The Creation and Application of Pottery by Chang-yen’s Hsu

• Main Authors: Chang-yen Hsu, 徐昌彥
• Other Authors: Hsiao-mei Cheng
• Format: Others
• Language: zh-TW
• Published: 2018
• Online Access: http://ndltd.ncl.edu.tw/handle/x7awgy

碩士 === 台南應用科技大學 === 美術系碩士班 === 106 === This creation discourse explains the interaction between the creation concepts and the expression of works through the research content and knowledge gained from the author’s studies in recent years. The author molded the ceramic works based on personal conception. The molding processes and feedback from the audience who saw the finished works to the author further strengthen the author’s affective abilities and nourish creation of subsequent works. Despite the author’s introverted personality, he came across the Tainan Art Market and became inspired to put his ceramic works on sale at an exhibition and motivated to develop his personal creations. The author operates the “Yen Yen” ceramics brand, selling ceramics at a stall. The author uses this opportunity to interact with the audience. Following accumulation of experiences and increased interactions with the audience, the author has grown in maturity and deepened his creation connotations. At the Tainan Art Market, the art products displayed primarily include utensils and small ceramic objects in the hope that a communication bridge can be established with the audience. This type of art exchange enables the author’s self-defense mechanism to be lowered, allowing the main theme of the creation to naturally emerge through the artwork and establishing harmonious relationships with the audience. This creation discourse comprises six chapters. The first chapter mainly concerns the awareness of the problem, knowledge gained from learning, learning experience, and the definition of keywords. The second chapter discusses the literature that supports the author’s concept of creation, and is presented as a comparison. The third chapter presents the creation concept, form of expression, and media and techniques. The fourth chapter describes the creations. The fifth chapter illustrates the niche, application, and promotion of “Yen Yen” ceramics. The sixth chapter concludes the discourse. The author’s creations are categorized into two types: “formative ceramics” and “practical ceramics.” The concepts of creation are mainly divided into two categories: emotional interpretation of the innermost feelings and rational processing of the details on functionality; however, the intrinsic connotations and creation techniques for both categories are interoperable and can be used in conjunction. Through creation and sales exhibitions, the author, the audience, and creations form an interconnected trilateral relation, in which each is indispensable.