视觉思维下中国陶瓷绘画图像的审美机制研究OA

As a dual carrier of material and spiritual values,Chinese ceramic painting imagery derives its aesthetic mechanism from the in-depth interaction between the cognitive logic of visual perception and cultural symbols.However,the current aesthetic study of Chinese ceramic painting lacks systematic exploration and is confronted with a predicament of marginalization.In response to this issue,the article introduces Rudolf Arnheim's theory of visual thinking,and establishes three dimensions—the unity of vessel and imagery,visual tension,and perceptual simplification—as the foundation for the aesthetic cognition of ceramic painting imagery.It further refines six types of symbols—primitive symbols,ritual symbols,secular symbols,folk symbols,brush-and-ink symbols,and metaphorical symbols—as translation pathways for understanding the generation of its aesthetic meaning and explains the semantic transformations of visual symbols in different forms.Finally,it summarizes three pathways—cross-media experience transfer,life experience transfer,and cultural experience transfer—to analyze the occurrence of aesthetic cognition,and reveals how visual thinking completes the aesthetic construction of ceramic painting imagery through the accumulation of experience.