Modern ceramic works are in urgent need of pictures and introductions.

A Preliminary Study on the Creation Method of Modern Ceramic Art Editor: | Source: China Ceramic Information Resource Network | Label: A Preliminary Study on the Creation Method of Modern Ceramic Art | Release Time: 2007-9- 10 The so-called ceramic art refers to the artistic characteristics of ceramic daily necessities such as shape, glaze color and decoration, and also refers to the artistic porcelain of ceramics. Modern ceramic art is a new cultural expression between sculpture, painting and architecture. The so-called ceramic art refers to the artistic features such as the shape, glaze color and decoration of ceramic daily necessities, and also refers to the artistic porcelain of ceramics. Modern ceramic art is a new cultural expression between sculpture, painting and architecture, and it is the extension, expansion and transformation of traditional ceramic art.

In modern art, ceramic art, as a unique art category, has attracted more and more attention. Regardless of the East or the West, modern ceramic art has opened up a new world of modern art with its unique artistic language and valuable artistic creation process. It is different from painting and sculpture. It comes from tradition, but people pay more attention to its modern quality.

Ceramics have existed in the form of daily necessities since ancient times. With the broadening of postmodern painters' horizons, the media of painting has become more and more abundant, from a single canvas and brush to the use of diverse materials. Many artists are fascinated by the so-called "texture": a sense of matter, smooth or rough, transparent or dense, so they add other materials, such as mud, sawdust or sand, to ordinary pigments, and painting gradually moves from plane to three-dimensional, forming a product between painting and sculpture. Because of its ability of sculpture and painting, pottery clay shows gorgeous, simple, depressed or flamboyant multilateral character in the process of combining with fire, which makes painting masters Picasso and Miro also participate in the creation of pottery. Miro emphasizes the development of the aesthetic feeling of ceramic materials, using the contrast of texture effect and the decorative pattern in harmony with the modeling, which makes people feel an unpretentious intimacy and unforgettable. Picasso skillfully used makeup soil, powder or bas-relief decoration on some plates, and skillfully compared the natural beauty of ceramic materials with the beauty of artificial decoration.

Since 1950s, almost all the artists who occupy a place in the history of modern art have participated in the creation of ceramic art to some extent. Their participation injected fresh blood into the traditional ceramic art, brought the thinking of modern artistic creation into the creation of ceramic art, and made the traditional ceramic art get rid of the limitation of its use function, and went to the road of paying equal attention to both pure artistic creation and practical ceramic art. Because of the irrational and irregular components in ceramic materials, it just met the needs of people seeking to suppress their emotions from outside the industrialized living environment at that time. Therefore, modern ceramic art has developed rapidly all over the world.

Until the 1940 s, Pita, USA? With the emergence of avant-garde ceramists headed by Vauxhall and Kazuo Yagi of Japan, modern ceramic art really came into being. 1In July, 948, Kazuo Yagi, Yamada Hiroshi, Yezhefu, Misuke Matsui and others initiated the establishment of the famous Japanese Modern Ceramics Society "Walking Mud Society". Kazuo Yagi pioneered the non-practical pure plastic ceramic art, showed the diverse expressive force of clay, and greatly broadened the vision of ceramic art creation. This series of practices has proved that the creation of ceramic art can fully show the personal feelings of the ceramist in the mud and fire, or reflect the artist's specific cultural background and cultivation skills. Therefore, it has all the functions of modern art, and it also has the forms and styles of modern art. In the 1980s, post-modern art appeared, and art came out of the debate of "art for art's sake" and became a field that ordinary people can set foot in. Ceramic art once again won the public's love with its kindness and simplicity composed of the most basic elements, such as gold, wood, water, fire and earth, and became a popular art form, which swept the world. Countries have set up ceramic classes in primary and secondary schools, set up amateur ceramic organizations and held international ceramic seminars and exhibitions.

Modern ceramic art in China started late, and it was not until the late 1970s and early 1980s that modern ceramic art began to sprout in China. With the deepening of reform and opening up, people's ideas are rapidly updated, and traditional ceramic art is no longer satisfied with the status quo and seeks to keep pace with the times. With the increase of foreign exchange, China ceramic art is not only influenced by western modernism, but also impacted by postmodern imagination. Therefore, China's so-called "modern ceramic art" developed in a diversified state from the beginning, instead of pure "modernist" ceramic art. Modern ceramic art is a ceramic art with the characteristics of modern art, that is, "the modern visual experience caused by modern industry and science and technology finally dominates people's aesthetic consciousness, leads to the revolution of modern art form, and is a re-examination of people's value in modern society." The new personality's requirement for human nature and the artistic reflection of reflection get rid of the shackles of traditional religion and culture, and are the expression of personal subjective will and emotion.

How to develop the local modern ceramic art in China depends on how to treat the influence of traditional ceramic art in the creation of modern ceramic art, and the rich cultural accumulation embodied in the 5,000-year ceramic history is our rich heritage. Modern ceramic art is not passive water, it is a new contemporary form of the development and change of traditional ceramic art, and it is an obvious stage product of the development of ceramic art. Although the practical function and value of ceramics are partially diluted or cancelled, it is similar to traditional ceramic art in artistic expression, that is, it expresses an aesthetic pursuit that is both * * * and avant-garde in society. From the whole historical development and all the basic characteristics of ceramic art, modern ceramic art is the individual development of traditional ceramic art, with continuity in change and creation and mutation in continuity. It is worth pointing out that although we have seen the undeniable internal relationship between modern ceramic art and traditional ceramic art, this does not mean to deny the differences between modern ceramic art and old ceramic art in the way of existence, artistic form and overall creative concept. The promotion and influence of modern art and social thoughts, the entry of modernist artists and the change of modern lifestyle have given ceramic art a new qualitative side.

