畢業(yè)設(shè)計(jì)論文 和外文文獻(xiàn)

1、 本科畢業(yè)設(shè)計(jì)（論文）中國(guó)陶瓷藝術(shù)發(fā)展研究Studies on the origin of China ceramic art學(xué) 院 藝術(shù)設(shè)計(jì)學(xué)院 專 業(yè) 美術(shù)學(xué) 年級(jí)班別 2010級(jí)（2）班 學(xué) 號(hào) 3210009752 學(xué)生姓名 何秋玉 指導(dǎo)教師 余遠(yuǎn)權(quán) 2014年 5 月 目錄中國(guó)陶瓷藝術(shù)發(fā)展研究1中國(guó)陶瓷藝術(shù)的貿(mào)易傳播12 世界陶瓷藝術(shù)的衍生發(fā)展 23 中國(guó)陶瓷藝術(shù)與西方文化的交匯 4Research on the development of ceramic art China I The origin China ceramic art 6I

2、I The world ceramic art developmentIV Studies on the origin of China ceramic art中國(guó)陶瓷藝術(shù)起源的研究早在新石器時(shí)代（公元前5000-2200年），中國(guó)的先人就已經(jīng)發(fā)明了用泥做陶瓷的技術(shù)，因而中國(guó)古代后人也成功地在此基礎(chǔ)上生產(chǎn)出彩陶、雕刻的陶和黑色的陶器。在積累了窯燒經(jīng)驗(yàn)多年以后，中國(guó)進(jìn)入了一個(gè)新的陶瓷時(shí)代。在漢代（公元前206年-公元前220年）雖然考古發(fā)現(xiàn)表明釉陶生產(chǎn)早在西周（公元前1100-771），但是生產(chǎn)的琉璃制品是不常見的，直到漢代才發(fā)展地較為普遍。在六代時(shí)期，人物造型的態(tài)

3、度明顯變化（265-588年）當(dāng)中包含了更多細(xì)節(jié)的傾向，努力使模型看起來(lái)更真實(shí)。六代陶藝家也成功地提高早期青瓷釉的顏色都和生產(chǎn)中的粘土應(yīng)用技術(shù)。釉原生產(chǎn)瓷器是中國(guó)陶瓷史上的重大成就。中國(guó)陶瓷生產(chǎn)高峰期是在康熙皇帝統(tǒng)治視期間（1622-1722）。到了清朝雍正皇帝時(shí)期（1723-1735）和乾隆皇帝時(shí)期（1736-1796）這兩個(gè)時(shí)期的改進(jìn)，是圍繞所有的陶瓷類型來(lái)看，包括青花瓷、五彩瓷、彩繪陶器、其他日用瓷器以及改進(jìn)的搪瓷釉，清初是在穩(wěn)定的局勢(shì)下獲得了一個(gè)比明王朝更輝煌的時(shí)期。在雍正皇帝時(shí)期，斗彩瓷器的生產(chǎn)達(dá)到了一個(gè)新的高度，無(wú)論在數(shù)量上和技術(shù)上的完善。其中粉彩裝飾瓷器釉的首次使用是在康熙時(shí)期。

4、粉彩的搪瓷器皿的生產(chǎn)在雍正時(shí)期達(dá)到成熟階段。為了體現(xiàn)粉彩漆豐富的顏色種類都可以應(yīng)用在不同的色調(diào)當(dāng)中，它們可以用來(lái)描述一些高度復(fù)雜由花和植物組成的圖案，人物甚至昆蟲。清朝是一個(gè)顏色釉特別高度發(fā)展的生產(chǎn)周期。在單色的地區(qū)，青陶藝術(shù)家成功地再現(xiàn)大多數(shù)朝、元朝、明朝中發(fā)現(xiàn)的著名的釉色。此外，他們創(chuàng)造了一個(gè)新的釉料，尤其是單色顯著的。粗糙的粉紅色，珊瑚紅色和黑釉，這些四釉在康熙時(shí)期發(fā)明的。雍正陶藝家發(fā)明了一種釉料所在體系。另一個(gè)明顯的顏色釉的研制成功是清波特茶末來(lái)帶來(lái)。明朝被清（約1639-1700）承襲，當(dāng)清被中國(guó)民國(guó)（約1909-1915）接替，在這兩個(gè)時(shí)期的不穩(wěn)定的干擾導(dǎo)致的官窯的崩潰。個(gè)體擁有的

