展览预告‖器 · 气——十人陶艺展
>>>> 前 言
在人类社会科技实用性材料的不断产生和审美能力逐步提高的状态下，以上世纪 50 年代为分水岭，日美率先推动了陶艺创作和审美意识的现代转向，改变了传统陶瓷艺术的实用主导地位，将陶艺的审美方式从注重使用性、绘画性、装饰性过渡到偏重表现性、物性、抽象性，并不断地从实用性中解放出来，突破容器的形态束缚，追逐陶土材料的原生性以及烧造过程的偶发性，构成了现代陶艺创作的新观念。
显然，不同的审美基点决定了现代陶艺家不同于传统的陶工。现代陶艺家必须对整套陶瓷烧造材料、工艺和程序有着良好的驾驭，并且有着独特的艺术表现能力。十位参展艺术家跨越不同代际，见证与参与了湖北现代陶艺的勃兴，具有全面的学术视野、艺术素养和陶艺技能。
“陶之为器”，陈述的是“土”经过“火”历练，所展示的外在形态和器物自身之美；“陶之为物”，阐释的是陶艺作品呈现出的物质本性和观念世界；“陶之为气”，表达的是泥土纳天地灵气，经艺术家精心创作，所形成的浑然一体的艺术境界。由“器”而“物”，是陶艺作品超越了实用功能的规定和限制，引导观者回归艺术本体；从“物”化“气”，则是当代中国陶艺家融入东方审美和中国精神后的必然要求，也是艺术风格本土化的自律路径，更是观者对本次展览的期许！
王心耀
汤湖美术馆馆长
2017 年 11 月
>>>> Preface
Along with the emergence of new technologies and practical materials and increasingly improved aesthetic ability, in the 1950s, Japan and the United States took the lead in promoting the modern transition of ceramic creation and aesthetic consciousness. It changed the leading position of the practicality of traditional ceramic art and its aesthetic way. The values of ceramic art are shifted from usability, painting and decoration to expression, physical forms and abstract ideas. So ceramic art is constantly liberated from the practicality and restrictions of the outline of a container. Chasing the original nature of clay and the contingency in heating process has constituted the new idea of modern ceramic art.
Obviously, different aesthetic basis determines that the modern ceramic artist is different from traditional potter. Modern ceramic artist must have a good command of the whole set of materials for firing ceramics, the processes and procedures; and a unique ability of artistic expression. 10 artists in this exhibition are from different generations and have witnessed and participated in the flourishing of Hubei modern ceramic art. They have comprehensive academic visions, artistic attainments and ceramic techniques.
To see ceramic as a ware, we will find its external form and internal beauty after firing from the clay. To see ceramic as an object, we will find the nature of substance and ideas expressed by the artist. To see ceramic as the vitality, we will find an artistic state combining the clay which has absorbed the essence of heaven and earth and the artist’s hard work. From wares to objects, the artists have transcended the regulation and limitation of practicality hoping to guide the viewers to the nature of art. From object to vitality, it’s the necessary requirement of ceramic development after modern Chinese ceramic artists have integrated ceramic art with oriental aesthetic characteristics and Chinese spirit. Moreover, it’s not only the localization of art that all artists should conscientiously follow but also bears the viewers’ best hope and desire of this exhibition.
Wang Xinyao
Curator of Tanghu Museum of Art
November 2017
参展艺术家 The Participating Artists
李正文 LI ZHENGWEN
李 宁 LI NING
邱 玲 QIU LING
陈 君 CHEN JUN
张光平 ZHANG GUANGPING
陈 飞 CHEN FEI
胡雨霞 HU YUXIA
彭晓辉 PENG XIAOHUI
李 纯 LI CHUN
王成武 WANG CHENGWU
展览信息
展览名称：器·气——十人陶艺展
主办单位：湖北省美术家协会 汤湖美术馆
承办单位：汤湖美术馆
展览时间：2017年11月28日至2017年12月20日
开幕时间：2017年12月1日（周五）下午15：00
展览地点：汤湖美术馆1号厅 2号厅
总 策 划：王心耀
学术主持：李正文
艺术总监：高鸣峰 顾 蓓
设计总监：夏金钟
设计指导：张文胜
展览统筹：李瑞洪 刘 珉
展览执行：杨 巍
展览助理：郑玉良
平面设计：雷 蕾 裴淑婕 曾庆弟 潘国健
公共教育：盛 欢
媒体宣传：柳国良 李菊方
展览展务：谢 赫 何 扬 叶天泰
END
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（审核/李瑞洪 编辑/李菊方 供稿/雷蕾）
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