论文部分内容阅读
在创造艺术的进程中,经由身体的劳动来操作媒材,物件形式勾画出创造者对于艺术的企图与观念精确的执行,亦在此来来回回梳理过程中流露出几近歇斯底里的坚持。从西方20世纪初的毕卡索和米罗,以陶瓷材料作为承载艺术观念的媒介,陶瓷的艺术性价值从材质独特美感的追求,一夕间被颠覆。艺术家以观念作为前提,拒绝并切割材质与生具来的特质,视其为工具,没有艺术性的话语权。当此创作意识发展的同
In the process of creating art, manipulating media through physical labor, and the form of objects outlining the creators’ precise execution of artistic intentions and concepts, have also shown a hysterical persistence in the process of combing back and forth. From the early 20th century in the west of Picaso and Miro, with ceramic materials as the media carrying the concept of art, the artistic value of ceramics from the pursuit of a unique aesthetic material overnight subsided. With the concept of concept as the premise, the artist rejects and cuts away the qualities that materials and births have. As an instrument, he has no artistic voice. When the creative development of the same