《陶艺在环境艺术中的运用》武汉科技大学中南分校艺术学院讲师 张琪

摘要：世界陶瓷艺术源远流长，在其艺术发展过程中，环境陶艺（Environmental Ceramic Art）的概念，环境陶瓷艺术是90年代后期在日本、韩国等地开始出现的，中国的陶艺家近些年才开始引入这一艺术概念。它主要指城市公共空间的公共建筑物、广场、公园、道路、绿地及其他场地设立的陶艺或以陶艺为主的综合媒介作品。这类作品的特点是进入公共环境中，与环境对话，相互融合，并与公众形成交流互动，体现隐喻的人文精神。那么陶瓷材料在环境陶艺中又成为举足轻重的表现因素，本文就目前陶瓷艺术在环境中的运用进行一些分析小结。

关键词：公共艺术   陶瓷雕塑  陶瓷壁画

一 、建筑环境与陶瓷艺术
　　中国是一个陶瓷大国，陶艺在公共环境中应用与发展，可以说经历了一段漫长的历程，

在历史上建筑与陶瓷的结合源远流长，最早可追溯到公元前21世纪的商代，那时已有陶质排水管，使当时的城市建筑地下排水得到妥善解决；西周时代的板瓦、筒瓦；战国时代，各种砖型大量涌现，浮雕地砖、等都制作得十分精美；汉代画像砖装饰，题材广泛，制作精巧；自北魏开始，琉璃瓦的问世，使琉璃由昔日的奢侈品发展成为建筑材料，是建筑工程史上的一件大事。人们一提起琉璃瓦就会想起金碧辉煌的中国皇家建筑和九龙壁、琉璃栏。正是这些经典不朽的作品使中国宫廷建筑更加流光溢彩，自此陶质材料的运用在中国建筑史上留下了深深的烙印。

在15世纪的意大利陶艺家和雕塑家洛加·德拉·洛比亚（Lucca Della Robbia 1399～1482年）创作的陶瓷雕塑作品，是陶艺雕塑用于公共环境的萌芽。

19世纪叶末20世纪初，瓷砖开始应用于公共空间。西班牙建筑大师安东尼奥·高迪（Antonio Gaudi 1852～1926年）创作的一系列建筑作品，如《文森公寓》（1883～1888年）、《巴特罗公寓》（1904～1906年）和《吉尔公园》（1886～1889年）等都大量地使用了瓷砖和瓷片。高迪喜欢在创作中对表面做许多装饰和图案，这也是“玛德佳”（Mud e jar）的创作风格（一种11世纪源于伊斯兰的艺术和建筑风格）他将石块和精美的彩绘瓷片做成水平或阶梯状的装饰效果，在建筑表面镶嵌大量的彩色瓷片。此种图饰风格成为他主要的装饰手段，体现出高迪对陶瓷材料和陶瓷手工艺的钟爱。他以这种手工设计创作手法所创作的一系列建筑作品，使陶瓷贴面已远远超越了陶瓷和陶艺本身。

20世纪40年代中期，西班牙艺术大师约翰·米罗（Joan Miro 1893～1983年）积极探索陶艺与公共环境空间之间的联系，为陶瓷壁画在公共环境中的应用起了一定的促进作用。在20世纪60～70年代，他经常和陶艺家约瑟夫·罗伦斯·阿蒂加斯（Josep Llorens Artigas）合作创作并在全世界巡回展览。

英国著名雕塑大师亨利·摩尔（Henry Moore）20世纪50年代在英国创作完成的包塞崔姆地砖浮雕墙也是陶艺应用于公共环境的极好例证。

从20世纪80年代后期开始，许多陶艺家积极探索陶艺应用于公共环境空间的一切潜力，并逐渐融入公共环境艺术中，环境陶艺尽管没有作为明确的概念提出，但这方面的实践已经在众多公共艺术项目中体现出来，也出现了众多从事环境陶艺创作的艺术家和陶艺家。如比利时的约瑟·维莫奇（Jose Vermeersch）、美国的路迪·奥狄（Rudy Autio）、帕崔·麦迪斯库（Patriciu Mateescu）、丹麦的比约恩·诺加德（Bjorn Norgaard）、美籍日裔金子润（Jun Kaneko）、意大利的尼诺·卡努索（Nino Caruso）和桑德拉·洛伦尼茨（Sandro Lorenzini）、荷兰的芭芭拉·南林（Barbara Nanning）和日本的会田雄亮（Yusuke Aida）等，他们不断推动环境陶艺的发展。

