Reconstruction Of Clay Representation:A Study On Aesthetic Language Of Contemporary Art Paradigm Of Ceramic Art

In the 1950 s,the Japanese "Zou Mushe" and the American "Otis" successively proposed innovations in traditional ceramic art and new ideas for ceramic art creation in the new era,which triggered a major turning point in the history of ceramics in the world.It opened up a new field of ceramic art,and promoted ceramic art to become an active category of modern art.In the 1980 s,modern ceramic art gradually turned to "contemporary",accepted contemporary art creation methodology,and demonstrated contemporary artistic philosophy through the physical properties and material space of ceramic materials,showing strong openness and cross-border Comprehensive.In the past two decades,Chinese modern and contemporary ceramic art creation has achieved fruitful results with its own cultural heritage and unremitting pursuit.The world’s ceramists have paid attention to the trends of the Chinese ceramic art circle.Eastern and Western ceramists have had extensive exchanges in creative concepts and material techniques.In such a positive artistic context,a large number of contemporary Chinese youth ceramic art creation groups have also appeared.Either eager for quick success or instant benefit or borrowing from the phenomenon of imitating or mere formal works,but the reality is inherently a fuzzy concept of the essence of contemporary ceramic art.In response to this,the article is based on the overall understanding of the development of modern ceramic art,rationally analyzes the conceptual reconstruction of the aesthetic language of the contemporary art paradigm of ceramic art and the opportunities and confusion brought by the high entropy value,and explores its open artistic characteristics.A more comprehensive and objective understanding of the independent value produced by the contemporary transformation of the aesthetic language of modern ceramic art,and the construction of a more adequate theoretical basis.The article takes the aesthetic language of modern ceramic art as the research object,uses the literature research method to clarify the development context of modern ceramic art,and launches a detailed analysis of the material language,contemporary aesthetic performance,craftsmanship practice and other works under the modern and contemporary ceramic art creation concept,and demonstrates the ceramic art The creativity and rich expressiveness of ceramists require the participation of ceramic artists’ thinking and concepts,emotional input and natural expression of spiritual trajectory.The core of the artistic form is not craftsmanship,but the artistic creation concept supported by the value of life.On the basis of this theoretical framework,I then focused on analyzing the core argument of this article—the reconstruction of aesthetic language.Using comparative research method,case analysis method and interdisciplinary research method,it focuses on three key points of contemporary ceramic art aesthetic language,namely,the aesthetic language difference between traditional ceramic art and modern ceramic art,the material language characteristics of modern ceramic art and the expression of modern ceramic art’s aesthetic language.,Pointed out the gradual transformation of the aesthetic language of modern ceramic art to the contemporary art paradigm,and revealed the independent value produced by the contemporary transformation of the aesthetic language of modern ceramic art.The research content of the article is based on the art criticism theory of the "state of art entropy",and provides a more open exploration path for the contemporary construction of modern ceramic art.