民族审美下的陶瓷创作与创新刍议  

Discussion on Ceramic Creation and Innovation under National Aesthetics

作　　者：吴清江 陈智猛 Wu Qingjiang;Chen Zhimeng(Yujiang District Art Museum,Yingtan,335400)

机构地区：[1]余江区美术馆,鹰潭335400

出　　处：《陶瓷研究》2024年第6期64-66,共3页Ceramic Studies

摘　　要：在工艺美术视域下的民族审美与特色决定了所有从业者开始探索全新领域的基石,然而仅仅在创作中把民族性融进去是否局限在所说“民间文艺”中这一直是学界探讨的问题,多数人的共识是“民族的就是世界的”然而在理解透民间的前提是先把视野提高,先由个体至世界再由此转换民族审美后回归“世界”是否是更好的选择。个体至世界其实是笔者笼统的概念,指的是技术的积累,基本功的塑造。然后再把民族的审美融合走向世界。基于此我们首先要先明确,民族审美是什么,来源于哪。The national aesthetics and characteristics in the perspective of arts and crafts determine the cornerstone for all practitioners to explore new fields.However,whether only integrating national characteristics into creation is limited to the so-called"folk literature and art"has always been a question of academic discussion.The common understanding of most people is that"what belongs to the nation is what belongs to the world."However,in order to understand the folk,the premise is to first raise the perspective,first from the individual to the world,then transform national aesthetics,and then return to the"world".Is it a better choice.The concept of individual to the world is actually a vague one by the author,referring to the accumulation of technology and the shaping of basic skills.Then integrate the aesthetic of the nation into the world.Based on this,we first need to clarify what national aesthetics are and where they come from.

关 键 词：工艺美术 民族审美 中式 陶瓷 

分 类 号：J527[艺术—艺术设计]