5、私人窯是由運(yùn)營(yíng)商和藝術(shù)家共同在官窯建立。運(yùn)用他們的專業(yè)知識(shí)，他們生產(chǎn)高質(zhì)量的陶瓷，如出口的瓷器在明清的過(guò)渡期間，贏得了高度贊揚(yáng)。戰(zhàn)爭(zhēng)爆發(fā)時(shí)1937，引發(fā)的事件在螺口大橋，所有的窯都面臨關(guān)閉。運(yùn)營(yíng)商和藝術(shù)家被分散，許多人前往南方，試圖謀生。當(dāng)和平來(lái)到1945，社會(huì)穩(wěn)定所以陶瓷行業(yè)重新建立。在這段五十年到現(xiàn)在，該行業(yè)重新獲得以前的榮耀，是享受不斷增長(zhǎng)的繁榮。1中國(guó)陶瓷藝術(shù)的貿(mào)易傳播中國(guó)陶瓷的歷史開始于八千年前手工陶土容器。不久之后，新石器時(shí)代晚期，陶工的車輪的發(fā)明促使了容器的生產(chǎn)。這些早期的中國(guó)陶藝的復(fù)雜性是最好的體現(xiàn)就是在秦始皇陵墓中發(fā)現(xiàn)的秦兵馬俑（約公元前221-206）。經(jīng)過(guò)幾個(gè)世紀(jì)的無(wú)數(shù)新

6、的陶瓷技術(shù)和風(fēng)格的進(jìn)步發(fā)展，發(fā)展到唐代，最著名的就是三色的潔具唐三彩了。唐三彩顧名思義就是把亮黃色，綠色和白色釉三種釉色應(yīng)用到陶瓷體的一種藝術(shù)風(fēng)格。他們不僅體現(xiàn)在傳統(tǒng)形式的碗和花瓶當(dāng)中，而且也以更奇特的形式體現(xiàn)在中亞的旅行者的貿(mào)易傳播的商品上，證明了絲綢之路的文化影響的開拓。另一種類型的陶瓷藝術(shù)風(fēng)格青花瓷也同樣獲得唐朝皇室貴族的青睞，在西方它也被稱為青瓷。這是一種微妙的藍(lán)綠色的釉，其特征在于它們的簡(jiǎn)單和優(yōu)雅的形狀，他們是如此受歡迎，持續(xù)生產(chǎn)于中國(guó)各種名窯中心在唐代已經(jīng)發(fā)展到了一個(gè)成熟的時(shí)期，并受到了多個(gè)國(guó)家的歡迎，被運(yùn)到了埃及，南洋，韓國(guó)和日本。青花瓷在元代（1279-1368年）時(shí)期生產(chǎn)量排

7、名第一。青花瓷制作室在一個(gè)非常高的溫度下烘烤，瓷器的關(guān)鍵是它的高嶺土體的純度。在隨后的明朝（1368-1644）青花瓷陶藝，得到了完善的發(fā)展，很快它們就成為中國(guó)陶瓷藝術(shù)代表之一。中國(guó)江西省景德鎮(zhèn)，為不僅成為了生產(chǎn)大量官窯的瓷器業(yè)的中心，而且也成為出口產(chǎn)品的集中輸出地。青花瓷帶有的裝飾圖案和容器的形狀樣式與提升，都得益于的每一個(gè)新的明朝皇帝的寶座對(duì)生產(chǎn)工藝提出的新的要求。比起任何其他時(shí)間段青花瓷的釉色和質(zhì)量，它都是無(wú)法比擬的在清朝（1644-1911），陶瓷得到創(chuàng)新富含五色。應(yīng)用多種釉料、花卉裝飾件方案、景觀圖案和形象化的場(chǎng)景，使得這些商品在西方享有很高的贊譽(yù)。幾乎每一個(gè)主要的歐洲博物館，你會(huì)發(fā)