进入21世纪，随着社会工业化、城市化进程的加速，人们的物质生活水平不断提高，对各类环境的品质要求也随之越来越高。当人们在建设物质家园的同时，更呼唤一个能代表自己文化身份的精神家园，时代在呼唤自然、生态、人性化、“诗意”和富有个性化的建筑和环境空间，而城市内和郊外的公共空间（Public Space）是提升城市环境品质的重要途径，环境艺术则是联系公众和提升城市文化品位的关键。

陶艺家与建筑师、环境设计师及工程师的合作进一步加强。在丹麦、挪威、意大利、美国以及亚洲的日本、韩国等国的大型建筑和公共艺术项目都将陶瓷艺术作为了整个建设项目的一个有机部分。

当今的社会为陶艺介入环境艺术提供了新的机遇与挑战。越来越多的陶艺家开始关注和转向公共环境艺术，并且一些建筑师、景观师、室内设计师、雕塑家及画家也越来越关注陶艺在建筑和环境中的应用。近几年来陶艺家、艺术家与建筑师、园林景观师逐渐趋于沟通与合作，为营造艺术的、富有人文气息的和诗意的环境空间而共同努力。公共环境艺术的发展和品质的正在逐步提高，

二、室内空间和陶瓷艺术
　　陶瓷艺术作品在室内空间中扮演着重要的角色。室内空间艺术陈设品的展示并非孤立的，必须和室内其它物品相互配合和协调。陶艺陈设是一种既有观赏价值又能品位的特殊艺术品，它处处浸透着社会文化、民族气质、个人素养的精神内涵。现代建筑装潢一般都是用复合板，塑料型材，钢材……这些材料的运用在室内空间中缺乏人情味，与人有距离感，精细的制作工艺往往使人感受到冷漠生硬的感觉。在现代室内环境中如果能配合一些造型别致，色彩丰富的陶瓷艺术品，将大大的增添室内的艺术文化氛围。

环境空间的艺术陶装饰可以分为纯艺术和实用与艺术相结合两种形式。常常用作室内陈设布置的陶艺品类较丰富，有陶壶、陶瓶、陶罐、陶盘、陶板、陶台、陶凳、陶艺壁饰、陶瓷浮雕、圆雕、抽象陶艺品等等，要选择艺术陶瓷来进行室内陈设和布置应该注意以下几个方面：
　　第一、室内陈设要和功能相一致。
　　第二、陶艺作品的大小、造型应与室内空间及家具形成良好的比例关系。
　　第三、陶艺的色彩、质地也要与家具及室内装饰统一起来考虑。
　　第四、室内陈设的陶艺品摆放方式风格要与整体风格一致。

