| 摘要: | 本論文主要探討台灣現代陶藝造形風格，由於陶藝早期的實用造形發展到今天的純粹造形，以個人思想、情感表現的雕塑性、繪畫性作品，呈現豐富多樣的面貌。再者，現代陶藝是現代藝術的一環，因此，也和其他現代藝術一樣，有各種派別，然而本研究著重在造形風格之研究，為達研究目的，於文獻探討中先歸納國內對台灣現代陶藝的各種分類與看法。並根據造形要素意象，依形態選取有機╱幾何、簡潔╱複雜、具象╱抽象、傳統╱現代，在實用目的則選取實用╱純粹，在材料上則選取同質╱異質，共選取六對語意作為區分量表，並進行質與量的調查研究，以蒐集資料等方法進行研究。 本研究採語意區分量表，以中部地區的資深陶藝家為受訪及受試對象。經資料分析後，獲致如下結論：台灣現代陶藝造形依用途分為實用造形和純粹造形兩大類。前者又可分為古典造形風格、新古典造形風格、後新古典造形風格三類，其造形均依傳統古典造形為基礎做創新改變，不只重視造形也重視釉色之美。後者可分為辯證造形風格、傳統紋飾造形風格、觀念造形風格、平面彩繪造形風格、具象造形風格、抽象造形風格，而各類造形則保有其獨特的表現特質，研究發現：1.現代陶藝發展脈絡，從實用機能的實用造形出發，已慢慢發展至具審美機能的藝術造形風格，且造形上由簡潔漸趨複雜的態勢。2.台灣現代陶藝大體上可分為四大聚類，第一大聚類屬於古典類以古典造形風格、新古典造形風格為主，以有機形態表現具象造形，多為實用造形。第二大聚類為具象造形風格，以有機、具象造形模仿自然，再現人生的寫實主義。第三大聚類則包括後新古典造形風格、辯證造形風格、傳統紋飾造形風格，介於幾何、有機形態表現非具象造形。第四大聚類則包括觀念造形風格、平面彩繪造形風格、抽象造形風格，以幾何形態表現抽象造形。3.除了古典造形風格外，其餘87.5%的造形風格都體現時代特徵，具有時代感。又15.8％使用陶以外複合媒材的裝置手法。陶藝不同造形、形式、風格的共處，有益於促進藝術的發展和繁榮，充分發揮了陶的特質，藝術美在無形與有形之中產生，平面與立體之間開展，視覺上的耳目一新更發揮陶藝的共同性與獨立性，有效地揭示現代陶藝的魅力。針對台灣現代陶藝的多元面向與影響，提出美學之寫實主義、表現主義、形式主義、工具主義、存在主義五大範疇，常用的創作思維方法，造形文化的省思，現代陶藝與生活、文化的關係，並對台灣陶藝教育現況提出建議，期能重振「陶瓷母邦」的昔日光輝。
This research mainly studies the styles of modern Taiwan ceramics, In this report, it will be discussed that in early days, practical usage was stressed in the style of ceramics；nowadays, the artistic variety of ceramics is presented which means the creators express their thoughts and emotions through these creations with sculptural and pictorial characteristics, Besides, modern ceramics is also one member of modern art; thus, like other art, it contains various schools as well. This research, however, focuses on the study of the formative style, To reach this goal, in exploring the documents, first, several domestic schools of thoughts are generalized. Moreover, according to the important elements of the style, six couples of expressions are chosen to make a Semantic Differential(S.D.). In the form. organism versus geometry, concision versus abstraction, and tradition versus modernity are selected. In the practical purpose, there is only item: practicality versus pureness. In the material, the group, similarity versus difference, is picked out. The six couples will be used to make a S.D.；at the same time, what is also proceeded is to investigate into the condition of the quality and the quantity of the ceramics in current Taiwan and to study the methods of collecting the material. This research adopts a S.D. The interviewees and testers come from the senior ceramists in the central area. After the material is analyzed, we gained the conclusion that modern Taiwan ceramics, according to the usage, can be classified into the practical formative style and the pure formative style. The former contains three kinds: the classical formative style, the neoclassical colorful formative style and the post-neoclassical formative style. All of them are created at the basis of the traditional classical style, Not only the form but also the beauty of the colors of the glaze on them is valued. The latter can be grouped into the dialectical formative style, the traditional decorative formative style, conceptual formative style, plane colorful formative style, concrete formative style, and abstract formative style Every formative style owns its unique characteristics. In this research, we make some important discoveries. First, modern ceramics develops from practical functions and gradually grows into the artistic formative styles with the function of appreciation of the beautiful. Moreover, the formative art tends toward complexity from concision. Second, modern Taiwan ceramics can be differentiated generally into four groups. The first one mainly consists of the classical formative style(l) and neoclassical formative style. In this kind of creation, the creators presents concrete forms with organic shapes. The second belongs to the concrete formative, style, The creators of this kind of ceramics imitate nature with organic and concrete shapes to show the realism in human life again. The third group includes the neoclassical formative style, the dialectical formative Style, and the traditional decorative formative style. In this kind of creation, non-concrete forms are showed. The forth group has the conceptual formative style, the plane colorful formative style, and the abstract formative style. In them, abstract forms are presented with geometric patterns. Third, except for the classical formative style, 87.5% of the other formative styles embody the features of the age; in other words, most of them have the sense of the time. Moreover, in 15.8% of the creations, besides pottery's clay, more than one kind of material are used. And it can promote the development of art to grow and flourish to combine different styles with different forms. Furthermore, this skill can completely develops the traits of earthenware; so the beauty of the art is expressed naturally and grows in plane and solid. What's more, the complete impression of this kind of creations make the uniqueness and the characteristics of ceramics develop fully. It effectively presents the attraction of modern ceramics. According to the diversity and the influence of modern Taiwan ceramics, the creations are placed in five categories: realism, expressionism, formalism, structualism, instrumentalism, and existenticalism. In addition, I would also like to discuss the opinions in common use, deeply consider the formative culture, and explore the relationship among modern ceramics, daily lives and our culture. And to revive the past glory of “the mother of ceramics”, some suggestions for improving the current education of Taiwan ceramics are also given. |
