THE SPACE OF CALLGRAPHY FORM IN CERAMIC ART-The Discourse of Ching-Lin Lu

• Main Authors: Lu Ching-Lin, 路慶麟
• Other Authors: Liou, Chen-Chou
• Format: Others
• Language: zh-TW
• Published: 2008
• Online Access: http://ndltd.ncl.edu.tw/handle/68500316405683584446

碩士 === 國立臺灣藝術大學 === 工藝設計學系 === 96 === This article emphasized on elaborating my personal creative ideas such as how to combine the pottery and porcelain arts with the Chinese calligraphy, which I’ve learned for years, and how to integrate the relationship of points, lines and planes and the beauty of lines in Chinese calligraphy into pottery and porcelain works. Moreover, I was trying to reverse the relationship of host-guest, using the decorative calligraphic lines as the main structure of my pottery works to present the simplicity and the complexity of the modeling design. Chinese calligraphy and letters are indiscrete. Chinese calligraphy would have no ground to attach to without Chinese letters, and Chinese letters would not be able to show their shapes without calligraphy. How to blend Chinese calligraphy into pottery arts and how to utilize the pottery or porcelain as a main body to present great Chinese calligraphy would be the goal of this dissertation. Professor Liu thought that the art creators’ creative ideas should be the main contents of their design if the pottery were used as the media of the art presentation. The design could be touchable and breathless only if the design procedure went through soul-searching, humane concerns and environmental involvement. This paper recorded the steps of my study, discussions and utilization of the calligraphy in pottery arts and was used as a guideline and direction of my future study. I knew I will be left out by a fast growing technology times if I remain at the same place. Although I have more than 10 years practical design and hands-on experience, I still couldn’t handle the impact of the diversify demands in the future. The graduate studies helped me to build up solid knowledge basis and to expand a broader art creation concept and to widen my growing space. There are three categories in this paper to elaborate my works of blending calligraphy into pottery arts in three different time lines. The first category is the extension of tradition. The second category is the beauty of lines, and the third category is the artistic conception of calligraphy-drawing. These works not only record and depict my creation ideas and also will be the basis and direction of my future study.