SHI Linlin, LYU Pinchang
(Jingdezhen Ceramic University, Jingdezhen 333403, Jiangxi, China)
Extended abstract:[Background and purposes] This article is based on two research backgrounds. (1) It is based on the research results of the major project of the National Social Science Foundation of China in the Field of Art, "Research on the Internationalization Strategy of Chinese Ceramic Art", aiming to expound the historical situation of the combination of traditional Chinese ceramic art and the architectural environment. By doing this, the exploration and creation of cultural "field construction" in the exhibition space of contemporary ceramic art are studied and analyzed, thus achieving the inheritance and dissemination of culture. (2) Under the cultural backdrop of the formation of a multi-subject, multi-level, multi-channel, multi-form and multi-category situation in cultural diplomacy in the new century, Chinese ceramic art has undergone a transformation and exploration from tradition to modernity, entered the development period of contemporary art started from the local and connected with the changes of international art trends, trending towards a diversified and varied development. The "field construction" of the art space has gradually become one of the important creative forms in contemporary art.[Methods] Two main methods are adopted in this article: Literature analysis and image analysis. Through the collection and sorting of literature, this paper is aimed to analyze the origin and inheritance relationship reflected by the traditional Chinese aesthetic theory in the artistic expression of contemporary ceramics combined with space, as well as the borrowing and application of the concepts, theories, methods and forms generated by the West in the field of artistic construction in the spatial field. Through the intuitive image analysis of typical cases, it is attempted to gain an understanding of multiple characteristics in the creation of "field construction" in ceramic art, such as the volume and quantity of the works, the combined application with other materials and techniques, the construction methods of space and the creation of situational atmosphere.[Results] In contemporary Chinese art, the "field construction" of ceramic art creation practices the creation of a "local contemporary" cultural space in China in the following four main aspects: (i) the oriental expressiveness that integrates Chinese and western concepts, (ii) the national symbolism that superimposes regional characteristics with international culture, (iii) the interdisciplinary nature that combines materials and disciplines and (iv) the immersive experience of the interaction between culture and spatial emotions. It integrates concepts such as "freehand brushwork", "artistic conception" and "empathy" from Chinese classical aesthetics, as well as "abstraction", "ready-made objects" and "spirit of place" from Western modern art theories. By comprehensively applying new technologies and materials, a contemporary cultural field is constructed, featuring on-site and theatrical characteristics. It can be used to guide viewers to materialize themselves in the field context of the work and achieve emotional interaction with the art space.[Conclusions] The "field construction" of ceramic art can accommodate diverse material, form, technology, concept, emotion and other material and immaterial cultural forms, create a spatial situation with literary narrative quality and mobilize the five senses of participants to experience it in coordination. This precisely aligns with the future trend of contemporary art development. Against the backdrop of global cultural exchange and dissemination, exploring tradition to enhance national originality, exploring the relationship between the contemporary and the traditional and maintaining meaningful experimentation are the exploratory positions that contemporary artists and potters need to continue to adhere to.
Key words: ceramic art; field construction; national cultural; diverse possibilities