘画渊源关系分析,认为它们的艺术思致和技法是共通的,这也是陶瓷绘画造境的源头;从陶瓷绘画的成熟历程看,它是一个不断吸收中国绘画技法的历程,也就是其造境的各个环节逐渐完备。其中工艺技术条件是客观因素。文人则起了推动作用,艺术个性化也就是造境的觉醒;从陶瓷绘画的材料特性看,陶瓷这个载体,釉料、色料、烧成等都与造境息息相关;从修养对造境的影响上看,认为这是陶瓷绘画文化品格整体提升的主观因素;从鉴赏角度看,由创作者和欣赏者共同完成的造境的生发使得陶瓷绘画具有了真正的社会文化价值。
在具体研究方法上,本文运用绘画理论与史实资料结合图像进行分析梳理陶瓷绘画造境诸多特征。
The theme of this paper is about creating artistic conception in China's ceramic painting. It looks back on ceramic painting from the point of academy and gets some inspirations to help creating. Creating artistic conception is related to every aspects of ceramic painting creation. It will benefit to develop ceramic painting to do create from the purpose of creating artistic conception. This paper analyses the original relationship between Chinese painting and ceramic, and regards their arts and techniques similar, which is also the source of ceramic painting; ceramic painting ,from the course of mature, is a process of keeping on absorbing the Chinese painting techniques ,i.e. all aspects of its creating artistic conception gradually perfect. Technology conditions are objective factors. Literati played an important role in promoting it, the personality of the arts is the awakening of artistic conception; and from the material properties of the ceramic painting, ceramics as a carrier, gaze, pigment, firing all have close relation to creating artistic conception; from the effect of culture to creating artistic conception, the paper thinks this is the subjective factor that leads to the overall upgrade of cultural character of ceramic painting; from the perspective of appreciation, the emergence of creating artistic conception co-created by creators and appreciators makes ceramic painting having genuine social and cultural value.
The paper analyses and looks back on characters of ceramic paintings by combining painting theories with historical materials and pictures.
在具体研究方法上,本文运用绘画理论与史实资料结合图像进行分析梳理陶瓷绘画造境诸多特征。
The theme of this paper is about creating artistic conception in China's ceramic painting. It looks back on ceramic painting from the point of academy and gets some inspirations to help creating. Creating artistic conception is related to every aspects of ceramic painting creation. It will benefit to develop ceramic painting to do create from the purpose of creating artistic conception. This paper analyses the original relationship between Chinese painting and ceramic, and regards their arts and techniques similar, which is also the source of ceramic painting; ceramic painting ,from the course of mature, is a process of keeping on absorbing the Chinese painting techniques ,i.e. all aspects of its creating artistic conception gradually perfect. Technology conditions are objective factors. Literati played an important role in promoting it, the personality of the arts is the awakening of artistic conception; and from the material properties of the ceramic painting, ceramics as a carrier, gaze, pigment, firing all have close relation to creating artistic conception; from the effect of culture to creating artistic conception, the paper thinks this is the subjective factor that leads to the overall upgrade of cultural character of ceramic painting; from the perspective of appreciation, the emergence of creating artistic conception co-created by creators and appreciators makes ceramic painting having genuine social and cultural value.
The paper analyses and looks back on characters of ceramic paintings by combining painting theories with historical materials and pictures.
引文
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[31]郑丽华,程永安,陶瓷装饰彩绘的空间,中国陶瓷.2006,42(1):75-76.
[32]王立民.青花山水借鉴水墨画的笔墨来营造其内在意蕴.中国陶瓷.2006,42(9):73.
[33]龙德明.浅谈陶瓷绘画与陶瓷装饰的关系.景德镇陶瓷.2006,17(1):21.
[2]孔六庆.中国陶瓷绘画艺术史.南京:东南大学出版社.2004.
[3]田自秉.中国工艺美术史.北京:东方出版社.2000.
[4]陈雨前.中国陶瓷文化.北京:中国建筑工业出版社.2004.
[5]杨永善.说陶论艺.哈尔滨:黑龙江美术出版社.2001.
[6]远宏,祥波.中国民间陶瓷工艺.哈尔滨:黑龙江美术出版社.1996.
[7]陈松贤.中国传统陶瓷艺术研究.杭州:中国美术学院出版社.2001.
[8]贾荣建,刘凤琴.中国彩陶图案的艺术形式探寻.石家庄:河北美术出版社.1994.
[9]王国维,藤咸惠.人间词话新注(修订本).济南:齐鲁书社.1994.
[10]丘挺.宋代山水画造境研究.济南:山东美术出版社.2006.
[11]蒲震元.中国艺术意境论.第2版.北京:北京大学出版社.北京:2000.
[12]韩林德.境生象外.北京:生活·读者·新知三联书店.1995.
[13]周积寅.中国画论辑要.南京:江苏美术出版社.1985.
[14]陈绶祥.国画讲义.南宁:广西美术出版社.2004.
[15]陈绶祥.国画指要.成都:四川美术出版社.2006.
[16]洪惠镇.中西绘画比较.石家庄:河北美术出版社.2006.
[17]陈传席.六朝画论研究.天津:天津人民美术出版社.2006.
[18]陈传席.西山论道集.沈阳:辽宁美术出版社.2004.
[19]张强.中国画论体系.郑州:河南美术出版社.2005.
[20]叶朗.现代美学体系.第3版.北京:北京大学出版社.2002.
[21]宗白华.艺境.第2版.北京:北京大学出版社.2004.
[22]唐家路,潘鲁生.哈尔滨:中国民间美术学导论.黑龙江美术出版社.2000.
[23]李以泰.黑白艺术学.杭州:中国美术学院出版社.2001.
[24]陈铭.意与境--中国古典诗词美学三味.第2版.杭州:浙江大学出版社.2002.
[25]刘士林.中国诗学精神.海口:海南出版社.2006.
[26]孙晓云.书法有法.北京:知识出版社.2003.
[27]陈振濂.书法美学.济南:山东人民出版社.2006.
[28]李文亮.当代花鸟画技法解读--造境法.济南:山东美术出版社.2005.
[29]张玲玲,汪冲云.陶瓷绘画艺术意境浅谈.中国陶瓷.2000,36(4):33-34.
[30]洪南雨.陶瓷绘画艺术中的文学现象.景德镇陶瓷.2004,14(2):26-28.
[31]郑丽华,程永安,陶瓷装饰彩绘的空间,中国陶瓷.2006,42(1):75-76.
[32]王立民.青花山水借鉴水墨画的笔墨来营造其内在意蕴.中国陶瓷.2006,42(9):73.
[33]龙德明.浅谈陶瓷绘画与陶瓷装饰的关系.景德镇陶瓷.2006,17(1):21.