王友俊教授、程代勒教授Wang Yu Chun, Cheng Tai Le李庚娥Kyung Ah Lee2020-12-102014-7-102020-12-102014http://etds.lib.ntnu.edu.tw/cgi-bin/gs32/gsweb.cgi?o=dstdcdr&s=id=%22GN0895600263%22.&http://rportal.lib.ntnu.edu.tw:80/handle/20.500.12235/115602從古至今陶藝的發展與人類文明有著密切的關係。人類長期利用土與火等自然資源於日常生活中，除了維持生存所需，更為了追求便利性，不斷地透過研發與創作，漸漸發展出各個文化中的獨特美感。 「釉藥」是陶藝的智慧結晶，千百年來反覆試煉，從天然礦物原料中研發、調配而成。以韓國為例，韓國民族的傳統陶瓷色彩以青綠與白色居多，因此在韓國最具代表性的陶瓷器中，有富麗豪華世襲貴族所使用屬青綠色釉系的高麗青瓷 ，以及平民大眾化使用的清淡高雅白色釉系的朝鮮白瓷。 筆者在博士班研究期間，想突破中國傳統繪畫的形式而轉移至陶藝創作，並投入釉料的研究。從事陶瓷彩繪創作的同時，親自實踐配釉，試驗不同釉燒，並從中獲取許多經驗，評析不同天然礦物釉色的豐富變化，進而將中國傳統繪畫融合表現於陶瓷彩繪上。 本文旨在論述將中國水墨畫與陶瓷結合創作的歷程，探討陶瓷彩繪所使用的胎土與陶瓷彩繪釉色之關係，以及土坯的處理程序。彩繪過程中礦物顏料與色料的不同關係著上釉技法，如釉上(Over-glazes)與釉下(Under-glazes)彩繪，其次是彩繪素燒溫度、釉燒的入窯溫度與修復燒製成品。將中國繪畫應用於陶瓷彩繪創作的每個階段皆面臨考驗，尤以精準調配出作品所需的各種釉色更是煞費苦心。本文所指的陶瓷彩繪主要媒材是陶瓷土(Clay)、天然礦物顏料(Glazes)與色料(Stains)三者，為了突顯中國繪畫在陶瓷媒材上的風采，筆者利用千變萬化的釉色呈現「土與火」之個人陶瓷彩繪系列作品，進一步探討土與火個人陶瓷彩繪系列創作從無至有的坯體造型、配釉、磨釉、彩繪技法、修復、燒窯方法與控制溫度等面向與成品的相關性，極力展現將中國繪畫在陶瓷彩繪上的技巧，致力於掌握多層次的釉色，拓展陶瓷彩繪所能傳達之寬廣意境。The close relationship between pottery art development and human civilization dated back to ancient time. People make use of natural materials to pursue and create, not only for the sustainability of livelihood, but also to develop their own unique cultural appreciation of beauty. Pottery glazes are the crystallization of wisdom from thousands of years of precise creation by potters using natural raw materials. In Korea for example, traditional potteries were mainly colored in blue and white. The most symbolic representation of these was the turquoise “Koryo Celadon”, which were used by aristocrats, and the “Joseon White Porcelain”, which were used by civilians. My study aims to break through the creative forms of traditional Chinese painting and transfer it to creative ceramic arts and researches on pottery glazes. In the course of artistic creation of decorative potteries, I experimented with color variations of natural mineral colors by measuring glazes and trying different processes of firing. I also attempted to integrate traditional Chinese painting with an artistic creation of decorative potteries. This paper is my personal exposition of the integration of Chinese ink painting on pottery and porcelain. I will also discuss the relationship between the glazes used on clay and treatment of the clay bricks. The differences in mineral pigments affect the techniques of applying glazes, such as over-glaze and under-glaze. Also, the temperatures of bisque, the kiln and the fired products are important. The greatest challenge of transferring Chinese painting into pottery decoration was the anticipation of each stage, especially when accurate concoction of glazes was the key to producing the various different colors of glazes desired. The main materials for pottery painting in this study were clay, glazes and stains. In order to emphasize how Chinese painting could be applied on ceramic materials, I used a variety of different color glazes to present my personal “Earth and Fire” series of pottery paintings. I also experimented with shapes of clay bodies, concocted glazes, mill glazes, ceramic painting techniques and temperature control. I would like to make a breakthrough to transfer Chinese painting into pottery painting and apply glazes precisely to show my individual creative works in expanding ceramic materials for broader expressions.陶瓷土礦物顏料色料釉上彩繪釉下彩繪窯ClayMineral pigmentsStainsOver-glazesUnder-glazesKiln