China people began to pay attention to modern ceramic art and formed a scale in public opinion, which should be after the 1990s. Of course, strictly speaking, the origin of modern ceramic art in China is related to the earliest practitioners of the former Central Academy of Arts and Crafts (predecessor of Tsinghua Academy of Fine Arts) and Jingdezhen Ceramic Institute in the late 1970s and early 1980s. In the past 20 years, Zhu Danian, Yang Yongshan and other older ceramists have made useful attempts in the direction of modern ceramics, resulting in a large number of young and middle-aged ceramists, such as Lv Pinchang, Luo Xiaoping and Bai Ming, with various styles and techniques. Most of them are university teachers, or influenced by traditional pottery with higher education. Therefore, China's ceramic art has an indissoluble bond with the Academy from the very beginning.
However, the pure college development is greatly restricted in concept and communication, and is also very narrow in academic level. In 1990s, 199 1 held the "Beijing International Ceramics Symposium", followed by 1995 held the "Jingdezhen International Ceramics Symposium". 1May, 1998, the' 98 China Yixing International Ceramics Seminar, which was planned by Luo Xiaoping and others, was held in Yixing. In the autumn of the same year, it was held in China. At the beginning of 1999, Zuo's "Beyond Mud-Academic Invitational Exhibition of Contemporary Ceramic Artists in China" was even more advanced. These important academic seminars show that ceramic art in China is on the rise, and its scale, scope and influence are expanding to the whole society.
However, as a new thing, there are still many problems in modern ceramic art, which constitute the present situation of China ceramic art in a greater sense and to a greater extent, and deserve our discussion. It boils down to the following questions for readers to ponder.
First, the gap between "tradition" and "modernity"
The relationship between "tradition" and "modernity" is an endless topic in today's art field, and pottery is not convenient. However, in many discussions about the transformation of ceramic art from "tradition" to "modernity", a very important issue, namely the function of ceramic art, has been neglected. It is not only related to the function and value of ceramics, but also related to the role of ceramics in the whole cultural system and the social orientation of ceramists. Only by putting it right, "What is modern ceramic art for?" Such a question is not just "What does modern ceramic art look like?" I think ceramic art can really move from "tradition" to "modernity".
China's traditional ceramic art is attached to ceramic art, and "being as practical and beautiful as possible" has long restricted the development of contemporary China ceramic art. Under this concept, pottery can only belong to arts and crafts, and its functions are only practical and ornamental. In this case, the intelligence of ceramists is more limited by "making utensils" and can only be explored in the field of pursuing design and formal beauty. Pottery artists are also closer to craftsmen and cannot integrate into the trend of modern art.
The function of modern ceramic art lies in that it expands the artistic attributes of the original ceramic art, so that ceramists are not limited by "making utensils" and can be recruited in their aesthetic and value criticism fields. He can not only continue to do something in the original design field, but also give full play to his artistic nature and make valuable cultural criticism on reality, thus setting foot in many artistic fields such as sculpture and installation. It enriches itself and supplements other art categories, thus enriching the foyer of visual art.
Therefore, no matter how traditional pottery develops, it is bound by "utensils". In the development of modern ceramic art, the first thing we should do in understanding is to transfer the functional theory, so as to get rid of the dependence on "objects" and fixed shapes and truly move towards a broader world.
This gap can be solved by changing the concept, and its existence is also the driving force for the continuous development of contemporary ceramic art.
Second, the limitations of communication and acceptance.
After the reform and opening up, especially in the middle and late 1980s, many schools of modern art entered China like a storm. Although China people at that time did not appreciate it, and some even felt disgusted, they objectively acknowledged the rationality of its existence and approached them conceptually. Modern ceramic art has not caught up with that trend, and it seems that it has missed the golden age from the perspective of communication. Judging from the current situation, many people in the industry also pointed out that modern ceramic art has a good foundation only in a few porcelain producing areas and cities, such as Jingdezhen, Guangzhou, Shanghai and other places. However, on the surface, its mass base is quite weak, and it has not cultivated a large-scale ceramic art appreciation group, which is not conducive to the development of modern ceramic art. We also notice that the daily-use ceramics and fine-art ceramics industries in China are not prosperous at present, so even in many traditional and profound porcelain fields, people's interest in ceramic art is weakening, which is very worrying.
On the other hand, the introduction of modern ceramic art in the media and newspapers is sporadic, not to mention special ceramic publications. At present, some ceramic studios are responsible for communication, but their role has not been taken seriously. People of insight pointed out that the premise of the overall development of a country's ceramic industry is to mobilize the power of the people, and a rising tide lifts all boats.
