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国际陶艺ISCAEE2015年会

国际陶艺ISCAEE2015年会

  • 召开年:2015
  • 召开地:江苏宜兴
  • 出版时间: 2015-10

主办单位:ISCAEE国际陶艺教育交流学会

会议文集:国际陶艺ISCAEE2015年会论文集

会议论文
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  • 摘要:An artist is stereotypically seen as an independent worker, someone who creates amazing things by themselves in a solitary occupation. So what happens when people go against the stereotype and create in collaboration? How can this work, and what are the benefits and disadvantages. We have now collaborated in our work for more than 3 years; something that has been a most rewarding experience. It began with our research into the field of glazes but quickly overtook that and entered into our making. We each bring our own unique styles and methods to the work but they each have developed to suit and co exists with the other's fluidity. Emily's exploration in the thrown form is juxtaposed in the ordered and exacting clean cut, controlled turning of Allen's finishing. When Allen began this it was with a thought to making quick test bowls for our glazes. Emily is the better thrower and Allen the better turner but we were both quite taken aback at what could be gained though this sort of method of work. Originally I thought it would be full of compromise but now I find it brings out some of the best in us both and although I still make larger art pieces on my own I would find it very hard to separate our practices. Because of this collaboration we are both able to utilise our strengths and together feel we can achieve more. There is that fantastic opportunity for an inter-play of creativity.
  • 摘要:Porcelain Teapot and Caddies by Ashley Howard and Risa Ohgi At the ISCAEE (International Society for Ceramic Art Education and Exchange) 2011 exhibition in Japan,I was drawn towards a stoneware dish.I was particularly intrigued by its surface.I discovered Japanese artist,Risa Ohgi had made the piece.We began a series of conversations that led us to work on a joint project,which emerged as Shima Kara Shima E (From Island to Island).To be part of ISCAEE is a privilege and we both felt it would be a good idea to put into practice the ISCAEE ethos of education and exchange.This provided us with a commitment to try something and we hope it will inspire other members to work more closely together.
  • 摘要:本文主要阐述了宜兴紫砂的历史演绎,紫砂工艺从原料过度采矿到批量生产,从产品贬值到资源枯竭的现状和传承与创新的途径,并提出了宜兴紫砂不仅需要技术人员"师古人、师造化和中得心源"技艺的传承与创新,更需要政府部门和相关的社会舆论方面积极地扶持,加强监管,大力宣传,提高紫砂的文化内涵,将工业设计的新方法和新思路引入到紫砂工艺的传承与创新上,注重紫砂系列产品的开发,提升紫砂工艺的文化附加值,积极应对市场经济的快速发展对于紫砂工艺的冲击,实现资源保护和可持续良性发展,使紫砂工艺得到真正的传承与创新.
  • 摘要:广东作为全国的一个陶瓷大省是南方陶艺的代表,与广东传统陶瓷相比较,当代广东陶艺创作显然具有时代所特有的当代性,但是将广东当代陶艺教学与中国以及西方比较成熟的教学体系进行比较时,又会发现其明显的保守特征,缺乏更多元的手段运用到实际的教学与实践中.在此背景下全省有多个高校都设立了与陶艺创作相关的专业或课程,尝试运用多种方式不断探索着中国当代陶艺的教学方法,希望能将高校中的陶艺专业建设成为广东当代陶艺的实验空间.陶艺专业教学除了将基础的陶瓷艺术知识教授给学生,更重要的是能引导学生结合当代社会生活的现状,把当代人的文化精神、艺术思想、审美情趣渗入到当代陶艺创作与设计中,从而使得陶艺的社会属性与艺术性融为一体,成为被大众所接受的艺术形式。
  • 摘要:Growing awareness of ancient Chinese Sung ceramics, amongst other traditions, by westerners such as Bernard Leach, and Japanese associates Soyetsu Yanagi and Shoji Hamada, (De Waal 1997, Harrod 2012, Kikuchi 1977, Leach 1976) had many repercussions. They spread a consciousness idealizing self-sufficient pottery studios where potters were in touch with all aspects of creating utilityware, largely from local materials for local use. Out of this emerged an Anglo-Oriental studio ceramics philosophy of form and practice, associated mainly with hand-made high temperature reduction fired ceramics. These ideas spread to South Africa in the late 1950s, and by the early 1960s local studios were being established along these lines. This movement grew exponentially in South Africa, initiating a phase of Afro-Oriental ceramics that remains as a powerful way of life and visual arts influence. This paper seeks to explore aspects of Afro-Oriental ceramics in South Africa, with particular reference to the Leach/Hamada-Cardew, Rabinowitz and Van Der Menrve lineage in South Africa.