8、現(xiàn)很多彩色或單色陶瓷（藍(lán)色，紅色，黃色或粉紅色）但是很遺憾，從這個(gè)時(shí)期中國(guó)瓷器的質(zhì)量開始下降，這是由于清末政治不穩(wěn)定，因此給藝術(shù)的發(fā)展產(chǎn)生了很多阻礙。然而，在意大利文藝復(fù)興時(shí)期，中國(guó)的陶瓷文化使得中國(guó)文化在西方得到更大的認(rèn)可。除了某些小規(guī)模生產(chǎn)的窯爐，許多窯中心已建立了較為傳統(tǒng)的風(fēng)格。 2 陶瓷藝術(shù)的衍生發(fā)展陶瓷是地球上最古老的產(chǎn)業(yè)之一。一旦人們發(fā)現(xiàn)粘土可以被挖出來(lái)的水，然后發(fā)射第一混合形成的物體，該行業(yè)出世。早在公元前24000年，人類與動(dòng)物俑是由粘土和其他材料，然后燒制窯部分在地上挖。近10000年后的今天，為解決社區(qū)建立，分別在美索不達(dá)米亞和印度生產(chǎn)的瓷磚。儲(chǔ)存食物和水功能的陶器，第一次

9、使用是在9000或10000年。粘土磚也在同一時(shí)間。玻璃被認(rèn)為是在埃及發(fā)現(xiàn)的公元前8000年左右，當(dāng)過(guò)熱的窯制作顏色釉陶器上的。專家估計(jì)，直到公元前1500年，是生產(chǎn)玻璃陶瓷和制成獨(dú)立的獨(dú)立項(xiàng)目。到了中世紀(jì)，當(dāng)金屬行業(yè)剛剛起步。那時(shí)候的熔融金屬爐是由天然材料。當(dāng)合成材料具有更好的耐高溫（稱為耐火材料）在第十六世紀(jì)，工業(yè)革命是出世。這些材料為金屬和玻璃熔化在工業(yè)規(guī)模的必要條件，以及焦炭，水泥，化工生產(chǎn)，陶瓷。另一個(gè)重要的發(fā)展發(fā)生在第十九個(gè)世紀(jì)的下半年，當(dāng)電氣絕緣陶瓷材料的發(fā)展。其他的發(fā)明來(lái)到現(xiàn)場(chǎng)，包括汽車，收音機(jī)，電視機(jī)，電腦，陶瓷和玻璃材料來(lái)幫助這些成為現(xiàn)實(shí). 3 中國(guó)陶瓷藝術(shù)與西方文化的交匯

10、陶瓷藝術(shù)家開始將陶瓷作為一種藝術(shù)傳達(dá)的媒介，但就在對(duì)傳統(tǒng)的繼承上，有很大一部分是基本繼承前人的思想。在景德鎮(zhèn)，傳統(tǒng)陶瓷的繼續(xù)創(chuàng)作占有很大的比重，可以說(shuō)有很多是完全按照傳統(tǒng)的造型和裝飾，尤其是手繪彩瓷等，是對(duì)傳統(tǒng)的進(jìn)一步發(fā)展。傳統(tǒng)陶瓷藝術(shù)代表了中國(guó)陶瓷藝術(shù)的基本面貌，景德鎮(zhèn)的青花和彩繪從近代的衰敗中走了出來(lái)，繼承了千年瓷都的風(fēng)貌。從客觀角度講，可以說(shuō)是一件好事，但對(duì)于時(shí)代的需求上仍有其片面性的。到七八十年代，景德鎮(zhèn)的陶瓷藝術(shù)家們開始探取新的創(chuàng)意。文化的開放，讓他們的創(chuàng)作空間有了很大的發(fā)展，藝術(shù)創(chuàng)作繼續(xù)發(fā)揚(yáng)傳統(tǒng)陶瓷的優(yōu)勢(shì)，并從其他民間藝術(shù)中汲取養(yǎng)分，創(chuàng)作出了一批精致的具有藝術(shù)魅力的具現(xiàn)代藝術(shù)感的陶

