A few days ago, the inaugural “National Ceramic Art Forum and the National Ceramic Art Museum opened its first exhibition”, “Muyan Porcelain —— Zeng’s Ceramic Art Exhibition was held at Beijing Guozhong Ceramic Art Museum. Nearly one hundred scholars, experts from the China Collectors Association, the China Ceramics Association, the National Palace Museum, the National Museum, and the China Academy of Art and representatives of the Guangxi Chamber of Commerce attended the opening ceremony.
Beijing Guozhong Ceramic Art Museum is invested by Beijing Guangyang Enterprise Chamber of Commerce & mdash;— Beijing Ocean Investment Group’s Ocean Culture Investment Company, aiming to promote ceramic culture and revitalize the glory of art ceramics Promote the prosperity and healthy development of art ceramics.
Historically, ceramics represented and carried the unique culture of human art development. However, in modern times, ceramics has gone to a depressed stage of development. How to inherit and revitalize this great art is common to modern people. Historical responsibility, a forum that is enthusiastically explored by many expert art scholars and able to gather the ideas of the top figures in the industry is especially necessary.
This forum is based on the theme of “ceramic ceramic education and college education” in the global ceramic context. It is celebrated by the business and art elites.
Zheng Zhi, president of Beijing Guangxi Chamber of Commerce and Chairman of the Board of Beijing COSCO Investment Group, said in a welcome speech: Ceramics is a great miracle in the history of human civilization development, and ceramic art is the crystallization of Chinese culture and art history. It condenses the entire civilization history of the Chinese nation. There are two main points of interest in this exhibition. First, the educational inheritance model of the three generations of Zeng’s grandparents is used as a case to study the direction of China’s future ceramic art education. Second, under the vision of global contemporary ceramic art, The differences and contemporary nature of the works of various generations of artists are the starting point, and how to promote the development of Chinese contemporary ceramic art.
He said that today’s ceramics are no longer the language of China, but the international language of the world. The artist’s work has entered the era of globalization. Ceramic art has also been liberated from traditional shelves and interiors, from a single arts and crafts to a part of contemporary art, forming a diverse expression of all kinds of art based on “ceramics”. The function of the exhibition is shown to the public. In addition to the outstanding works of the artist, the artist can also take the next step to guide the public to think, listen to the advice and suggestions, and promote the artist to broaden their horizons and create more outstanding works.
Sun Gu, chief expert of the National Museum, Zhang Shouzhi, professor of Tsinghua University, Cao Jinglou, researcher of the Palace Museum, Zhu Yeqing, professor of China Academy of Art, He Bingqin, professor of Jingdezhen Ceramic Institute, and Huang Chunmao, professor of Central Academy of Fine Arts, from the family of ceramics The respective characteristics and interrelationships of inheritance and modern art education express their own academic views.
The following is a summary of the reporter’s abstract excerpts from the participants to the reader.
Liu Chuanming: Development should be passed down to the present
Since the last century, almost all the theories in the field of painting and calligraphy have encountered unprecedented challenges. The so-called tradition and modernity, the essence of China and the world context, what is the relationship between family education and modern education. At the moment, the prosperity of culture and the prosperity of ceramics present an unprecedented scene, but the transformation of the cultural spirit and the thinness of the theory just make the friends of Huai culture and ceramic art worry that we cannot replace it with superficial prosperity and liveliness. This art of thinking and theoretical development.
The development and revitalization of national culture is inextricably linked to our traditions. Of course, we emphasize the deepening of reforms and emphasize the care of the world. Ceramic culture is even more so. We need to get through the efforts of the past and the present. Putting it on the platform of culture to talk about ceramics is nothing more than three roads. The first is to speak. The so-called slogan is to abide by cultural traditions and strictly follow the spirit of classical culture to restore the civilization we have had. The second is to continue to talk. It is to instill our understanding of the times, the development of contemporary spirit and individuality into the ceramic creation and ceramic aesthetics. The third is to retell. It is the contemporary context that is the context of an open world. The publicity of contemporary personality must re-interpret history and re-create new history, so ceramic art and ceramic culture also face these three paths. Today, this forum uses the works of Zeng’s father and son to explore the development of contemporary ceramics with family-style art cases and phenomena. Let ceramics be a symbol of the country, to inherit the tradition, to open the future, and to be accepted by more people.