陶艺在环境中布置、摆放也有讲究。一般可以按五种方式来设置，即墙面设置、桌面设置、落地设置、橱柜设置、悬挂设置等。
　　在建筑环境装饰中，形式与功能较强的陶瓷有墙砖、地砖、卫生洁具、盆、瓶、罐缸等等，而在环境装饰中起主导作用的陶质墙砖、地砖所显示出的重要性已越来越大，装饰造型变化也愈显丰富多彩，有白色、彩色、花釉、图案和浮雕砖及组合艺术砖，采用还原焰烧成的窑变釉墙砖釉色瑰丽、质量丰富，兼有古朴庄重和现代审美的双重魅力。
　　还值得一提的是室内环境实用装饰陶，便是家家都必需的卫生陶洁具。现代家庭里人们对于卫生洁具的要求越来越高，已不再满足于其单一的实用性，而力图在个性表达上做足文章，有的俨然就是一组陈设艺术品。利用釉色是卫生洁具装饰的普遍做法，也是高档次卫生洁具提高审美功能的重要手段。除本色釉外，一些国家及地区已推出浓淡釉、双色釉、花釉和结晶釉等新品种，对于较高级的洁具还有贴花、手工彩绘、描金等新的装饰形式，有的甚至把用品本身作为纯粹的艺术品来做，设计抽象和前卫，甚至成为整个室内空间的视觉中心。
三、西方建筑环境与陶瓷壁画
　　在二十世纪的欧洲，许多艺术家也参加到制陶活动中来。他们以陶土、釉料、火作为一种艺术表现的媒介物，并运用一些古老的传统技法，制作新颖的陶瓷作品，如雷诺阿、雷东、马蒂斯、毕加索、米罗等他们都在作坊里制作过大量的陶瓷作品，风格各异，还制作装饰壁画来参与建筑环境的构成。马蒂斯曾于1954年为温斯玫瑰园教学设计过陶瓷壁画。更值得一提的是著名西班牙画家约翰·米罗的陶瓷壁画创作，可以说是将壁画推向了一个不容忽视的地位。
　　他设计的壁画能从整体环境意义上来构思，不仅是画面具有鲜明的视觉效果，而且注重与自然和建筑环境浑然一体。米罗设计的壁画大多在室外或露天下人来人往的公共场合，因而主视觉所触到的天空、地面、建筑物以及树木草坪都是考虑的对象。
　　在欧洲和美国，陶瓷壁画被大量用于室外或露天等公共环境中作为整体设计的一部分，如丹麦赫尔宁历史博物馆的围墙壁面上均用上釉陶瓷砌成，砖上描绘着象征博物馆展览史料的图样。又如荷兰阿姆斯特丹泽伊斯特保险公司建筑的柱墙和阿姆斯特丹尼得兰兴银行总部接待厅的墙面都是用釉砖、陶板和鹅卵石等材料构成画面的。在东方，日本人把陶瓷看作是自己极为重要的文化遗产，不仅继承着传统的优秀部分，还由于工艺的提高，不断地创造出新的精湛的作品。在陶瓷材料对建筑的装饰方面，显示出了其它国家无法相比的兴盛。日本人将这种具有较高艺术含量和文化特征的陶瓷装饰称为“陶壁”，广泛装饰于各类公共场所。据不完全统计，这种现代陶塑在日本约五万多幅，构成了建筑或公共环境中独特的景观。

现代日本陶壁艺术的题材十分丰富，诸如人物、飞禽走兽、树木花草、天地日月、江湖河海等无所不包。有反映传统民俗和宗教神话的故事，也有表现生活多姿多彩的人和事物，表现形式上有运用几何形和点、线、面理性地构成画面的“冷抽象”，也有倾向于有机地、感性地表现形象的“热抽象”，有近似于新表现主义和超显示主义的形式，也有用“陶材”为元素进行装置的行为或观念艺术。
　　壁画对于建筑环境的参与往往是作为一种不可或缺的人类心理因素的趋势和感觉的结果，这也反映了当代人的一种精神需要。如果说人们对于建筑环境的要求发生了新的变化，那它无疑是在向着其它的人性、人情味——即精神含量方面递进。
四、环境空间中陶塑艺术
　　在现代空间环境里，以另外一种三度空间形式显现的陶艺就是陶瓷雕塑。它的特点是具有立体美感，适合多角度欣赏，在形式上主要可以分为具像陶塑和抽象陶塑两大类。
　　具像的陶塑作品无论是采用传统的、完全忠实于对象的写实手法，还是根据主观要求对客观形象加以取舍，强调的夸张变形，在总体上都不脱离对象的具体形象，所以一般容易被人们接受和理解。

