In modern art, ceramic art, as a unique art category, has attracted increasing attention and 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 extremely valuable artistic creation process. It is different from painting and sculpture. It comes from tradition, but people pay more attention to its modern quality.
since ancient times, ceramics have existed in the form of daily necessities. With the increasingly broad vision of postmodern painters, 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 to ordinary pigments, such as mud, sawdust or sand, and painting gradually moves from plane to three-dimensional, forming a product between painting and sculpture. Pottery clay, because of its ability to sculpt and paint, shows a multilateral character of gorgeous, simple, sinking or flamboyant 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, uses the contrast of texture effects, and adds decorative patterns in harmony with modeling, which makes people feel an unpretentious intimacy and unforgettable. Picasso skillfully used makeup soil, dusting powder or bas-relief decoration on some plates, and skillfully used the natural beauty of ceramic materials to compare with the decorative beauty painted artificially.
since 195s, almost all artists who have a place in the history of modern art have participated in the creation of ceramic art to a greater or lesser extent. The participation of these artists has injected fresh blood into traditional ceramic art, brought the thinking of modern artistic creation into the creation of ceramic art, and freed traditional ceramic art from the limitation of use function and moved towards the road of 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 repressed emotions from outside the industrialized living environment at that time. Therefore, modern ceramic art has developed rapidly in various countries around the world.
until the 194s, Pita, USA? With the emergence of avant-garde ceramists headed by Vauxs and Kazuo Yagi of Japan, modern ceramic art is truly produced. In July, 1948, Kazuo Yagi, Hiroshi Yamada, Yezhefu, Misuke Matsui and others initiated the establishment of the famous Japanese modern ceramic group "Walking Mud Society". Kazuo Yagi set a precedent for non-practical pure modeling 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 make the personal feelings of the ceramist fully displayed in the mud and fire, or reflect the artist's specific cultural background and self-cultivation skills. Therefore, it has all the functions of modern art, as well as the manifestations and styles of modern art. In the 198s, postmodern art appeared, and art came out of the argument of "art for art's sake" and became a field that ordinary people could set foot in. Once again, ceramic art has won the public's love with its kindness and simplicity composed of the most basic elements of gold, wood, water, fire and earth, and has become a popular art form and is popular all over the world. Countries have set up ceramic classes in primary and secondary schools, amateur ceramic organizations, international ceramic seminars and exhibitions.
China's modern ceramic art started late, and it was not until the late 197s and early 198s 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 pottery is no longer satisfied with the status quo and seeks to keep pace with the times. With the increase of foreign exchanges, China pottery is not only influenced by western modernism, but also impacted by postmodern imagination almost at the same time. Therefore, China's so-called "modern pottery" has developed in a diversified state from the beginning, rather than purely "modernist" pottery. Modern ceramic art is ceramic art with modern artistic characteristics, that is, "modern visual experience caused by modern industry and science and technology, which ultimately dominates people's aesthetic consciousness and leads to the revolution of modern art forms, and is a re-examination of people's value in modern society." The artistic reflection of the new personality's request and reflection on human nature, which is free from the shackles of traditional religion and culture, is the expression of personal subjective will and emotion.
how to develop modern ceramic art in China depends on how to treat the influence of traditional ceramic art in the creation of modern ceramic art. The rich cultural accumulation embodied in the 5,-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 the obvious stage product of the development of ceramic art. Although it partly dilutes or cancels the practical function and value of ceramics, it is similar to traditional ceramic art in artistic expression, that is, it expresses a kind of 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 its changes and creation and mutation in its continuity. It is worth pointing out that although we have seen the undeniable internal connection between modern ceramic art and traditional ceramic art, it is not to deny the difference 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 ideological trend, the entry of modernist artists and the change of modern lifestyle have given ceramic art a new and 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 the expression of pure aesthetic needs and emotions. 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 mastery into ceramic art.. Under this premise, the technology 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, it has changed from a single universal technology that was widely recognized by aesthetics to a personalized technology with personal symbols.
The process of modern ceramic art creation includes three aspects: molding, 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 and treats western culture with an inclusive attitude and innovation on this basis.
In modeling, clay has strong plasticity, stability and easy modeling, which makes the modeling of ceramic art have considerable freedom and structure. The main methods of ceramic molding are hand kneading, clay strip coiling, plate splicing, hollowing out, blank drawing, blank printing, etc. No matter what process and modeling are adopted, what ceramists pursue is often to fully express the clay: the deformation of clay strips, the natural collapse of clay slabs, and the natural cracking of clay bodies; Even if the blank is drawn by hand, the quality of the mud can be fully expressed. A handprint and a fingerprint all record people's interest will and at the same time express the mud itself. These characteristics cannot exist in other materials. For example, American ceramist Peter Walker, influenced by abstract expressionism and behavioral painting school at that time, tried and practiced a new style that completely abandoned the traditional way of pottery making and aesthetics, fully reflected the spontaneous expression of clay and showed 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 creation 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 earth.
In decoration, the application of various natural prints and mechanisms, including colored glaze's comprehensive performance and even the integration of various materials, has provided the possibility for modern ceramists to express their aesthetic feelings and ideas. Traditional decorative techniques are re-used and interpreted in modern ceramic art, which is not used 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 use of redox atmosphere, and the use of new firing methods such as salt firing, music firing, pit firing and smoked firing, which greatly enriched the connotation and expression of modern ceramic art, such as the work "Night of Kiln Burning" by Spanish ceramist Sanovis Colladay, which vividly interpreted the art of "fire", and the artist mastered the firing temperature and reducing atmosphere just right. At the same time, such phenomena as smoking, pinholes, orange glaze, bubbles, shrinking glaze, etc., which are regarded as "defective products" in traditional ceramic art, are 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 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 life, and without the artist's transcendence of the practical and aesthetic relationship of ceramic art, there can't be many spiritual meanings and ideological languages of ceramic art 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 great unity of China ceramics have always been an important part of China ceramic art education, and China ceramic education regards China ceramic history as a model for others to emulate. Folk art and aesthetic thoughts closely related to China's classical painting, calligraphy and literature have also had a great influence on the educational model of ceramic education in China. Before recent years, ceramic art education in China was mainly concerned with respect for China traditional art and was interested in solving design problems, but generally paid little attention to individual personality expression.
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" to solve problems. Even though "production process" is an important part of teaching exploration, the importance of concepts is still the first. As a teacher's duty, it is to guide students in the process of developing creative thinking, rather than directly telling them what to do. 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 creative in practice and innovation. For beginners, they should collect information about the historical background and artistic development of ceramic art, visit various ceramic exhibitions, visit and experience various folk ceramic production methods in the nearby folk countryside, and learn the local manual firing technology. The works of folk artists present the art from life itself, instead of pursuing smooth, mature, refined and delicate craftsmanship, they pursue simplicity, comfort and natural beauty. These feelings and crafts can play a subtle role in students' future artistic creation, and keep some regional culture in their creation. Collect the knowledge about ceramics such as materials, tools, processes, techniques and genres, and create ceramics in three stages: experience, copying and creativity.
At present, ceramic teaching