Ceramics is a historical collection of all-information. It is not only a reflection of the aesthetics of the times, but also a reflection of the artistic characteristics of the times. The ceramics should have a rich historical background and rich cultural nutrition. The national culture also bears important responsibilities today. Ceramic art is a large art category. As a person who studies art history, in the early days of the founding of the country, there was a very serious disagreement in higher art education. Should we introduce western modern education into Chinese traditional art education, the context and political environment at that time? It has almost become a one-sided state. Even Chinese paintings, which represent the essence of Chinese national culture, have been abolished by higher art colleges. There is no Chinese painting department, only the oil painting department. In contrast to ceramics, it is in this context of great culture that it has to some extent have Western aesthetic concepts and styling features to transform our traditional ceramic art characteristics.
The outstanding artist of each era must not be a conservative. In this sense, it is not limited to science education or discipline extension. It is necessary to look at this history with a broader mind. Culture must emphasize culture. One of the most important cores of culture is aesthetic education, which is also crucial to our art education. Why I am seeing the artist’s art now, the process of his creative thinking, the aesthetic character it provides is rarely concerned, especially the ups and downs of the past decade, the price is high and beautiful. To change this kind of world style, we must solve this problem from the aesthetics, know what is beautiful and what is value.
Sun Ji: Better integration of ceramics and paintings
I think that Chinese ceramics did not have paintings at the beginning, only embossing, and the technology became mature in the era of pastels. Nowadays, the technology mastered by ceramics is very comprehensive and complicated, but ceramics is still a daily necessities in the people’s life, a practical thing, the above paintings are only decorative paintings, which has witnessed the development of ceramic art. In addition, the Chinese traditional painting style has been opened, how to combine this painting style with ceramics? Literati paintings are to be poems, poems and paintings are played together, and seals form a whole. I don’t think that the integration of ceramics and paintings is still a good solution. On the one hand, it develops into pure art porcelain. This is purely an art ceramic. From the blank to the painting, it is the artist’s own hands. Its concept is integrated into the ceramic to form a work of art. Whether it is practical or not. On the other hand, how do ceramics play a more important role in the daily production of bulk commodities? If the artist is painting landscapes, painting on pots and bottles, but also taking into account the practicality of porcelain, if daily porcelain is fully utilizing the artistic attainments and fully combining with practicality, it is even better.
Zhang Shouzhi: There are limitations in the inheritance of teachers and apprentices
In 1953, Premier Zhou Enlai confirmed that Minister Huang Yanpei of the Ministry of Light Industry began to restore ceramics in New China. At that time, we participated in Jingdezhen at the Central Academy of Fine Arts. Trainee, the education of Jingdezhen is also a master’s biography. The advantage of the master and the disciples is that the intangible cultural assets are well preserved, but there are limits to the creation of individualized and contemporary ceramics. Because the apprentices and apprentices must learn the style and craftsmanship of the master, this has certain limitations for the innovation of ceramics. After the founding of New China, six or seven colleges and universities across the country began to do modern ceramic design education. This ceramic specialty is different from the mentoring and mastery. It comprehensively enhances the students’ artistic accomplishment, including the overall design from modeling to decoration, giving students a comprehensive knowledge of culture and art. After the reform and opening up, there are three or four hundred undergraduate majors offering modern art education in various colleges and universities across the country. Jingdezhen Ceramic Institute has played a leading role in promoting Chinese contemporary art ceramics, daily-use porcelain and sanitary ceramics.