另一类抽象性的陶塑作品，是在本世纪发展起来的现代艺术潮流中出现的，盛行于当今世界，特别是在西方及美国城市环境中出现较多。其特点是看不出任何对象的具体形象，抽象地运用了多种点、线、面、块的组合。利用陶瓷材质粗犷、可塑性强等特点，有较强的主观表现色彩。虽然不容易被人们看懂，但很能表达感性，渲染气氛，同样能给人美的享受。由于和建筑有相近似的表现语言，而往往能与现代建筑有机地结合，取得较好的艺术展示效果。
　　古代各民族由于审美和更深层次的宗教、政治、文化动机，无不在建筑上加各种各样的雕塑，东方是如此，西方也是如此。而目前在现代思潮的冲击下，传统美学观念开始崩溃，崇尚的是纯净和理性，信仰的是功能和结构。人类之生存，要依赖于空间环境，保护环境、美化环境是现代社会十分重视的问题。人们不仅从生态角度考虑，也从心理上、精神上致力于创造一个能满足物质和精神需求的美好环境。陶塑已经成为现代城市中景观的重要部分，是提高城市文化档次的标志。在我国迅速发展的城市建设中，陶塑既是城市规划的内容，又是小环境的构成部分。从功能上来划分的话，陶塑可以分为纪念性、装饰性、标志性、商业性、实用性五类。但实际上，这些陶艺作品往往同时兼有二种或多种作用，给环境空间增添美感。陶塑由于受到制作、烧成工艺等的限制，尺寸往往不会过大，特别是具像形态的作品。抽象形式的作品可以单位复制拼接安装，而可以做到不留痕迹。
五、当代环境陶艺的发展和前景
　　世界范围内的现代环境陶艺，近几年来发展异常迅速。展望未来，前景一片光明。我们如果把今日世界现代环境陶艺的现状与几年前作一个比较的话，今日世界陶艺更显多元化。欧洲尤其是东欧陶艺在世界陶艺舞台上愈显活泼，亚洲日本、中国、韩国的实力不断上升，国际性展览交流愈来愈多。原来区域性的几国联展被真正意义上的国际展所代替，陶艺作品所体现的丰富性、多样性不仅对人们的审美习惯和认知提出了挑战，而且也由于陶艺的参与使当代“环境艺术”变得更加全面和完整，更加充实和更具有力量。
　　精致、细微和博大沉雄是陶的两个基本特制，其精细之美往往融合于宏伟之中，而其博大沉雄又常常在细微中体现出来。正是这两种材质的结合，陶和陶艺的生存和发展的无限空间，不仅可以满足人们日常生活的需要，还可以在人们活动的公共空间里发挥作用。这类环境陶艺要解决的首要问题是它与现代建筑环境，与人们的活动空间或者更确切地说与人的活动之间的关系。当今人类所思考和忧虑的重要问题是如何减少工业化和高科技给人们生活带来的负面影响，给人们更多回归自然的感觉。实际上，现代环境陶艺要有更大的发展，需注意的首要问题就是要让陶土自然地、亲切地呈现在大众面前，帮助人们找回泥土，接近自然。陶艺是连接人与自然最好、最富有感情的媒介。大凡优秀的环境陶艺作品，都能在单纯中蕴含丰富，在匠心独运中体现自然，在现代形式中传达传统精神，在古老的陶的语言中透露当代人的思想、感情和趣味。
　　我国是个陶艺大国，有深厚而丰富多彩的民族民间陶艺传统，继承和发扬我国优秀的陶艺传统，是我们中国陶艺家的职责所在。二十世纪以来，中国的陶艺家们在环境装饰陶瓷的作用和探索上做了很多事，进行了许多有益的理论和实践的探讨，也取得了可喜的成绩。特别是改革开放以来，最近二十余年间，许多中青年陶艺家，透过对世界各国地区现代建筑环境和陶艺的研究，既认识到人家的长处，找到了我们与他们的差距，也进而在对比、对照中加深了对本民族传统的认识，体悟到了我们传统陶艺的精神，从而进一步探索如何发觉和创作出有民族特色又有现代精神的环境装饰陶艺作品来。

 

 

武汉科技大学中南分校艺术学院讲师 张琪

2008年在梅南山下

 

 注：本论文为武汉科技大学中南分校2008年已结题发表之校级科研，非本人同意严禁转载，否则本人将为此保留法律手段之权利

 

 

《In the environment of pottery art》

Akiko: ZhangQi

Introduction：

The world in its history, Art of Ceramic Art development process, Environmental ceramics (Ceramic Art) Environmental concept, Environmental Ceramic Art is in the late 1990s, in Japan, South Korea, China began to appear in the ceramists started into the artistic conception. It mainly refers to the city public space of public buildings, square, park, roads, green and other fields of ceramic or to set up the comprehensive media art works. This kind of work is characteristic of entering public environment, and the environment, the fusion and dialogue with the public, forming interaction of metaphor humanistic spirit. So ceramic materials in environmental ceramics and become an important factor, the paper present the application of ceramic art in environmental analysis on some summary.

