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从泥料的选择、配制起,向进兴独自操作陶工到陶艺师的几乎全部十二道工序;从失败到缺憾再到偶有“神品”出现,他渐渐形成了自己的用“刻填-磨光”技法进行水墨表现的陶艺语言。05年-06年的作品基本上是用陶媒介对古今名画进行临摹,其中多是建水陶历史上未有的重彩作品,“陶艺水墨绘画”技法很快变得得心应手。值得注意的是,这种将古代名作再现于陶器之上的过程绝非一个简单的临摹过程,从纸本、绢本到陶泥的转换蕴含着对原作意境的心领神会,且不说其间的工艺难度,仅就最终的视觉呈现而言也是一种重新演绎的创造。
From the choice of clay materials, preparation, to the Xing operation potter to potters almost all twelve processes; from failure to regret and then occasionally “God ” appeared, he gradually formed his own “Engraved - polished” technique for the performance of pottery language ink. The works from 2005 to 2006 basically use the medium of pottery to copy the ancient and modern famous paintings, most of which are not yet in the history of Jianshui pottery. The techniques of pottery, ink and wash painting quickly became handy. It is worth noting that this process of reproducing the ancient masterpieces on pottery is by no means a simple copying process. The transition from paper to silk to clay implies the predilection of original artistic conceptions, not to mention the difficulty of the process , Is only a re-deductive creation of the final visual presentation.