JIANG Lirui, HUAI Kang

(Shandong University of Technology, Zibo 255000, Shandong, China)

Extended abstract:[Background and purposes] Ceramic art is not only an object for collection and appreciation but also a vital medium for cultural exchange. However, traditional display methods are often confined to static presentations, failing to fully realize the effective communication of its artistic value and cultural connotations. The "spatial turn" in aesthetics during the latter half of the 20th century, along with Gernot Böhme's theory of "atmospheric aesthetics," emphasizes the significance of the "presence" of artworks, proposing that artistic experience is a "common reality" co-constructed by the work and the viewer within a specific environment. Against this theoretical backdrop, this study is aimed to delve into how to synergistically use the two key elements of lighting design and atmospheric ambiance to construct an immersive exhibition field. This approach seeks to transcend mere visual presentation, deepen the audience's aesthetic experience and emotional resonance and thereby provide a systematic theoretical and practical guide for ceramic art exhibitions.[Methods] Based on the theory of atmospheric aesthetics, this study is attempted to construct an integrated practical framework. Firstly, four core principles are proposed for creating atmospheric ambiance: Holism (unifying the space with the artwork's style), thematicity (highlighting the core imagery of the work), comfort (meeting the physiological and psychological needs of the audience) and cultural resonance (embedding historical and cultural context). Secondly, practical methods are systematically elaborated.(1) Space and Color. partitions and screens are utilized for dynamic zoning, while colors that resonate with the artwork's theme (e.g., cool tones for natural themes, warm tones for classical themes) are employed to shape the spatial narrative.(2) Core Lighting Techniques.For material adaptation, lighting schemes are customized according to the physical properties of ceramics (e.g., glaze reflectivity, body translucency, crackle texture). For instance, soft diffused or side light is used for high-gloss glazes to avoid glare and backlighting is employed for highly translucent white porcelain to highlight its delicacy.For precision parameter control, the angle, intensity, color temperature and projection method of light are flexibly adjusted, based on the artwork's theme. For example, the artistic conception of Song Dynasty porcelain requires soft diffused light, while the beauty of Jun porcelain's kiln transformation necessitates adjustable color temperature lighting to showcase its color flow.For sensory integration, in contemporary experiential exhibitions, lighting could be combined with sound, interactive projections, and other multi-dimensional sensory stimuli to construct an enveloping immersive space.[Results] A profound "interconstructive relationship" between lighting and ambiance is revealed. They are not merely in an applied relationship but form a symbiotic mechanism of bidirectional construction. This relationship manifests concretely on three levels, in terms of interconstruction, including intentionality and technicality, space and perception, and object and subject. With the guidance of this theory, practices are demonstrated.(1) Artistic expression is significantly enhanced. Precise lighting design (e.g., using low-angle side light for carved patterns) can intensify the texture, feel and form of ceramics, allowing their artistic characteristics to be fully displayed.(2) Audience experience undergoes a profound shift. Successful atmospheric ambiance effectively guides audience behavior and psychology. For instance, soft and tranquil lighting shifts the audience from "cursorily viewing flowers while passing on horseback" to "calmly observing and appreciating details," thus leading them into a contemplative state. whereas dynamic exploratory lighting stimulates the audience to become active "discoverers" of the space.(3) Cultural communication efficacy is strengthened. By constructing a complete "artistic conception" (Yijing), the exhibition moves beyond a simple display of objects to become an aesthetic activity that evokes empathy, enabling the audience to deeply perceive the profound cultural implications and philosophical connotations of ceramic art through immersion.[Conclusions] It is demonstrated that, in ceramic art display, lighting design and the creation of atmospheric ambiance form an inseparable bidirectional empowerment system. Lighting has transcended its role as a mere technical tool to become aesthetics itself, the direct source of ambiance, while ambiance provides the carrier of meaning for lighting. Working together, they ultimately aim to realize an aesthetic experience of "fusion of object and self." Future ceramic art exhibitions should be moved beyond the mere accumulation of techniques, striving for the harmonious unity of light, object, space and the viewer's body. New lighting concepts and technologies should be actively explored to construct more impactful and interactive spaces of artistic conception, thereby promoting effective communication and innovative development of ceramic art in the contemporary context.

Key words: ceramic art; exhibition; lighting design; atmosphere creation