Analysing the Spiritual Dimensions and Ceramic Sculpture in Contemporary Chinese Art
DOI:
https://doi.org/10.56294/sctconf2024.1202Keywords:
Sculpture Art, Spiritual Dimensions, Ceramic Sculpture, Contemporary Chinese ArtAbstract
Introduction: Sculptures are artworks created by carving and assembling materials like stone or metal. It serves as cultural symbols, enhance public spaces, and express artistic ideas. Historically, sculptures have represented deities, historical figures, reflecting societal values and artistic trends. As societies evolve and economic growth accelerates, there is a growing emphasis on spiritual and artistic fulfilment beyond mere material needs. In this context, ceramic sculpture has emerged as a vital expression of artistic and cultural identity, particularly with the rich tapestry of Chinese art.
Objective: To explore the intricate association between the traditional Chinese culture and the contemporary ceramic sculpture, examining how the spiritual essence of historical art forms influences modern artistic practices. The delves into the artistic characteristics and expressive language of ceramic sculpture, assessing how national cultural values shape and manifest in contemporary works.
Methods:
It further investigates the effect of Western influences on Chinese ceramic art and highlights the importance of preserving and innovating traditional artistic practices.
Results:
By analyzing the integration of cultural heritage into modern sculpture, this paper aims to uncover how contemporary ceramic artists can draw inspiration from historical traditions to enrich their creative expressions and contribute to the global appreciation of Chinese art
References
[1] Wang, Y., 2022. The interaction between public environmental art sculpture and environment based on the analysis of spatial environment characteristics. Scientific Programming, 2022(1), p.5168975.https://doi.org/ 10.1155/2022/5168975
[2] Li, N., 2024. The Micro Narrative Language Embodied by Shapes in Contemporary Sculpture Art. Cultura. International Journal of Philosophy of Culture and Axiology, 21(1), pp.386-402.
[3] Cudny, W. and Appelblad, H., 2019. Monuments and their functions in urban public space. NorskGeografiskTidsskrift-Norwegian Journal of Geography, 73(5), pp.273-289.https://doi.org/10.1080/00291951.2019.1694976
[4] Liu, X., Koestler, R.J., Warscheid, T., Katayama, Y. and Gu, J.D., 2020. Microbial deterioration and sustainable conservation of stone monuments and buildings. Nature Sustainability, 3(12), pp.991-1004.https://doi.org/10.1038/ s41893-020-00602-5
[5] Murwonugroho, W., 2019. Mediating role of social media in the memorability of street sculpture art: Jogja Street sculpture Project 2017 as case study. WacanaSeni, 18, 95–124.https://doi.org/10.21315/ws2019.18.5
[6] Sharma, Y.P., 2023. Symbolic Significance of Contemporary Nepali Sculptures. Journal of Fine Arts Campus, 5(2), pp.1-7.https://doi.org/10.3126/ jfac.v5i2.67281
[7] Ikwuemesi, C.K., Egwuibe, N. and Obodo, E., 2022. Realism, eloquence and symbolism in Reuben Ugbine's ceramic sculptures. IKENGA: International Journal of Institute of African Studies, 23(1).https://doi.org/10.53836/ijia/2022/ 23/1/006
[8] Mudra, I.W., 2019. Image Brayut on The Creation of Ceramic Sculpture. Cultura, 16(1), pp.75-90.https://doi.org/10.3726/CUL012019.0005
[9] Xu, L. and Zhang, Z., 2023. The Style, Lacquer Color and Shape of Han Dynasty Ceramic Sculpture Inspired the Creation of Fine Art. Mediterranean Archaeology and Archaeometry, 23(3), pp.76-86.https://doi.org/10.5281/zenodo.10442297
[10] Guo, J., 2019. Systematic Construction of Sculpture Art in Contemporary Cultural Environment.https://doi.org/10.25236/admc.2019.039
[11] Yang, H., Amnueypol, U. and Wang, Y., 2023. Creating Cultural Sculpture: Analyzing the Value of Traditional Chinese Sculpture Based on the Five Levels of Human Cognition. International Journal of Arts Theory & History, 18(2).https:// doi.org/10.18848/2326-9952/CGP/v18i02/21-42
[12] Huang, Y., 2021. Chinese Traditional Ecological Wisdom and Contemporary Sustainable Landscape Art. Human-Centered Urban Planning and Design in China: Volume I: Urban and Rural Planning, pp.45-60.https://doi.org/10.1386/ jcca_00004_1
[13] Haque, M.A., 2020. A comparative study of contemporary ceramic sculptures between China and Bangladesh. International Journal of Visual and Performing Arts, 2(1), pp.42-58.https://doi.org/10.31763/viperarts.v2i1.152
[14] Ying-Ling Huang, M., 2019. Introducing the art of modern China: trends in exhibiting modern Chinese painting in Britain, c. 1930–1980. Journal of the History of Collections, 31(2), pp.383-401.https://doi.org/10.1093/jhc/fhy017s
[15] Jian, M., Dong, J., Gong, M., Yu, H., Nie, L., Yin, Y. and Lam, K.M., 2019. Learning the traditional art of Chinese calligraphy via three-dimensional reconstruction and assessment. IEEE Transactions on Multimedia, 22(4), pp.970-979.https:// doi.org/ 10.1109/TMM.2019.2937187
[16] Fang, L., 2023. Ceramics of the Qin and Han Dynasties. In The History of Chinese Ceramics (pp. 127-177). Singapore: Springer Nature Singapore.https://doi.org/ 10.1007/978-981-19-9094-6_5
[17] Gao, C., Wang, F., Hu, X. and Zhang, M., 2023. Research on the analysis and application of polymer materials in contemporary sculpture art creation. Polymers, 15(12), p.2727. https://doi.org/10.3390/polym15122727
Published
Issue
Section
License
Copyright (c) 2024 Yiming Zhang , Ajmera Mohan Singh (Author)
This work is licensed under a Creative Commons Attribution 4.0 International License.
The article is distributed under the Creative Commons Attribution 4.0 License. Unless otherwise stated, associated published material is distributed under the same licence.