When we went to Jingdezhen to build a national porcelain in 1953, the division of teaching and learning in Jingdezhen was very fine. In the ceramic design is not an apprentice can master the whole, just a shape is divided into many categories, such as dishes, hollow utensils, etc., each part of each work has a division of labor, which results in a single design, The overall design of the work cannot be considered. The ceramic art department of Jingdezhen Ceramic Institute is also divided into ceramic sculpture specialty and ceramic design specialty. The design specialty is divided into art porcelain and daily porcelain. Students learn from modeling to decoration. Therefore, the masters and apprentices are well-inherited in some aspects of the technical skills of the works, but for the advancement of people’s life and the development of the times, social life determines the market, the market determines the artist’s artistic works and style, so modern ceramic art In some respects, education has its advantages over mentoring. The three generations of Zeng’s family were influenced by family-style education. They not only maintained the advantages of mentoring and apprenticeship, but also had the advantage of modern design education. As a young person engaged in this industry, it is the most ideal. It is different from Europe and America. Historical country.
Zhu Yeqing: “Ideology determines status”
The reason why “Chinese Ceramic History” is important in China is because it has a unique position in the model of world civilization history. Why the history of Chinese ceramics has received such attention internationally, we have found that every generation, every time, to ceramics, it has undergone a radical change. From the Southern Song Dynasty to the Yuan, the entire aesthetic and crafts are changing. Their meaning is a concentrated response that represents the ideology of the entire country. Although it is a daily necessities, it contains far more information than that. How to interpret it is what we have to accomplish. In this interpretation, it is not only the aesthetic decoration of ceramics, but its ideology. The form of civilization it presents should be more meaningful.
I am also a landscape painter. Since the formation of landscape painting, we must follow this pattern to paint, but the history of ceramics is different, you will find that this interpretation becomes meaningful. The original celadon, to the Southern Song Dynasty official kiln porcelain, it crossed the colorful colors of the Tang Dynasty, to the scope of science, how do we do this time.
He Bingqin: Great development space
Referring to inheritance, from our long history, our crafts and art are constantly improving and developing, and inheritance plays an important role in this respect. The role. Ceramics has a history of more than 20,000 years. From the ceramics in Hunan Dao County to the ceramics in Xianrendong, Jiangxi, according to experts, there are more than 20,000 years of history. Our porcelain is only over 1700 years old. Our ancestors walked through this road. All the hardships are the inheritance of generations.
How to better and faster inherit the wisdom of the ancestors, many of our seniors are doing, for example, when the Republic of China opened a ceramic specialty. Some good places in this regard, one is that many teachers enter the university to teach, and the other is to take advantage of the Jingdezhen production area, they continue to hire famous local craftsmen to train the next generation. In theory, there are college teachers’ research on art theory. In the technical skills of production, some advanced technical skills of Jingdezhen are also inherited. The development of this period has played a role in linking up and developing. We are the third generation, and we have absorbed more people’s strengths and are more grounded. Unlike the original teachers, we will only be able to move our mouths. The students we train now will both start and move, and in theory and practice. layer. In fact, it has improved the teacher’s lack of teaching and practice.
Historically, innovation has continued throughout the development of art. From the original to the present, every step is an innovative concept that has brought about rapid development. In particular, the porcelain that was first burned in our country, with a history of 1700 years, not only brought great influence to the Chinese, but also achieved great returns in the world. This is also a huge force for innovation.
A huge space for ceramic development. Why is it that there is huge room for development? I believe that in the many artistic situations, ceramics has other advantages besides absorbing the nutrition of painting. For example, under the conditions of ancient simplicity, the ancestors mastered the metal oxides such as aluminum, copper and tin, and created such a rich national culture and the great achievements of ceramics. Since the development of ceramics, various chemical preparations and chemical materials have brought a wider world to artists. There is a vast space for ceramic art. Everyone has to meticulously ponder and refine these materials. Ceramic art is no less than any other art. I also want to emphasize that as a modern education, we must not only inherit the tradition, but also imitate Chinese painting and oil painting. We are more important to use the characteristics of ceramic materials to do art. It should have its own unique art.
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