Keywords: public art ceramic sculptures ceramic murals

A, architectural environment and ceramic art

China is a country in public, ceramics, ceramic, application and development environment that has had a long journey,

In the history of ancient architecture and ceramics, can be traced back to the earliest combination of 21st century BC shang dynasty, then existing ceramic, make the city drains building underground drainage tackled, Zhou dynasty era TongWa; BanWa, The warring states, various type of brick reliefs floor tile, etc are making very fine, Han dynasty brick adornment, wide range of subjects, exquisite, Since the start of the north, glazed tiles, make by former luxury development glaze as building material, is the construction of an event in history. People often think about glazed tiles of China's real resplendent and magnificent buildings and the nine, glaze column. The Chinese classic monumental work more excessive palace architecture, ceramic materials used in the history of Chinese architecture left deep imprint.

In the 15th century Italy ceramists and sculptors, plus DE la la la Robbia 1399 Della abiathar Lucca (in) writing the remains of ~ ceramic sculptures, ceramic sculptures for public environment.

At the end of the 19th century, the beginning of the 20th century, ceramic tile is applied to the public space. Spanish architekten Antonio Gaudi (e.g., gaudy 1852-1926), a series of architectural works, such as "Vincent apartment (1883-1888), bart ROM apartment (1904-1906) and the gill park (1886-1889) all the ceramic tile and ceramics. In the creation of gaudy like many decorative pattern and surface do, this is the "good" (simad Mud e jar) writing style (a kind of the 11th century from islamic art and architecture) he will rocks and exquisite painting ceramics made level or the ladder in architectural decoration effect and surface inlay large chromatic ceramic. This figure act as his main adornment style, reflect of ceramic materials and ceramic gaudy of handicraft. His creation in this manual design created a series of construction works, make the ceramics stick has far beyond the ceramics and ceramic itself.

The 1940's, Spanish art master John millo (Joan Miro 1893-1983) actively explore ceramic and public environment space connection between public environment for ceramic murals in the application of stimulative effect. In the 1960s, he often ~ 1970s and ceramists of Joseph, Florence, Artie, Josep (Llorens Artigas) and in the world tour exhibition.

British famous master Henry Moore (Henry Moore) in the 1950s in Britain to complete CuiM relief wall floor tile bag plug ceramics is applied to public environment extremely good example.

Since the late 1980s, many ceramists actively explore pottery is applied to public environment, and all the potential of public environmental art in the gradual integration, environment art although no as clear concept, but this practice has in many public art projects, also appeared in numerous pottery creation of environment of artists and represented. If the moche Joseph of Belgium Vermeersch Jose (), the United States, the LuDi desolate Rudy (Autio), cui, Tracy McGrady, Mateescu Patriciu (), Denmark Vance Bjorn Enoch, melchizedek (add Norgaard), American gold embellish Kaneko Jun (Japanese), Italy's el Nino, kanu (Nino Caruso) and Sandra, los lennie's Sandro (Lorenzini), Dutch Barbara south Lin (Nanning) and Japan Barbara will TianXiongLiang (Yusuke Aida), they constantly promote the development of environmental ceramics.

Entering the 21st century, along with the social industrialization and urbanization, people's material life level of various environment, improve the quality and higher requirements. When people in construction material homes, call a can represent their cultural identity in the spiritual homeland, age, ecology, human nature calls, "poetry" and rich personalized architectural and environmental Space, and within the city and suburb of Public Space (it) is to promote the Public urban environmental quality is an important way to contact, environment art is the Public and promote the urban culture grade.

Architects and designers with environmental represented and engineers to further strengthen the cooperation. In Denmark, Norway, Italy, the United States and Asian countries such as Japan, South Korea and large building public art projects will have a whole ceramic art as an integral part of the construction project.

Today's social environment for ceramic art in provides new opportunities and challenges. More and more attention and to start all public environmental art and landscape architects, interior designers, sculptor, painter, and also pay more and more attention in the building and the environment art. In recent years, the artists represented with architects, landscape gradually division for communication and cooperation, create the art, culture and poetic environment and space. Public environment art development and quality are gradually increase,

Second, the interior space and ceramic art

Ceramic art works in the interior space plays an important role. Indoor space art furnishing display is not isolated, indoor and other items to mutual cooperation and coordination. Ceramic display is a kind of both ornamental value and taste, it is the special art soak the social culture, national temperament, personal accomplishment spirit connotation. Modern architectural decoration are generally use plastic profile, steel,... These materials used in the interior space, and the lack of human who has sense, fine craftsmanship tend to make people feel cold crudity feeling. In modern interior environment if can cooperate with some chic modelling, colour is rich of ceramic art, will greatly increase indoor artistic culture atmosphere.

