书法入陶瓷 美就一个字
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书法之美，在于它能与各种材质相容；宣纸的韧而可润、光而不滑，让笔墨清晰饱满、浓中有淡；绢布的柔软细密、色泽亮丽，让字迹肌理可见、格调高雅；而书法与陶瓷的邂逅，则是一场泥、火与“墨”的艺术碰撞。<br style="margin: 0px; padding: 0px;"/>
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陶瓷书法是一门古老而又独特的中国传统艺术，世界上绝无仅有。它将中国书法艺术与陶瓷装饰融为一体，雅俗共赏，颇受欢迎。
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释延振，俗名雷振江，中国书法家协会会员，著名中医师。释延振出生在中医世家，自幼仰慕少林功夫，拜少林寺方丈释永信为师，学习金钟罩、铁砂掌等功夫。释延振家学深厚，在少林文化的熏陶下，自幼随师父修行习书，用功甚勤。释延振酷爱书法艺术，将佛法的参悟融入书法艺术中，练功之余，他每天都要坚持练习两到三个小时书法，数十年如一日，从未间断。释延振说练习书法能够修身养性，培养我们坚持持有的做事，容易集中注意力，不会心烦气躁，遇到大事不会慌乱，理智的去判断事物。释延振日复一日，坚持练习，在经过书法艺术的拓展研究和实践后，书法作品中既有古典文化的传承，又蕴含了自己独特的风格特点。
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由于他具有较深的书法功底，在陶瓷上用传统书法装饰，更是形式多样。他充分利用陶瓷色釉的材质美，采取多种表现手法，展现自我情趣，挥洒自如，运筹帷幄，或规整严谨，或自然潇洒，或清逸脱俗。
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不朽的陶瓷书法艺术
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陶瓷作为中国的国粹，从某种意义上来说，它见证着人类文明的发展，历史上陶瓷与文字结合的渊源，更是由来已久。
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陶瓷书法，顾名思义，就是表现在陶瓷上的书法。是一门古老而又独特的中国传统艺术，世界上绝无仅有。其实在古老的中国，陶文化时期就已经出现陶图案，但因为没有文字，算不上书法。直到文字出现，加上中国特有的制瓷技术，工匠能人在瓷器上写字、绘画，以至雕刻才有今天真正的陶瓷书法。
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陶瓷是泥与火的艺术，书法是笔含墨的艺术。陶瓷与书法两者自古以来就有着深厚的历史渊源，两者具有相通的艺术特征。陶瓷书法解决了传统纸质书法不易保存的问题，被称之为“不朽的书法艺术”。
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释延振的陶瓷书法既保留着陶瓷材质的流动美，又有器型与装饰结合的韵律美；既有气脉浓郁的传统底蕴，又有鲜明的时代个性。应该说朱丹忱的书法是汲古的，但恋古却不守旧，他收集了许多古碑拓片和字画，天天与古人对话，但又时时吸收时代的新鲜空气。
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清逸、蕴藉、深朴、平和、简静是释延振不断探索的艺术风格。然而，在释延振眼里，不同的字的形体结构、笔墨程式的递变，首先都应该有传承有序的发展轨迹，然后才是个性张扬的风格。释延振陶瓷书法深层次的要素，或许就在这里。
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现代条件下陶瓷与书法艺术愈加交相辉映，不同的陶瓷造型可以采用与其风格相协调的书法来加以装饰，使陶瓷艺术获得锦上添花的效果，同时陶瓷温润如玉的质感也让书法更显莹润光泽。
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陶瓷书法不仅仅需要艺术家书法的功力，选瓷上也需要考虑较多因素。瓷板要求平整光洁，不弯不翘，颜色纯净均匀，没有色障。立体器型要求烧制完好无缺，其造型与色泽，有利于加工。陶瓷书法作品的设计还要考虑到它的审美性、独创性与实用性。这是创作者文化素养、审美情操、思想境界、书法功力和工艺技术的综合体现，设计的好坏，直接关系到作品的成败。
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“瓷上书法要做到疏密有秩，浓淡相宜，瓷板颜色与字体颜色的也有大学问，用一个外行人的话来说，就是要看着舒服，不突兀。”释延振说道。
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陶瓷书法的工艺属性
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陶瓷书法作品的材质就是陶瓷，陶瓷有各种器型，有平面的瓷板（包括方形、矩形、扇形、圆形、椭圆形、菱形等几何图形），有立体的器型（包括各种瓷瓶、瓷盘、箭筒、镶件、壶、碗等），与其他陶瓷艺术品的器型无异。
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陶瓷书法所用的色料，釉下以青花为主，有的釉下彩也可以使用。釉上多用特黑，也有用新彩书写的。
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而堆书则以玻璃白为主，若想堆上有颜色的字，则玻璃白还须添加其他色料如新彩或粉彩，其搭配的比例有严格要求，须反复试验才能确定，有的根本就不能搭配。
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陶瓷书法作品的创作步骤：
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一、 选瓷。
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选取已烧好的单色瓷板或立体器型，供釉上制作。瓷板要求平整光洁，不弯不翘，颜色纯净均匀，没有色障。
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立体器型要求烧制完好无缺，其造型与色泽，有利于加工。
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还要考虑到它的审美性、独创性。有时还需考虑到它的实用性。
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如果是选择釉下创作，则不仅要选择不同器型的瓷坯，还要考虑烧成后瓷坯的收缩比例，以及可能烧成失败的风险。
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<span id="article-img-8" class="a-image" style="margin: 0px; padding: 0px;"><img src="https://i1.go2yd.com/image.php?url=YD_cnt_51_01GkWu8ev0YQ" style="margin: 0px auto 20px; padding: 0px; vertical-align: middle; border: none; max-width: 100%; display: block; background: url("//static.yidianzixun.com/apps/black_mamba_web_v1.0.0.177/black_mamba_web_main_pic_placeholder.png") 50% center no-repeat rgb(230, 230, 230);"/></span>
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二、 构思设计。