11、瓷藝術(shù)，在造型上也基本上是對(duì)傳統(tǒng)造型的改進(jìn)，使更適應(yīng)于新中國(guó)的時(shí)代要求；裝飾上也是繼傳統(tǒng)的再創(chuàng)造，繼續(xù)發(fā)揚(yáng)中國(guó)傳統(tǒng)陶瓷的獨(dú)特魅力，把中國(guó)陶瓷進(jìn)一步推向高峰。但究其發(fā)展，其主要是對(duì)傳統(tǒng)的再延續(xù)，在藝術(shù)上還沒有完全發(fā)展或是普及更新更適應(yīng)時(shí)代需求的陶瓷藝術(shù)表現(xiàn)語(yǔ)言。西方學(xué)院派的美術(shù)教學(xué)及現(xiàn)代藝術(shù)理念對(duì)中國(guó)形成了新的影響，陶瓷藝術(shù)的創(chuàng)作開始了現(xiàn)代陶藝的新天地。隨著西方藝術(shù)思潮和陶藝觀念的進(jìn)入國(guó)內(nèi)，這一時(shí)期的陶瓷創(chuàng)作不免有追隨西方形式的創(chuàng)作形式，引發(fā)了中國(guó)陶瓷藝術(shù)創(chuàng)作的方向出現(xiàn)了很大的改變。但是在當(dāng)時(shí)對(duì)西方陶藝思想的形式追求，也為中國(guó)傳統(tǒng)陶瓷藝術(shù)注入了新元素，使中國(guó)傳統(tǒng)陶瓷開始進(jìn)入創(chuàng)作轉(zhuǎn)型期。在繼續(xù)純粹

12、中國(guó)風(fēng)格的陶藝創(chuàng)作下，如果沒有全新的元素注入，勢(shì)必會(huì)導(dǎo)致陶瓷的發(fā)展單一化，而阻礙陶瓷藝術(shù)的前進(jìn)。在新時(shí)期，繼續(xù)發(fā)展傳統(tǒng)陶瓷，必然是不適應(yīng)時(shí)代需求的，對(duì)中國(guó)陶瓷可以說(shuō)是一種致命性的打擊。而在新元素的注入前期中，必然會(huì)有一個(gè)初期的過(guò)渡階段，這也是在所難免的。因此，西方觀念形式進(jìn)軍中國(guó)大陸，對(duì)陶瓷藝術(shù)界來(lái)說(shuō)，不能說(shuō)不是一件好事。而這一時(shí)期可以被看作是中國(guó)未來(lái)陶藝進(jìn)一步發(fā)展的鋪路時(shí)代。西方藝術(shù)思潮和陶藝觀念與中國(guó)傳統(tǒng)陶瓷藝術(shù)觀念有著很大的差異，對(duì)中國(guó)現(xiàn)代陶藝形成了巨大的沖擊，將中國(guó)陶藝的發(fā)展分成了道路不同的創(chuàng)作形式。一面是繼續(xù)傳承中國(guó)傳統(tǒng)陶瓷藝術(shù)，延續(xù)中國(guó)風(fēng)格的表現(xiàn)，從符合中國(guó)人的欣賞角度出發(fā)進(jìn)行的藝

13、術(shù)創(chuàng)作。是中國(guó)陶瓷藝術(shù)中不可或缺的一部分。另一面就是繼西方藝術(shù)思潮和陶藝觀念傳入中國(guó)后對(duì)東方藝術(shù)的沖擊和融合，甚至是替代。其大多體現(xiàn)在年輕一代的學(xué)院出身的藝術(shù)家，他們的思想里更多的是把陶瓷作為一種藝術(shù)語(yǔ)言，起到傳達(dá)思想的創(chuàng)作媒介的作用。更多的是表達(dá)個(gè)人情感及反映社會(huì)動(dòng)態(tài)。他們對(duì)藝術(shù)有著更深刻的認(rèn)識(shí)和理解。但這其中不乏有完全照搬西方模式的創(chuàng)作作品，只追隨其形式主義，形成了完全與中國(guó)傳統(tǒng)不同的的陶藝創(chuàng)作風(fēng)格。較多的還是體現(xiàn)在改革后文化藝術(shù)逐漸全球化之后，他們追求內(nèi)心世界的表達(dá)，并融入到陶瓷作品中去，通過(guò)陶瓷藝術(shù)作品的獨(dú)特性來(lái)表達(dá)創(chuàng)作者的思想情感或是反映時(shí)代文化。但這不能不說(shuō)是完全拋開了中國(guó)傳統(tǒng)陶藝

