试论中国陶艺“博古藏今”之图式——以姚永康捏塑《世纪娃》为例证  

Interpretation of the Situation and Context of Yao Yongkang's Pottery"Century Doll"

作　　者：袁乐辉 汪丽萍[2] 冯林 YUAN Lehui;WANG Liping;FENG Lin(Jingdezhen Ceramic Institute,Jingdezhen 333403,Jiangxi,China;Jingdezhen Institute,Jingdezhen 333403,Jiangxi,China;Jingdezhen Market Supervision Authority,Jingdezhen 333000,Jiangxi,China)

机构地区：[1]景德镇陶瓷大学,江西景德镇333403 [2]景德镇学院,江西景德镇333403 [3]景德镇市市场监督管理局,江西景德镇333000

出　　处：《陶瓷学报》2020年第5期758-762,共5页Journal of Ceramics

基　　金：2018年度江西省高校人文社科规划基金(RW2018535);2019年度江西省社会科学规划基金(2019YS23)。

摘　　要：随着“时运交移,质文代变”文化语境的生成,瓷塑作为个性美学时代下的自我、自喻、自现的一种符号化艺术形式,显民艺表象之式,也折射着创作者对其艺术审美的“情境”与“语境”之认知表现。若无情境,其形式无创新、无神采;若无语境,其艺术无传承、无衍生。而姚永康在捏塑作品《世纪娃》中蕴含了鲜明的自我情境与语境,才得有个人风格符号的体现与认同。故览其艺术作品的艺脉文心,才明因知果;同时,结合其作品的图像信息,博古今、理道法来析述作者之艺境,试着来拾撷中国陶艺表现之图式典范。Ceramic art,as a symbolic art form of self,self-metaphor and self-evidence in the era of individual aesthetics,also conveys the cognition of the creator's"situation"and"context"of his/her artistic aesthetics.On one hand,without a given situation,there would be no innovation and expression.On the other hand,without a certain context,the art would have no inheritance and derivation.Yao Yongkang has a distinct self-context and context in his ceramic work"Century Doll",which in turn has reflected and recognized his personal styles.It is only possibleto analyze the author's artistic concept through the imaging information of his works,as well as the ancient and the philosophical methods.

关 键 词：陶艺 世纪娃 审美 

分 类 号：TQ174.74[化学工程—陶瓷工业]