蓝白菱形-殷九龙

创作这一系列陶瓷作品的想法源于两年前去景德镇的感受。带着对传统艺术的想象和对传统技艺的膜拜,在眼前所及之处搜寻着最美的中国陶瓷。然而,在景德镇的感受是有些失望的,遍地的瓷器徒有传统的外表,却与传统气质脱节也没有当下审美的趣味和生活的气息。在那里你很难看到与我们生活相关的最为亲近的器物。所幸的是,也是在那里,认识了不少陶瓷技艺高超的师傅。他们讲述传统陶瓷技艺时总是满赋激情,器型、釉色、画工、温度、窑变及神秘配方,娓娓道来,但对新来此处的具有现代气息的艺术家、设计师,却并无多少好感。

传统审美在当下,一旦被当做范式来固守,就会同时面临着滑落为不合时宜,很可惜。以怎样的心态与方式来打通传统审美与当下生活?这越来越令我在意。我试图通过这一系列作品诉说我们的生活,我们如何理解传统,而不是简单而粗暴的仅仅通过传统元素来表达当下审美的存在。传统与当下不是互相妥协与利用,而审美也不应该只是存在于某种特殊的体制里,至少那很难构成它的生态。

创作想法一经确立,便开始努力寻求“制陶大师”的技艺支持。造型上对传统梅瓶进行改良,图案则是运用当下最为常见甚至流行化的元素:波点、菱形、条纹、渐变、纯色。技艺依然采用最为传统的青花工艺:选泥土、拉坯、利坯、绘制、分水、上釉、烧制。其中有两件器物的图形设计由平面延伸为立体,汲取传统器型的工艺特质,却是解放了器形,也使空间得到延展。
 

The creation of this series of works orignated from my visit to Jingdezhen two years ago. I carried my imagination of traditional art and worship of conventional techniques with me on the way to search for the most beautiful porcelain products in China. However, what I saw and experienced was somehow disappointing in the way that all the products were superficial and contained neither any traditional spirit nor contemporary aesthetics or down-to-earth coziness. It was almost impossible for one to find any apparatus that was of any connection to our daily life. Despite all the disppointments, I did meet a lot of masters in porcelain making and was much more impressed by their passion and their enthusiatism about what they do when talking about procelain types, glaze, painting engineering, temperature, furnace transmutation and other secret ingredients than by the new comers, the so called contemporary artists and designers.

It’s a paradox and a pity that once the traditional aesthetics was treated as a set type it would probably be cosidered outdated. This makes me contemplate the question of how to connect tradition and contemporary life. Seeking to find an answer to it, I intended to deploy this series of products to depict our daily life and our understanding of tradition instead of simply and roughly illustrating beauty with traditional elements. Tradition and the current should not compromise with or make use of each other, and beauty is not supposed to exist in one specific system, or to say the least, one specific system can not even explain beauty itself.

As long as the philosophy had been established, I looked hard for technical support from the masters in procelain making. The series was successfully created after improving the traditional plum vase, borrowing from such commonly seen and trendy elements in the patterns as wave point, diamond, stripe, gradient and pure color, and employing the most conventional Qing Hua techniques as raw material selection, throwing, moulding, painting, glazing and baking. Two products of the series were designed to extend the plain patterns into three-dimensional forms which made use of the techniques of traditional products and meanwhile elongated the space and freed the concept of the product shape. 

2012

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材料:陶瓷
工艺:手工拉坯,青花分水
规格:h60cm/Φ35cm×8
2012 “殷九龙的设计”个展
成都当代美术馆
成都,中国


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Raw material: ceramics
Process: hand throwing
Qing Hua Fenshui
Specs: h60cm/Φ35cm×8
2012 Yin jiulong’s Design Exhibition
Museum of Contemporary Art Chengdu
Chengdu China

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