Study On The Aesthetic Problems Of Chinese "Modern Ceramic Art"

In the 1960s,the "Otis ceramic art Revolution" that later affected the world began to occur on the west coast of the United States,The western concept of "new ceramic art" represented by the United States was born.At the beginning of 1980s,under the background of increasingly active and open political,economic,and cultural exchanges,with the deepening of reform and opening up,the thoughts of "new ceramics" flew the tide of Western modern art into China and stimulated the Chinese ceramic art "Modernity" exploration.After the "new ceramics" entered China,our academic circles used to call it "Chinese' modern ceramic art",which is in line with the western concept of "new ceramics" and is basically the same in terms of the form,creation approach,connotation of ceramic art,but It has distinctive Chinese characteristics in culture and aesthetics,and it is also very different from "Chinese traditional ceramic art" in aesthetic form and aesthetic characteristics.This thesis takes the aesthetic issues of modern ceramic art as the core of research.cuts into research of Chinese modern ceramic art from an aesthetic perspective and uses history and logic,case analysis and theoretical interpretation,and multidisciplinary research methods,focuses on the generation and development of Chinese modern ceramic art,aesthetic reconstruction,aesthetic characteristics and reflection on future development to make a systematic and deep examination and exploration.This paper combs the emergence and development of Chinese "modern ceramic art"on the basis of concept determination.Chinese "modern ceramic art" is an art form that uses ceramic materials as a creative medium to expresses people's ideals,personalities,emotions,psychology,consciousness,and aesthetics in a personalized way.What it excavates is not just the objective world,but also the inner world and social consciousness of people.Under the impact of the modern ceramic art in the United States and Japan,with the need for its own innovation and transformation,Chinese "modern ceramic art' originated in the 1950s,emerged in the 1970s,and entered the development stage at the end of the 20th century.At first,it mainly reflected the absorption and reference of Western ceramic art.After entering the development stage,it is mainly showed in the excavation and display of Chinese cultural elements,combining profound Chinese culture with modern ceramic art,and gradually forming a ceramic aesthetic culture with Chinese characteristics.It is very important to analysis of the morphological characteristics of Chinese"modern ceramic art" from the perspective of aesthetic reconstruction."Deconstruction" is the theoretical support foundation of Western ceramic art.Chinese "modern ceramic art" also displays itself as "decomposition","breaking" and"reconstruction" of existing traditional ceramic art.Chinese "modern ceramic art"has broken the material view,modeling view,decoration view,firing view,aesthetic view,etc.that have formed over the centuries of dominating traditional ceramic art.It no longer emphasizes the perfect shape and exquisite ornamentation,but pursues the liberation of ideas and innovation of forms,dissolving various paradigms of traditional ceramic art.Therefore,"reconstruction" has become the basic feature of Chinese modern ceramic art.The.aesthetic characteristics of Chinese "modern ceramic art" is discussed in depth.In terms of ideological characteristics,traditional ceramic art focuses on technical aesthetics,while Chinese modern ceramic art focuses on the expression of ideas,which completes the gorgeous turn from Technology supremacy to concept supremacy of modern ceramic art;In terms of creative traits,"modern ceramic art"abandons the creative method of mass production and pays more attention to personalized expression;in terms of language traits,it no longer strengthens its rigorous norms,but is expressed as smug,"abstraction" becomes the main characteristics of ceramic art language;In terms of emotional characteristics,it got rid of the shackles of pragmatism and paid more attention to the emotional expression of ceramic by the potter,and"image comes from the mental" becomes the portrayal of ceramic artists' emotional expression;In terms of material characteristics,it is shown to exceed the muddy nature and pursue a variety of extreme expressions;ln terms of aesthetic qualities,it is manifested as accidental nature,presenting special aesthetic characteristics such as "defective beauty","implicit beauty",and "vogue beauty".The aesthetic comparison between Chinese and Western "modern ceramic art"highlights the aesthetic characteristics of Chinese modern ceramic art.Western modern ceramic art mainly benefited from the promotion of Western modernism and post-modernism art,while Chinese modern ceramic art faced the dual problems of westernization and localization,tradition and modernity.Although there is commonality in the rebel of "ware",The reborn of "Manual",the breakthrough of paradigm,and the aesthetic pursuit of defamiliarization,the language environment of the development of modern ceramic art in China and the West is different,and the exploration of the defamiliarization of Western ceramic art is more extreme.For example,the pursuit of alternative aesthetics of "Funk art" and the exploration of the form inspired by "experimental".Chinese modern ceramic art tends to strengthen Chinese symbols and cultural imprints,to lead the historical mission of reshaping the local style of the nation.The development trend and theoretical construction of China's "modern ceramic art"seek a breakthrough for its future development.The first is the development trend of"modern ceramic art",including the ascending of ceramic art installations,the rise of environmental ceramic art,the new exploration of experimental ceramic art and the new integration of scientific and technological intervention.The second is to try to establish the basic theoretical framework of modern ceramic aesthetic criticism.Aiming at the status and problems of modern ceramic art aesthetic criticism,it focuses on the methods,consciousness and theme choices of modern ceramic art aesthetic criticism.Modern ceramic art pays more attention to the current state of society,and its theoretical construction will certainly promote the humanistic role and direction of Chinese "modern ceramic art".The third is that this paper put forward the concept of "firing aesthetics" in ceramic art firstly.The firing of modern ceramics is characterized by high technological content,multiple firing and experiential firing.,and at the same time,there is also a pursuit of the effect of returning to the original.Different firing methods show different aesthetic effects,such as the simple beauty of wood burning,the original charm of pit burning,the beauty of smoked ink,the joy of experience of roasting,the beauty of reburning,the beauty of the vision of kiln change,etc.On the basis of summarizing the main issues discussed in this article,this paper extends two questions that need to be further studied:One is the "integrated creation concept",that is,In order to achieve the original creation and aesthetic appreciation with the main part of the ceramists,all the technical links from the matching of clay,glaze,mold making to production and firing are completed by artist himself.The second is the return of national culture,earnestly adhere to the roots of national culture,make further use of Chinese elements,and strengthen the Chinese characteristics of modern ceramic art.In short,the modern ceramic art,bears the life experience and cultural thinking of modern people,and it will definitely go brighter and wider on the road of modern transformation.