From the receiver's point of view, China people certainly don't lack feelings for ceramics, but they really can't talk about feelings for modern ceramic art, because most people's views on ceramic art are stuck in traditional concepts. Coupled with poor communication, it is naturally difficult to mobilize the taste of the audience.
However, we should see that modern ceramic art and modern art movement are interlinked in spirit, and it is only a matter of time before people accept modern ceramic art.
Third, theory is divorced from practice.
The disconnection between theory and practice has become a very prominent problem in modern ceramic art. Xia, a ceramist, said, "A group of people from Guangzhou Academy of Fine Arts invited an art critic from Central Academy of Fine Arts to comment on modern ceramic art.. He can comment on modern ceramic art with modern artistic concepts and modern philosophy. But I don't think this is enough. " He pointed out that it is difficult to form a modern ceramic critic because China's modern ceramic art is underdeveloped, and he thinks that theorists are very needed. The author once found a book called Modern Ceramic Art in the library of the Central Academy of Fine Arts. In fact, the ceramics in the book are only ceramics made by modern "living people". It can be seen that modern ceramic art is quite scarce in theory, and the books that can be found to introduce modern ceramic art are also quite few and informal.
It seems that the disconnection between modern ceramic practice and theory will become a headache for quite some time. Theoretical talents are in urgent need of training, so many ceramists put forward to do some theoretical research while practicing, which can be described as helpless.
In addition, there are also some problems in the creation system, sales system and creation concept of modern ceramic art. Fortunately, from the words of contemporary ceramists, we can all appreciate the unique lofty ambition of China intellectuals, which is "a long way to go, and I will go up and down".
Although modern China ceramic art has a long way to go, with the development of China's economy, there will be a brilliant tomorrow!
Responder: QQ bluebh- Magic Apprentice Level 1 5-4 16:03
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Since the pioneering era, Americans have had the revolutionary spirit of daring to explore, which has also profoundly influenced the history of American art. The reason why this young country can become the birthplace of modern ceramic art is also inseparable from it.
It is recognized by American ceramic circles that the expression of modern ceramic art forms began in 1954 when Peter walker taught ceramic art at the Los Angeles County Academy of Fine Arts (later changed to Otis Academy of Fine Arts). Peter Vauxs opposed the over-emphasis on the characteristics of craftsmanship in ceramic art creation, and advocated a creative style of returning to simplicity with randomness, thus opening up a road to explore novel modeling and appearance texture effects, which is called "Otis Ceramic Art Revolution" in history.
In the past 50 years, American modern ceramic art has made great progress. From the source, it was influenced by Japanese folk ceramics, American folk ceramics, China traditional craft modeling, modern art schools and other art forms, and formed a colorful situation in its creation. Abstract expressionism, extremism, surrealism, pop art and realism all have their representative artists and works; At the same time, as a container design, those elegant ceramics with more formal rules have also developed, which shows the great inclusiveness of American culture.
The greatest contribution of modern ceramic movement is to make ceramic art go beyond the narrow category of "arts and crafts" and combine it with mainstream artistic creation concepts such as painting and sculpture, thus enriching the history of traditional ceramic art; For ceramists, their status is not "artisans". They picked up an eternal material-ceramics, joined the mainstream artistic creation, showed their precious culture, criticized their values, and got rid of the shackles of "containers".
The United States is the birthplace of modern ceramic art, and it is very meaningful to introduce its historical development and famous artists.
Here, let's first select 1 1 the famous contemporary American ceramists to give you a brief introduction, hoping that you can understand modern ceramics.
Responder: Yaming-Magic Apprentice Level 1 5-4 16:4 1.
Porcelain is a great invention in ancient China. Most porcelain-making technologies in the world are imported from China. In ancient times, foreigners called China "the country of porcelain". Until now, another meaning of the word "china" in English is "porcelain". This shows the great influence of China porcelain. However, porcelain was invented on the basis of pottery-making technology. To understand porcelain, we must first talk about pottery. Besides, China's ancient pottery-making technology has also made brilliant achievements.
China invented pottery in the early Neolithic period about 10,000 years ago. Among more than 7,000 Neolithic cultural sites discovered in China, a large number of painted pottery were unearthed. It includes container, cooker, food container and water pump. Judging from the shape and decoration of pottery, the most outstanding artistic achievement is painted pottery of various cultural types. These painted pottery fully embodies the perfect unity of practicality and aesthetics. Black pottery, which is a little later than painted pottery, has delicate embryo quality, dark and bright color, smart shape and as thin as eggshell, which pushed the pottery-making technology of Neolithic age in China to the peak. At that time, most of these colored pottery were commonly used household utensils, which played an important role in changing human life style and promoting social development. As far as its perfect artistic design is concerned, it is also the artistic pearl of human civilization.
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