Environmental space art ceramic decoration can be divided into pure artistic and practical and artistic combining two forms. Often used to decorate the indoor furnishings, have a rich art category, pottery, TaoPing and purple sand TaoPan, ceramics, ceramic plate, pottery and ceramics, ceramic murals footstool relief, round, abstract, should choose ceramic ware, ceramic art to decorate indoor furnishings and should pay attention to the following aspects:

First, indoor display and function.

Second, the size of the ceramic art works, modelling and interior space and the proportion of forming good furniture.

Third, the color, texture and art and interior decoration, furniture and unification consideration.

Fourth, indoor display ceramic ware lay-outs style and integral style.

In the environment of pottery decorated, put also has exquisite. General can press five ways to set, namely metope, ground, desktop setup, ambry, suspension, etc.

In architectural environment in adornment, form and function of strong ceramic tile, have wall brick, sanitary ware, basin, bottles, cans, etc, and in the environment of cylinder plays a leading role in the adornment of floor tile of wall of pottery, brick that shows the importance of already more and more big, decoration model change more colorful, also have white, color, flower, design and brick reliefs and combination of art brick, using deoxidizedblaze firing of variable glaze wall brick, magnificent and quality situation and modern aesthetics of of primitive simplicity with dual charm.

Also it is practical, decoration indoor environment is every family health ceramic sanitary ware necessary. In the modern family for sanitary ware, no longer satisfied with the single practicability, and trying to do the individuality expression, some peremptory is a display of art. Using the glaze color is sanitary ware, decorate common practices in high-grade sanitary wares, an important means of improving the aesthetic function. Besides the glaze, some countries and regions have launched shade glaze, double glazed, flower and crystal glaze varieties, for more advanced clean and decals, manual coloured drawing or pattern, as a new form of decorative paint, and some even put supplies itself as a purely abstract art, design, and even become the visual center of whole and indoor space.

Third, the western architectural environment and ceramic murals

In the 20th century, many European artists also attend to pottery activities. They with clay, glaze, fire as an artistic mediums, and some old traditions and make new techniques, such as ceramic works renoir, LeiDong, Matisse, Picasso, they are in the millo in the workshop of making the ceramic works, different style, also make mural to participate in the construction of the environment. In 1954, Matisse for ceramic garden design teaching westin murals. It is the famous Spanish painter John millo ceramic murals creation is a mural to ignore.

He designed the mural can sense from the overall environment design, not only is the picture has distinct visual effect, but with natural and building integrated environment. In most of the mural design millo outdoor or outdoor furniture, the public and the vision that touch the sky and ground, buildings, trees and grass is considered.

In Europe and the United States, ceramic murals for outdoor or outdoor public environment as part of the overall design, such as Denmark hull ning history museum walls are used on the wall brick, ceramic glaze painted on the historical museum symbol. And as Amsterdam ze eastbourne insurance company of column wall and building LanXing bank headquarters to Amsterdam, the metope of reception hall is glaze, ceramic plate and pebbles composition etc. In the east, the Japanese is very important as his heritage, not only inherited the tradition of excellence, but also due to the process of part, constantly creates new exquisite work. Ceramic materials for building decoration, show the other countries cannot be compared flourishing. Japanese people will this high art and cultural characteristics of ceramic decoration is called the "tao", decorate in public places. According to not complete count, the modern crockery in the chahai in Japan about more than 50,000, constitute the building or public environment unique landscape.

Modern Japanese ceramic wall art is very rich, such as the theme of animals and birds and character, the sun, and flowers and plants, trees and lakes hohai etc. Have traditional folk religion and reflect the myth story, also have life colorful and things are using geometry, forms and dot, line, face rationally composition "cold" abstraction, also have tended to organically, perceptual expression of the image of "hot" abstraction, have similar to new expressionist and display of TaoCai ", also useful for the behavior of device or concept art.

Murals for architectural environment participation is often as an indispensable human psychological factors and results of the trend, and the feeling of contemporary also reflects a spiritual needs. If people for building environment changes, it is undoubtedly the other human, human - namely progressive spirit content.

