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      The fusion of modern ceramic art and art form

      2019-09-10 03:13:50張婭楠
      新教育論壇 2019年14期
      關(guān)鍵詞:鶴壁市籍貫美術(shù)專業(yè)

      Abstract: Modern ceramic art is inclusive, and the art of plastic molding interacts with the decorative techniques of modern ceramic art. In the creation of modern ceramic art, the process of stacking plastic is added, which is more conducive to the creation of creation. Of course, the fusion of the two art forms is not only the use of plastic art decoration techniques in modern ceramic art, but also the expression of spiritual emotions.

      Modern ceramic art is a new cultural expression between sculpture, painting and architecture. It uses ceramic material materials and techniques to reflect the artist's thoughts and feelings and understanding of social life. The new forms and aesthetic meanings of modern ceramic art are both It is not available in traditional ceramic art. Modern ceramic art has shifted from a single form to a pluralistic development. The aesthetic paradigm is no longer a convergence but a divergence. It has changed the concept of the past rules and rules, and the materials, techniques, forms, textures, etc. of ceramic art. The discussion of possibilities shows great interest and enthusiasm. The art of plastic sculpture is used in modern ceramic art, which can make the expression of modern ceramic art more abundant. The combination of the two can promote the integration of tradition and modernity. Modern ceramic art is inclusive, and the art of plastic molding interacts with the decorative techniques of modern ceramic art. In the creation of modern ceramic art, the process of stacking plastic is added, which is more conducive to the creation of creation. Of course, the fusion of the two art forms is not only the use of plastic art decoration techniques in modern ceramic art, but also the expression of spiritual emotions.

      In traditional ceramics, the achievements of pile-forming are the most prominent, and the application is also the most extensive. Many ceramic objects have piled plastic decoration and plastic molding decoration. The early ceramics are decorated with convex mud or paving image. Later, it developed into the shape of animals, characters, and many ceramics. For example, in the Northern Song Dynasty, the kiln was piled up, not only faithfully recorded the prestige and prestige of the Valuable, but also the beautiful wishes of the dragons and the dragons in the sky. The lower part of the tank body and the mouth of the tank and the lid of the tank leave a blank, which contrasts with the bulk of the tank body and the pile top of the lid to form a virtual and dense contrast. Although the pile plastic on the tank is uneven and rich in space, the dense pile-forming is completely changed according to the shape of the tank itself, maintaining the original contour curve and maintaining the small mouth, straight neck, shoulder and belly. Integrity. The pile plastic on the tank also uses water ripples to incorporate the numerous scenes into a certain order, and to achieve rhythmic and rhythmic changes.

      The two most important aspects of modern ceramic art: First, the performance techniques are eclectic, resulting in extremely rich and random visual effects, surpassing the traditional technical standards, so in the application of the pile-up decorative techniques to break through the traditional pile-up art, expand new The field of performance; secondly, it exists as a medium of spiritual expression. The main feature is its spiritual attribute. That is to say, in the fusion of modern ceramic art and pile-up art, it is necessary to give the spirit of the work, and more is the emotion. The use of plastic sculpture art in modern ceramic art should clearly recognize the connection between the two artistic styles, actively explore, boldly try various artistic treatments such as styling, decoration and firing, and constantly innovate to find a modern one that suits oneself. The language of pottery and the formation of style will naturally come naturally.

      作者簡介:張婭楠(1993,10-),籍貫:河南省鶴壁市,現(xiàn)就讀于齊魯工業(yè)大學,16級碩士研究生,美術(shù)專業(yè),陶瓷美術(shù)方向。

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