  • 摘要:本文简述了氯化氢的特征,氯化氢为无色刺激性强的气体,易溶于水。浓度为20.24的氯化氢在)以下的气压下会成为110℃的。浓度高于此的叫浓盐酸。盐酸是铝和镁、铅等具有强离子化倾向的金属反应,生成氢、锌。不和离子化倾向小的水银、金、白金、银等发生反应。而铜、铁、镍、钴等加热后金属会熔为氯化物。介绍了盐酸的用途,盐酸,用于制作食品、医药品、武器及有机药品、颜料、农药等产品中。食品有酱油、调味料等,将谷氨酸钠作为材料制作。在金属工业,用来擦去铁锈或镀金时用。用于陶瓷的氯化颜料,是经过化学处理的固态结晶体,溶入水中使用。其浓淡的不同可用水的量来调整。颜料溶于水后无色、无味,涂于陶瓷表面不见痕迹,增加了绘画难度。氯化颜料的呈色形式和效果,与氧化颜料相比,有很大的不同。因为氯化颜料是无色液体,在调制好的颜料内滴几滴墨汁,在作画时可以看到过笔的痕迹,易于作画。氯化颜料及其使用技法,虽难以操作,也并非广为人知,但其丰富的色彩表现和独特的色泽迎合了21世纪的多样性。相信它会以一种新颖的表现方式写入陶瓷的历史篇章。
  • 摘要:This paper will look at how Chinese ceramic culture developed historically, the specialties that make it unique and how this analysis and thinking can be applied to modern American ceramics. In order to understand what the phrase 'Chinese ceramic culture" means, one needs to understand the history and development of Chinese ceramics. In June, 2012 a small article appeared in the New York Times exclaiming that the worlds oldest pottery had been discovered in Jiangxi Province, China and it was carbon-dated back 20,000 years, making the invention of pottery 2 t0 3,000 years older than previously thought. This is exciting for many reasons, because if this analysis were correct, it would place the invention of pottery before the agricultural revolution, making pottery a possible cause of the agricultural revolution and not a by-product.
  • 摘要:本文从意识形态、社会环境、烧制工艺、图案、材料、艺术特色等方面对孟加拉湾红陶建筑装饰的古与今进行对比论述.
