周国桢陶瓷雕塑艺术思想流变与艺术风格形成研究  

Research on the Evolution of Zhou Guozhen’s Artistic Thought and the Formation of Artistic Style of Ceramic Sculpture

作　　者：周诚 ZHOU Cheng(School of Art and Design,Jingdezhen Ceramic University,Jingdezhen 333403,Jiangxi,China;School of Fine Arts and Design,Xiangnan University,Chenzhou 423000,Hunan,China)

机构地区：[1]景德镇陶瓷大学设计艺术学院,江西景德镇333403 [2]湘南学院美术与设计学院,湖南郴州423000

出　　处：《陶瓷学报》2023年第1期187-194,共8页Journal of Ceramics

基　　金：2021年度景德镇陶瓷大学研究生创新专项资金项目(JYC202106)。

摘　　要：周国桢的陶瓷雕塑艺术从20世纪50年代到90年代,其艺术思想和艺术风格经历了从追求华丽、唯美到放弃技巧、放弃装饰,回归泥土本色美的转变,“大巧若拙”成为周国桢先生艺术创作的最终审美观照。“大巧若拙”是中国古代著名的哲学观,其深刻的哲学思辨至今在全世界各领域都有现实指导意义,这一哲学思想在周国桢先生的艺术思想中多有体现。周国桢先生“大巧若拙”艺术思想和艺术风格的形成过程,也是中国当代陶瓷艺术历史演化路径的折射,一直指引着我国现当代陶瓷艺术的发展方向。From 1950s to 1990s, the artistic aesthetics and artistic style of Zhou Guozhen’s ceramic sculptures experienced a change from pursuing magnificence and aestheticism to giving up skills and decoration, thus returning to the earthy and natural beauty. “Wisdom disguised as slow-wittedness” became the final aesthetic of Mr. Zhou Guozhen’s artistic creation.“Wisdom disguised as slow-wittedness” is a famous philosophy view in ancient China and its profound philosophical speculation has practical guiding significance in all fields around the world. This philosophical thought is reflected in Mr.Zhou Guozhen’s artistic thought. The formation process of Mr. Zhou Guozhen’s artistic thought and the art style formation of“wisdom disguised as slow-wittedness” is not only the refraction of the historical evolution path of China’s modern and contemporary modern ceramic art, but also has been guiding the development direction of China’s modern and contemporary modern ceramic art.

关 键 词：周国桢 陶瓷雕塑 艺术思想 大巧若拙 

分 类 号：TQ174.74[化学工程—陶瓷工业]