Four, environmental space art. Crockery in the chahai

In modern space environment, with another three dimensional form of sculpture art ceramics is appeared. It features a stereo aesthetic feeling, suitable for multiple forms, mainly in what can be divided into two categories of abstract and crockery in the chahai crockery in the chahai.

With the crockery in the chahai works like traditional, whether the object of loyal completely according to practical technique, or to be objective and subjective requirements, emphasize the image in the overall exaggeration, not from the concrete object, so easily be image of people to accept and understanding.

Another kind of abstraction is in the works, crockery in the chahai development trend of modern art in today's world, prevailed in the west and the United States, especially in the urban environment appears more. Its characteristic is not see any object of specific image, abstractly using a variety of dot, line, face, block. Use ceramic material straightforward, plasticity, etc, have stronger subjective expression colour. Although not easy to understand, but people can express perceptual, exaggeratesthe atmosphere, also can give a person to enjoy. Because have similar performance and architectural language, and often can organically with modern buildings, and achieved good effect of art exhibition.

Due to the ancient ethnic aesthetic and deeper religious, political, and cultural motivation, all in the building on various sculptures, east is so so, western. But in the modern trend of current under the impact of traditional aesthetic ideas began to collapse, advocating is pure, and rational structure and function of faith is. The human survival, depends on the space environment, environmental protection, and beautify the environment is very attention problems in modern society. People not only from the ecological Angle consideration, also from psychological and spiritual dedicated to creating a can satisfy the physical and spiritual needs of the beautiful environment. In the city has become a modern crockery in the chahai is an important part of the landscape, and improve the urban culture grade. In China's rapid development of city construction in the urban planning, the crockery in the chahai both content and part of the environment. From the function, can be divided into the memorial, ornamental crockery in the chahai landmark, commercial, practicability and five categories. But in fact, these works of art often supplemented with two or more space for environment, add beauty. Due to the crockery in the chahai refiring process etc, the limit, size, especially with too often don't like the shape. Abstract form of work can copy Mosaic installed, and unit can trace.

Five, contemporary art and prospect of the environment

The range of modern environmental ceramics, rapid change in recent years. Looking to the future, bright prospects. If we take the world environment day modern art and previous years, the world today is a more diversified pottery. In eastern Europe, especially in the world ceramic art on the stage, more lively Asian Japan, China, South Korea, the strength of the international exhibition rising communicate more and more. For the kingdom is exhibited a regional international exhibition on real significance of ceramic art works, which embodies the richness and diversity of people's aesthetic habit and cognitive poses a challenge, but also because of the participation of contemporary ceramic art "environment" become more comprehensive and integrity, enrich and more powerful.

Delicate, fine and broad good is the two basic special pottery, its fine beauty often YuHongWei fusion, and its broad and good in subtle reflected. It is two kinds of material, ceramic art and the survival and development of infinite space, can not only satisfy the People's Daily life, also can be in need of people's activity public space. This kind of environment art is the primary problems with modern architecture environment, and people's activity space or, more precisely and the relationship between human activities. The current human thought and the important problem concerns how to reduce to people's life and high-tech industrialization brings negative effect, give people more natural feeling. Actually, modern environmental ceramics have greater development, should pay attention to the first question is to let argil naturally, kindly present in public, help people find dirt, close to nature. Pottery is connected with the best and most rich natural feeling of media. A good environment, ceramic art works in simple contains rich in natural, reflected in alone in modern form of traditional spirit, in ancient pottery in the language of the contemporary revealed thoughts, feelings, and taste.

Our country is a big pottery, there is deep and rich and colorful traditional folk art, to inherit and carry forward Chinese traditional art, is the best of all our Chinese duty. Since the 20th century, China represented in the environment and explore the ceramic decoration on many things, a lot of useful theory and practice, this paper also made gratifying achievements. Especially since the reform and opening, more than 20 years, recently, many young ceramists of countries all over the world through modern architectural environment and ceramic area of research, realize people's strengths, we found the gap with them, in contrast, control and then in our national traditional deepened the understanding, experience the spirit of our traditional art, so as to further explore how to discover and create with national characteristics and the spirit of modern environmental adornment ceramic art works.

 

 

Wuhan university of science and technology ZhangQi lecturer at central art institute

2008. The meinan mountain