  • 摘要:在现代人的观念中,鸳鸯是中国传统文化中男女之爱的象征,但通过对文献、考古资料以及传世实物的研究分析来看,鸳鸯作为爱情的象征只是一种晚出的文化意涵.在历史上鸳鸯还曾有过两种重要的象征意义,即兄弟情及在佛教中代表佛、法相即不离和喧唱佛法的灵鸟之意.本文通过对文献的分析和对实物的研究,从鸳鸯纹的象征意义出发,可以知道鸳鸯不仅仅只是指爱情,还有兄弟情,而更重要的一层含义是与佛教有关。元青花莲池鸳鸯纹以规整的态势彰显出明显的宗教感,无论是从宫廷还是民间,艺术形象必然反映出特定时代的文化和精神内涵。由于元代佛教是属于国教地位,使得莲池鸳鸯纹在元代各类艺术品上大量出现。总之,莲纹在元青花上的大量出现,表明了佛教在元代的回归和与复兴,所以,鸳鸯的意义并不简单的是指男欢女爱,要从当时的社会背景去思考去分析鸳鸯纹饰中它的内涵。
  • 摘要:"中国传统艺术的山水精神"在中国艺术史上作为一种独特的文化现象,对中国传统陶艺有着深远的影响.同样,它对中国当代陶艺的发展也具有十分重要的意义.中国传统山水精神主要体现在中国传统山水画,而山水画中的山石元素又可作为极好的陶艺创作素材.本文主要是研究挖掘山水画中的山水精神内涵,研究它对中国现代陶艺创作所产生的影响.最后再结合"山水精神"重点来谈本人的陶艺创作——《山水之骨系列》,这个系列是从传统山水画中提炼出山石元素,并且借用假山石的造型特点进行陶艺创作,将传统山水精神融入中国现代陶艺的创作,用陶瓷艺术语言去挖掘中国的传统山水精神,在传统的基础上进行创新,来弘扬博大精深的中国传统文化,创造带有本土气息的民族特色陶艺.
  • 摘要:本文是对1650~1755年间日本称为"伊万里"外销瓷和同一时期中国所模仿的日本伊万里瓷器的艺术风格的比较.在两国瓷业竞争发展过程中,看到的是两国陶瓷艺术和文化风格中相互影响和密不可分的关系.
  • 摘要:The development of skill and material understanding comes from a prolonged focused effort over time.At least this is what I have found.I am stating the obvious,but feel I need to in order to remind myself of what is most dear to my heart and what drives me;and that is hands on practice and the idea of learning through making.Over this last year I have been challenged time and time again to scrutinize my every thought and action as I approached the end of my BA studies.I felt an enormous pressure to intellectualise my work in order to give it substance and rigor.I wonder if I am alone in feeling this pressure?
  • 摘要:宜兴精陶陈设艺术品经过探索和创新,寻找了适合自身材质特点的装饰语言和装饰手法,形成了具有独特风格特点的陈设艺术品,本文简述了化装土与精陶清刻艺术品的特色以及釉下手绘艺术品的风格特征.宜兴精陶“化装土”清刻艺术品的特点,主要是以中国的书法艺术和中国画为题材,从陶刻艺术的技法中吸收变化,逐步完善出一套适合自身材质的技法手段。宜兴精陶釉下手绘与中国画风格的融合,这种融合既体现在题材的选取,也体现在绘画的特点,更体现在作品整体的精、气、神。
  • 摘要:Making us human Human life began in Africa.Here our ancestors created the first stone tools to chop meat,bones and wood.It was this increasing dependency on the things we create that makes humans different from all other animals.Our ability to make objects allowed humans to adapt to a multitude of environments and spread from Africa into the Middle East,Europe and Asia"Neil MacGregor I believe that the urge to create is a large part of what makes us human.It first manifested itself in the creation of functional objects but developed into a desire to represent the world through art about 40,000 years ago.In part the desire to create demonstrated itself by the leaving of marks,such as the prehistoric hand stencils blown on to the walls of caves.I imagine that those marks where left as evidence that the maker existed,that he or she was here.
  • 摘要:拉坯是一门古老的陶瓷成型工艺,在陶瓷成型的历史发展过程中起着重要的作用.随着时代的变迁,拉坯工艺在手工艺文化传承、保护背景下以及挖掘多样化的造型语言背景下的今天具有了新的意义和价值.本文通过在对拉坯工艺历史发展、成型特点、工艺变革等分析的基础上,以钧瓷为例是举,对拉坯成型工艺的美学价值加以探讨和阐述.从而使人们更好地理解陶瓷拉坯成型的艺术价值,更好地促进拉坯成型这一技法的发展.