As we all know, the main difference between modern ceramic art and traditional ceramic art is that it moves from the principle of practicality and aesthetics to pure aesthetic demand and emotional expression. It expands the aesthetic category of traditional ceramic art, introduces rough, incomplete and weird concepts into ceramic art, and introduces the characteristics of personal visual symbols evolved from special firing methods and personalized material grasp into ceramic art. On this premise, the technicality of ceramic art will not be weakened because of the disappearance of practical functions, but will become complex and diversified because of the promotion of personalized technology. That is, from a single general technology widely recognized by aesthetics to a personalized technology with personal symbols.

The process of modern ceramic art creation includes three aspects: modeling, decoration and firing. These three aspects have made a breakthrough in the production of modern ceramic art, which is mainly reflected in the fact that modern ceramic art does not stick to the traditions of a certain dynasty, but critically inherits historical traditions, treats western culture with an inclusive attitude, and makes innovations on this basis.

In modeling, because clay has strong plasticity, stability and easy modeling, the modeling of ceramic art has considerable freedom and structure. The main methods of ceramic molding are hand kneading, clay strip rolling, splicing, hollowing out, blank drawing and blank printing. No matter what technology and modeling are adopted, what ceramists are always pursuing is to fully show the clay: the deformation of clay strips, the natural collapse of clay slabs and the natural cracking of clay bodies; Even hand-painted blanks can fully show the quality of mud. A handprint, a fingerprint, all record people's interest will, but also express the mud itself. These characteristics are not available in other materials. For example, Peter walker, an American ceramist, was influenced by abstract expressionism and behavioral painting school at that time, and tried and practiced a new style that completely abandoned the traditional pottery-making method and aesthetics, which fully reflected the spontaneous expression of soil and expressed the artist's emotional concept in a laissez-faire, accidental and free form. The flaws, cracks and holes left in Walker's works clearly record the creative process of the works, which is an important means for Walker to express, metaphor and record the communication and contact between man and water, fire and soil.

In decoration, the application of various natural prints and mechanisms, including the comprehensive performance of glass, and even the integration of various materials, provides the possibility for modern ceramists to express their aesthetic feelings and ideas. Traditional decorative techniques are reused and interpreted in modern ceramic art, not to serve the practicality and appreciation of traditional ceramics, but to carry the understanding and pursuit of modern art by ceramists.

In the aspect of firing, it is mainly reflected in the change and utilization of redox atmosphere, and the application of new firing methods such as salt firing, music firing, cellar firing and fumigation firing greatly enriches the connotation and expression of modern ceramic art, such as the work "Night of Kiln Burning" by Spanish ceramist Sanovis Colladay, which vividly interprets the art of "fire", and the artist has just mastered the firing temperature and reducing atmosphere. At the same time, smoke, pinholes, orange glaze, bubbles, glaze shrinkage and other phenomena appear. Ceramic art, which is regarded as "inferior" in traditional ceramic art, is interpreted as a brand-new artistic language in the hands of modern ceramists.

Modern ceramic art is the materialization of the artist's personal behavior, experience and emotion at the creative level, and it is also the thought and attitude of human beings at the cultural level. Without the enthusiasm and piety of the artist, the soil can't be full of vitality, and without the artist's transcendence of the practical and aesthetic relationship of ceramic art, ceramic art can't have many spiritual meanings and ideological languages beyond the aesthetic category. The language of ceramic art is the language of human emotions. There are sincere monologues and catharsis, as well as profound metaphors and inspirations.

The long history and unification of China ceramics have always been an important part of China ceramic art education, while China ceramic education regards the history of Chinese ceramics as an example for others to follow. Folk art and aesthetic thoughts, which are closely related to China's classical painting, calligraphy and literature, also have a great influence on the educational model of ceramic education in China. In recent years, ceramic art education in China mainly focuses on respect for China traditional art and interest in solving design problems, but generally pays little attention to the expression of individual personality.

Today's pottery teaching should combine traditional pottery with modern pottery, correctly understand the connotation of modern pottery on the basis of understanding traditional pottery, and at the same time, don't forget the importance of aesthetics. Students should cultivate the attitude of "creating excellence" in solving problems. Even though "production process" is an important part of teaching exploration, the importance of concept is still the first. The duty of a teacher is to guide students in the process of cultivating creative thinking, rather than telling them how to do it directly. In fact, encouraging students to think freely is the main purpose of education.

No matter how to train ceramic talents at any age, we should do it step by step. In the teaching process, we should have the nationality of national spirit, keep pace with the times, be cheerful and interesting, and be brave in practice and innovation. For beginners, it is necessary to collect information about the historical background and artistic development of ceramic art, visit various ceramic exhibitions, visit and experience various folk ceramics making methods in nearby folk villages, and learn local manual firing techniques. The works of folk artists present art from life itself. They do not pursue smooth, mature, exquisite and delicate craftsmanship, but pursue simplicity, comfort and natural beauty. These feelings and crafts can play a subtle role in students' future artistic creation, and retain some regional culture in their creation. Collect knowledge about ceramics such as materials, tools, crafts, techniques and genres, and create ceramics in three stages: experience, copying and creativity.

At present, ceramic art teaching