14、的精神，完全的模仿西方的陶藝觀念，沒有形成中國(guó)自己的獨(dú)特藝術(shù)思想理論，只是一種西方陶藝的地域性轉(zhuǎn)變，而沒有達(dá)到地域性的融合，有些甚至完全不被中國(guó)本土思維所理解，從而導(dǎo)致了中國(guó)現(xiàn)代陶瓷藝術(shù)的發(fā)展受到阻滯。沒有達(dá)到中國(guó)傳統(tǒng)陶瓷藝術(shù)對(duì)西方思想的汲取并糅合到中國(guó)現(xiàn)代陶藝創(chuàng)作中去，以至于完全表現(xiàn)不了中國(guó)千年陶藝的獨(dú)特魅力，沒有形成再創(chuàng)造的過(guò)程?？梢哉f(shuō)，完全拋棄傳統(tǒng)，跟隨新風(fēng)也是不可以的。當(dāng)然，這只是中國(guó)陶瓷藝術(shù)發(fā)展路上的一部分或一時(shí)期，其代表了中國(guó)陶藝發(fā)展路上的對(duì)外來(lái)文化藝術(shù)的初期吸納。4 Studies on the origin of China ceramic art After the inve

15、ntion of pottery in the Neolithic period, (5000-2200 B.C.), the ancient Chinese succeeded in producing painted pottery, black pottery and carved pottery. The long years of experience in kiln firing led China entering into a new ceramic age in the Han dynasty (206 B.C.-220 A.D.) Although archaeologic

16、al finds have revealed that glazed pottery was produced as early as the Western Zhou dynasty (1100-771 B.C.), yet the production of glazed wares was not common until the Han Dynasty.An obvious change in the attitude of figure modelling in the Six Dynasties (265-588 A.D.) was the inclination to inclu

17、de more details, an effort to make the models look more real. Six Dynasties potters also succeeded in improving the quality of early celadon wares both in glaze colour and in body clay. The production of glazed proto-porcelain was a significant achievement in Chinese ceramic history. The major contr

18、ibution made by Tang dynasty (616-906 A.D.) potters was their bold introduction of the multi-colour wares. In early Tang dynasty, production of sancai or pottery figurines dominates the pottery scene. Tang pottery figurines comprised three mayor categories, namely human figures, animals and fabulous

19、 tomb guards. The success of ceramic production in the Sung dynasty (960-1279 A.D.) was seen in the monochrome wares. The most spectacular of the Sung monochromes was the celadon which has been called by various names base on its shade and tone or its pattern of crackles.The production of blue and w

20、hite wares at the end of the Yuan dynasty (1280-1367) and the beginning of the Ming dynasty (1368-1643) was generally of a poorer quality, possibly due to the shortage of imported cobalt during the period of political instability. In Yung Lo reign (1403-1424), both the potting and glazing techniques

21、 improved and wares attained a whiter body and richer blue than those of Yuan. Throughout the Ming dynasty, dragon and phoenix were the most popular decorative motifs on ceramic wares. Other animals, plant forms, and human figures in garden and interior setting were often used as decors for blue and

22、 white wares. It has been noted that after Wan Li (1573-1620), very few ceramic wares of the Ming dynasty bear reign marks.The fashionable wucai wares of Chia Ching (1522-1566) and Wan Li (1573-1620) periods are usually fully covered with colourful patterns. Very often the colours are a bit too heav