  • 摘要:This study is developing industry-academy cooperation method in ceramic field through analysis on types of industry-academy cooperation methods in general domestic area and domestic ceramic area. Types of industry-academy cooperation are classified by their aims, areas, participants, main participants and analysis each type's collaboration methods. After then, I re-classify education centered industry-academy cooperation, development centered industry-academy cooperation, human resource area and production area in general domestic area and domestic ceramic area. Based on this classification, I propose further industry-academy cooperation methods for domestic ceramic field in the aspect of university, industries and government section.
  • 摘要:Research Purpose:Research was conducted at China's Guangzhou Province,Foshan's Shiwan Kiln;Henan Province,Yuzhou's Jun Kiln,Japan's Okayama Prefecture's Bizen Kiln;Tokyo University of the Art's Toride Campus' Noburigama and at every kiln,the firing schedule,clay body shrinkage,and other special practicalities were recorded.The dragon kiln at Shiwan was fired for sixteen hours,the small down draft kiln at Jun kiln was also fired for sixteen hours and the Noburigama at Geidai was fired for 74 hours,finally the Bizen kiln was fired for 221 hours.What differences did the firing schedules produce,what effects were given to the clay body? Clay body hardness and coloring,as well as a comparison of the glaze coloring,the length of firing times gave what kind of impression to the piece? The firing time and clay material's practicalities were compared.In addition,through international conferences opened exchanges with Turkey and Ireland,these places' kilns,in regards to their firing methods and schedules,which has brought new insight into this research.In actual firings,Shiwan,Longquan,Jun's downdraft kiln,Geidai's noburigama,and Bizen's anagama,depending on the time and final firing temperature produced clay body hardness,glazing effects,the differences based on the temperature were compared at each kiln's unique firing and researched.
  • 摘要:‘There is prose and there is poetry.In pottery there seems to remain a possibility for providing both,sometimes in the same object.Pottery can be about design or about art and occasionally both.Pots succeed because they move the spirit,like art,or because they exactly fill a requirement,like design.That one discipline can straddle both areas with dual emphasis is distinctive’.(Britton,1994:7) Prose is a form of language that has a grammatical structure while poetry uses the aesthetic and rhythmic qualities of language which bring or recall a feeling,memory,or image to the conscious mind.This paper is a comparison and evaluation of the work of Richard Batterham (b.1936) and Sara Radstone (b.1955).Batterham is a production potter making functional wares while Radstone's work is sculptural.However,they both use the language of clay to produce work which has both a grammatical structure (prose) while at the same time evoking feeling and memory (poetry).A description of their work is linked by a brief review of the changing landscape of craft and art since 1900.
  • 摘要:宜兴均陶堆花技艺是当地民间传统工艺的绝活,在继承堆花技艺这一传统工艺的基础之上,如何更好地发扬堆花装饰的特色,更快地推进堆花装饰的发展,并在堆花装饰纹样与堆贴技法上有所创新突破是值得研究的课题。堆花装饰技艺在陶艺界可谓独领风骚、自成一脉,深受世人的喜爱。它的装饰特点“不是浮雕胜似浮雕,不是写意胜似写意”。传统堆花作品中最具典型的当属龙凤纹样,看那龙飞凤舞、栩栩如生,与陶器造型浑然一体,这与宜兴当地深厚的民族文化底蕴分不开,具有浓郁的民间艺术风格。宜兴均陶堆花工艺之所以独具特色,就因为它是几乎完全采用纯手工方式进行的一种坯体装饰,不借助其他任何模具,不使用泥浆而仅凭大拇指的挤压将泥条固定在坯体表面上,是徒手堆贴而成的。较之其他窑口的堆贴装饰更有手工艺独有的意味,体现了极强的地方特色,堆花是均陶所独有的装饰手段,在技法上敢与油画媲美,就似一幅幅半立体的装饰画,是把绘画艺术融于陶瓷的最佳体现。当然这与均陶堆花艺人的艺术底蕴与追求是分不开的。宜兴均陶堆花装饰,具有天然的材质美、工艺的技法美、朴素的风格美、独特的地域美、题材的时代美等艺术特征。
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