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在正式创作某件作品之前，根据器型特点和自己的想法，预先制订构图布局等通过人为的美化，达到最好的装饰效果。
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作品的构思设计，是一个人的文化素养、审美情操、思想境界、书法功力和工艺技术的综合体现，设计的好坏，直接关系到作品的成败。
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通常构思设计时要考虑以下几点：
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（1）根据器型选取书写内容（诗、词、文、句、联、吉祥语等），力求形式与内容的完美统一；
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（2）对书写部位进行规划，选取图案样式或几何图形，根据诗文的字数，确定写几行，每行多少字，题识与款印的位置，题目的安排，直写、横写还是环写，特殊问题（如扇形上宽下窄、圆形外大内小等），如何处理；
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<div options="src:https://i1.go2yd.com/image.php?url=YD_cnt_51_01GkWv9CoUs1;format:;title:" type="image" style="margin: 20px 0px; padding: 0px; line-height: 1.8; color: rgb(29, 29, 29); font-family: PingFangSC-Regular, "Microsoft YaHei", Arial, "\\5B8B体", "Arial Narrow"; text-align: justify; white-space: normal; background-color: rgb(255, 255, 255);">
<span id="article-img-9" class="a-image" style="margin: 0px; padding: 0px;"><img src="https://i1.go2yd.com/image.php?url=YD_cnt_51_01GkWv9CoUs1" style="margin: 0px auto 20px; padding: 0px; vertical-align: middle; border: none; max-width: 100%; display: block; background: url("//static.yidianzixun.com/apps/black_mamba_web_v1.0.0.177/black_mamba_web_main_pic_placeholder.png") 50% center no-repeat rgb(230, 230, 230);"/></span>
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三、 制作。
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制作方法很多，主要有以下几种：
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（1）笔写。无论是釉下还是釉上，用毛笔书写都是最基本的方法。根据字的大小和要求，用的笔也不一样。
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（2）刀刻。主要针对釉下瓷器，分阴刻与阳刻，阴刻是将字的笔画凹下去；阳刻是将字的笔画凸出来，有如浮雕。
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（3）剔字。在坯面或瓷面上喷洒色釉，然后在上面用毛笔蘸墨书写，再将字的笔画剔去，称为“留地剔字”，烧成后露出白字，类似阴刻；也有将底色剔去把字留下，称为“剔地留字”的，类似阳刻。
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<span id="article-img-10" class="a-image" style="margin: 0px; padding: 0px;"><img src="https://i1.go2yd.com/image.php?url=YD_cnt_51_01GkWv9nTI8t" style="margin: 0px auto 20px; padding: 0px; vertical-align: middle; border: none; max-width: 100%; display: block; background: url("//static.yidianzixun.com/apps/black_mamba_web_v1.0.0.177/black_mamba_web_main_pic_placeholder.png") 50% center no-repeat rgb(230, 230, 230);"/></span>
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（4）捏贴。釉下捏贴是先创作书法作品，再按照书法作品中各个字形特点，逐一用水调粘性较好的陶瓷泥料捏制出字来，稍干后根据各字在作品中的不同位置，用瓷泥贴到瓷坯上，再入窑高温烧就。
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（5）堆书。它是由堆花技术发展而来的，是用毛笔蘸色料直接写到瓷坯或单色瓷器上，但陶瓷色料不同于墨汁和水彩颜料，很难一次书写成功，必须反复涂写，使字的笔画不断堆厚。釉下堆书，当堆到所需要的厚度时，即可烧制，一次成功。
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<span id="article-img-11" class="a-image" style="margin: 0px; padding: 0px;"><img src="https://i1.go2yd.com/image.php?url=YD_cnt_51_01GkWwsgWGa3" style="margin: 0px auto 20px; padding: 0px; vertical-align: middle; border: none; max-width: 100%; display: block; background: url("//static.yidianzixun.com/apps/black_mamba_web_v1.0.0.177/black_mamba_web_main_pic_placeholder.png") 50% center no-repeat rgb(230, 230, 230);"/></span>
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陶瓷书法与书法的异同
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一、更丰富
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陶瓷书法，作为书法艺术形式的延伸，它的表现形式从字体书体、笔画结构到风格韵味都更加丰富，更加立体，
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二、易保存
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陶瓷书法的载体是陶瓷，它有平面的，也有立体的。它表面光洁，质地坚硬。相较于以宣纸为载体的书法，它经久不变色，也无虫蛀侵扰！
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