23、y. The colours used include red, yellow, light and dark green, brown, aubergine and underglaze blue. In Ming dynasty, a variety of porcelain wares were decorated with motifs coming up on coloured ground instead. They included wares with green glazed pattern on a yellow ground, yellow glazed pattern

24、on a blue ground, green glazed pattern on a red ground and other colour combinations.Another remarkable category of coloured wares produced in the Ming dynasty was the susancai or 'tri-colour'. The major three colours are yellow, green and aubergine. Tri-colour wares of the Ming dynasty appe

25、ared in the reigns of Hsuen Te, Chia Ching and Wan Li.The peak of Chinese ceramic production was seen in the reigns of Kang Hsi (1622-1722). Yung Cheng (1723-1735) and Chien Lung (1736-1796) of the Ching dynasty during which improvement was seen in almost all ceramic types, including the blue and wh

26、ite wares, polychrome wares, wucai wares, etc. The improved enamel glazes of early Ching dynasty being fired at a higher temperature also acquired a more brilliant look than those of the Ming dynasty. The production of ducal wares in the Yung Cheng period reached new height both in quantity and tech

27、nical perfection.The use of fencai enamel for decorating porcelain wares was first introduced in Kang Hsi period. The production of fencai enamel wares reached a mature stage in the Yung Cheng era. As the improved fencai enamels had a wider range of colours and each could be applied in a variety of

28、tones, they could be used to depict some of the highly complicated pictorial compositions of flower and plant forms, figures and even insects Ching dynasty is a period specially noted for the production of colour glazes. In the area of monochromes, Ching potters succeeded in reproducing most of the

29、famous glaze colours found in ceramic wares on the Sung, Yuan and Ming dynasties. In addition, they created a number of new glazes, especially the monochromes. Among them were the Sang-de-boeuf, the rough-pink, the coral red and the mirror black. All these four glazes were invented in the reign of K

30、ang Hsi. Yung Cheng potters invented a flambe glaze know as Lujun, or robin's egg which was produced in two firings. Another significant colour glaze successfully produced by the Ching potter was 'tea-dust'. It is an opaque glaze finely speckled with colours in green, yellow and brown.Wh

31、en Ming was taken over by Qing (about 1639-1700 AD), and when Qing was taken over by the Republic of China (about 1909-1915 AD), the disturbances in these two periods resulted in the collapse of the official kilns. In their places, private kilns were established by the operators and artists who prev

32、iously worked in the official kilns. With their expertise, they produced high quality porcelain wares, such as the 'export porcelain wares made during the transition of Ming to Qing', which earned a high praise in overseas markets, and the excellent imitations of Sung, Yuan and Qing wares ar

33、e made during "the early stage of the Republic of China," which were almost true to the originals.When the war broke out in 1937, triggered by the incident at Lo-Kou Bridge, all the kilns were closed. The operators and artists were dispersed, and many of them traveled to the south, trying

34、to make a living. When peace came in 1945, social stability led to the re-establishment of the pottery industry. In this stretch of fifty years to the present time, the industry has re-gained its previous glory and is enjoying a growing prosperity. In the past twenty years, the ceramics industry has

35、 been developing at a quick pace.2 Trade transmission China ceramic artChinese ceramic history began eight thousand years ago - clay container. Soon after, the late Neolithic age, the potter's wheel that prompted the invention of the container production. The complexity of this early Chinese pot

36、tery is the best embodiment is found in the tomb of Qin Shihuang in the Terracotta Army of the Qin Dynasty (about 221-206 BC). After numerous new ceramic techniques and styles of centuries of development, development to the Tang Dynasty, the most famous is the tricolour ware pottery. The name sugges

37、ts is the bright yellow, a kind of art style green and white glaze, glaze is applied to three kinds of ceramic body. They not only reflected in the traditional form of bowls and vases, but also to the more exotic form of trade spread in Central Asia tourist commodities, proved that the cultural infl

38、uence of the Silk Road development. Another type of ceramic art style of blue and white porcelain also obtained the Tang Dynasty Royal favor, in the west, it is also called the celadon. This is a delicate blue and green glaze, characterized by their simple and elegant shape, they are so popular, con

