Briefly describe the relationship between environmental ceramics and the environment

The proposal of environmental ceramic art frees ceramic art from the shackles of exhibition shelves，and places its functional limitations in the public space，condensing the artists thinking about society，culture and the spirit of the masses，blending harmoniously with people with its friendly materials and avant-garde expression The living environment of the artist interacts well with the surrounding environment and people intentionally or unintentionally，and forms a unique magnetic field during the interaction process，so that the work conveys emotions and allows viewers to enjoy the beauty.

With the intervention of ceramic art，public environmental art not only enriches the expression of public environmental art，but also opens up new horizons for the exploration of modern ceramic art's ontological language. As a unique expression of public environmental art，environmental pottery also follows the local，public and diversified artistic characteristics of public art. Human beings depend on the environment to survive. The emergence of environmental ceramics not only beautifies the environment，but also enriches people's deep spiritual world，and meets the aesthetic needs of modern people in interaction. The presentation of environmental pottery should not only consider the unique artistic language charm of pottery，but also should adapt to local conditions. Ceramic art is derived from nature and returns to nature，which also reflects the naturalistic ideas of Chinese Taoism advocating the way of nature and the unity of nature and man. Nature is an incomparably profound knowledge. Respect for nature is the only way to have "Tao to follow nature" and "to learn from nature."

During the pre-planning period of environmental ceramics，the designer should fully consider the adaptation of the work to the site，the coordination with the surrounding environment，and how to ingeniously integrate into the local regional culture and cultural customs. This allows designers to fully mobilize their subjective initiative and at the same time，from a more macroscopic aesthetic point of view，explore the environmental ceramic design language suitable for the environment，people，and ceramic art，so as to achieve a harmonious unity between the work，the environment，and the human being.

At the same time，in the context of the diversified development of postmodernism，environmental ceramics is not satisfied with the presentation of a single form.

The combination with multiple types of materials can not only expand the artistic expression of environmental pottery，but also find the unique advantages and artistic charm of environmental pottery in the repeated exploration.

作者簡(jiǎn)介：

龔鈺（1996.12-），女，漢族，籍貫：山東臨清人，齊魯工業(yè)大學(xué)（山東省科學(xué)院）藝術(shù)設(shè)計(jì)學(xué)院，18級(jí)在讀研究生，碩士學(xué)位，專業(yè)：藝術(shù)設(shè)計(jì)，研究方向：裝飾藝術(shù)設(shè)計(jì)。

（作者單位：齊魯工業(yè)大學(xué)（山東省科學(xué)院））