摘要
意象表达可见于中国古代的传统艺术,从新石器时代以来的人物和动物形象,包括各地宗教性的石刻艺术,无论接受过多少外来文化影响,在经过中国的工匠或艺术家的创作后,总能让我们体味到东方意味。它或是具有一类特殊的线性美感,或是充满着一种混元的气态。这其中,意象艺术受中国书画艺术影响较深。顾恺之的“传神论”、谢赫的“气韵生动”都强调与自然相通的传神趣味,并注重通过创作过程而达到心灵的神会,而非对自然的再现。荆浩所谓的“筋肉骨气”在线条中注入生命形式,强调的是线条的品格。这些都为中国现当代陶瓷艺术提供了东方文化的形式基础与精神气韵。
Image expression can be seen in the traditional art in ancient China.Figures and animal images since the Neolithic Age,including religious stone carving art in various places,no matter how much foreign cultural influence they have received,after being created by craftsmen or artists in China,they can always make us appreciate the oriental meaning,which either has a special linear aesthetic feeling or is full of a mixed gas.Among them,the art of imagery is deeply influenced by China's painting and calligraphy.Both Gu Kaizhi's"vivid theory"and Sheikh's"vivid charm"emphasize the vivid interest in communicating with nature,and pay attention to reaching the spiritual god through the creative process,rather than reappearing nature.Jing Hao's so-called"muscle and bone"injects life into the line,emphasizing the character of the line.All these provide the formal foundation and spiritual charm of oriental culture for modern and contemporary ceramic art in China.
出处
《中国陶瓷工业》
CAS
2023年第6期58-60,共3页
China Ceramic Industry
关键词
陶瓷材料
泥性
线形美感
意象表达
ceramic materials
muddy
linear aesthetic feeling
imageexpression