39、tinuous production in various kilns in Tang Dynasty China center has developed into a mature period, and has received many countries welcome, was shipped to Egypt, Nan yang, South Korea and Japan.青花瓷在元代（1279-1368年）時(shí)期生產(chǎn)量排名第一。青花瓷制作室在一個(gè)非常高的溫度下烘烤，瓷器的關(guān)鍵是它的高嶺土體的純度。在隨后的明朝（1368-1644）青花瓷陶藝，得到了完善的發(fā)展，很快它們就成為中國(guó)

40、陶瓷藝術(shù)代表之一。中國(guó)江西省景德鎮(zhèn)，為不僅成為了生產(chǎn)大量官窯的瓷器業(yè)的中心，而且也成為出口產(chǎn)品的集中輸出地。青花瓷帶有的裝飾圖案和容器的形狀樣式與提升，都得益于的每一個(gè)新的明朝皇帝的寶座對(duì)生產(chǎn)工藝提出的新的要求。比起任何其他時(shí)間段青花瓷的釉色和質(zhì)量，它都是無(wú)法比擬的在清朝（1644-1911），陶瓷得到創(chuàng)新富含五色。應(yīng)用多種釉料、花卉裝飾件方案、景觀圖案和形象化的場(chǎng)景，使得這些商品在西方享有很高的贊譽(yù)。幾乎每一個(gè)主要的歐洲博物館，你會(huì)發(fā)現(xiàn)很多彩色或單色陶瓷（藍(lán)色，紅色，黃色或粉紅色）但是很遺憾，從這個(gè)時(shí)期中國(guó)瓷器的質(zhì)量開始下降，這是由于清末政治不穩(wěn)定，因此給藝術(shù)的發(fā)展產(chǎn)生了很多阻礙。然而，在意

41、大利文藝復(fù)興時(shí)期，中國(guó)的陶瓷文化使得中國(guó)文化在西方得到更大的認(rèn)可。除了某些小規(guī)模生產(chǎn)的窯爐，許多窯中心已建立了較為傳統(tǒng)的風(fēng)格。Blue and white porcelain workshop baking at a very high temperature, porcelain is the key of its purity kaolin soil. In the Ming Dynasty (1368-1644) blue and white porcelain pottery, get perfect development, it has become one of the Chin

42、ese ceramic art representatives. China Jiangxi province Jingdezhen, as has become not only produced a large number of porcelain kiln industry center, but also become the focus of export products output. Shape style and enhance the decorative pattern and the container with the blue and white porcelai

43、n, thanks to each new emperor of the Ming Dynasty and the production process of the new requirements. The glaze color and quality than any other time periods of blue and white porcelain, it is incomparable in the Qing Dynasty (1644-1911), ceramic innovation is rich in colors. Application of various

44、glaze, flower decoration scheme, landscape pattern and visualize the scene, makes these products enjoy a high reputation in the west. Almost every major European museums, you'll find out a lot of color or monochrome ceramics (blue, red, yellow or pink) Unfortunately, begins to decline in quality

45、 China porcelain in this period, this is due to political instability, and therefore to the art development produced a lot of obstacles. However, in Renaissance Italy, China ceramic culture makes China culture to obtain greater recognition in the west. In addition to the kiln in some small scale pro

46、duction, a lot of kiln center has established a more traditional style. 2 Ceramic art developmentsCeramics is one of the most ancient industries on the planet. Once humans discovered that clay could be dug up and formed into objects by first mixing with water and then firing, the industry was born.

47、As early as 24,000 BC, animal and human figurines were made from clay and other materials, and then fired in kilns partially dug into the ground. Almost 10,000 years later, as settled communities were established, tiles were manufactured in Mesopotamia and India. The first use of functional pottery

48、vessels for storing water and food is thought to be around 9000 or 10,000 BC. Clay bricks were also made around the same time. Glass was believed to be discovered in Egypt around 8000 BC, when overheating of kilns produced a colored glaze on the pottery. Experts estimate that it was not until 1500 B

49、C that glass was produced independently of ceramics and fashioned into separate items.Fast forward to the middle Ages, when the metal industry was in its infancy. Furnaces at that time for melting the metal were constructed of natural materials. When synthetic materials with better resistance to hig

50、h temperatures (called refractoriness) were developed in the 16th century, the industrial revolution was born. These refractory created the necessary conditions for melting metals and glass on an industrial scale, as well as for the manufacture of coke, cement, chemicals, and ceramics.Another major

51、development occurred in the second half of the 19th century, when ceramic materials for electrical insulation were developed. As other inventions came on the scene-including automobiles, radios, televisions, computers-ceramic and glass materials were needed to help these become a reality.3 The inter

52、section China ceramic art and Western cultureCeramic artists began to ceramics as an art of communication media, but in the traditional inheritance, there is a large part of the basic thought of predecessors. In Jingdezhen, to continue the traditional ceramic creation holds the very great proportion

53、, can be said to have a lot of is completely in accordance with the traditional form and decoration, especially hand-painted porcelain, is a further development of the traditional. Traditional ceramic art represented the basic appearance of China ceramic art, Jingdezhen porcelain and painted walked

54、out from the decline of Qing Dynasty, inherited the Millennium porcelain style. From an objective point of view, can be said to be a good thing, but for the needs of the times still has its one sidedness. To the seventy or eighty's, Jingdezhen ceramic artists began to explore new ideas. Cultural

55、 openness, there has been a great development for their creative space, artistic creation, continue to carry forward the traditional advantage of ceramic, and learn from other folk arts, created a number of exquisite artistic charm with modern art ceramic art, the shape is also basically is to impro

56、ve the traditional modeling so, more adapted to the new requirements of the times Chinese; decoration is the re creation of the traditional, continue to carry forward the unique charm of China traditional ceramics, the China ceramic further to the peak. But the study of its development, which is mai

57、nly to the traditional continue, in art is still not fully developed or universal updates to the needs of the times of the ceramic art language西方學(xué)院派的美術(shù)教學(xué)及現(xiàn)代藝術(shù)理念對(duì)中國(guó)形成了新的影響，陶瓷藝術(shù)的創(chuàng)作開始了現(xiàn)代陶藝的新天地。隨著西方藝術(shù)思潮和陶藝觀念的進(jìn)入國(guó)內(nèi)，這一時(shí)期的陶瓷創(chuàng)作不免有追隨西方形式的創(chuàng)作形式，引發(fā)了中國(guó)陶瓷藝術(shù)創(chuàng)作的方向出現(xiàn)了很大的改變。但是在當(dāng)時(shí)對(duì)西方陶藝思想的形式追求，也為中國(guó)傳統(tǒng)陶瓷藝術(shù)注入了新元素，使中國(guó)傳統(tǒng)陶瓷開始

58、進(jìn)入創(chuàng)作轉(zhuǎn)型期。在繼續(xù)純粹中國(guó)風(fēng)格的陶藝創(chuàng)作下，如果沒有全新的元素注入，勢(shì)必會(huì)導(dǎo)致陶瓷的發(fā)展單一化，而阻礙陶瓷藝術(shù)的前進(jìn)。在新時(shí)期，繼續(xù)發(fā)展傳統(tǒng)陶瓷，必然是不適應(yīng)時(shí)代需求的，對(duì)中國(guó)陶瓷可以說(shuō)是一種致命性的打擊。而在新元素的注入前期中，必然會(huì)有一個(gè)初期的過(guò)渡階段，這也是在所難免的。因此，西方觀念形式進(jìn)軍中國(guó)大陸，對(duì)陶瓷藝術(shù)界來(lái)說(shuō)，不能說(shuō)不是一件好事。而這一時(shí)期可以被看作是中國(guó)未來(lái)陶藝進(jìn)一步發(fā)展的鋪路時(shí)代。Along with the western art and art concept into China, this period of ceramic creation not follow the western form creation form, caused Chinese ceramic art relation direction appeared very big change. But at the time of the western art