History of ceramic art

Ceramic art is a traditional and ancient culture in China.

China's English name is China, which means ceramics. China is an ancient country of ceramics. When it comes to ceramics, foreigners will think of China.

Ceramic art is an artificial form.

The basic materials of ceramic modeling are soil, water and fire.

Only by mastering the plasticity, rheology, molding method and sintering law of water-soil mixing can people promote the emergence and evolution of ceramic forms and make ceramic objects produce beautiful forms.

Both of them pay attention to the organic combination of modeling and decoration, and capture and reveal the plastic beauty, flexible beauty and vitality of soil through people's keen inspiration and innovative consciousness, thus a brand-new ceramic art form appears, which is mastered, developed and innovated by smart people.

When any art develops to a certain stage, it will form a complete skill.

At present, foreign ceramics are developing rapidly. There are ceramic classes from primary school to university, many families have set up ceramic workshops, and some private ceramic studios have emerged. Many leisure places are also decorated with works of ceramic artists, which can not only develop the ceramic industry well, but also increase learning and communication with ceramic artists.

With the gradual warming of the pottery craze, pottery products are favored by more and more people. Handmade pottery has become another leisure way for people to relax and release themselves after work and study.

China ceramic art is developing. Since the rise of ceramic bars in various places a few years ago, people have gradually learned about ceramic art, and ceramic art is entering the family.

In the development process in recent years, the relevant education departments have incorporated ceramic art into the teaching curriculum from the perspective of quality education, so that they can be influenced by art from an early age and exercise their practical ability, which well reflects the achievements of quality education.

Ceramic art is a kind of culture, both young and ancient. Young because of the independence and development of modern ceramic art, ancient because it is accompanied by the history of human civilization, revealing the original charm.

Tao is the art of earth, and the art of fire is actually the art of life.

Do it yourself, or draw a blank, or pinch plastic, one piece of work is born from your own hands, with the smell of mud, showing your personality.

The creation of modern ceramic art mainly expresses the author's thoughts through the shape, material, texture, ornamentation and glaze color of the works, which meets the requirements of modern people to return to nature and reflect their own personality. Ceramic art is as famous as painting, sculpture and other plastic arts. With its unique artistic language and rich expressive force, it attracts many ceramists, artists, ceramic lovers, students and children to engage in ceramic art creation or production.

From the beginning of killing mud (practicing mud), through the use of techniques such as dish-pulling, mud-pulling, kneading and drawing blanks, one piece of art was born from one's own hands, decorating one's beautiful life.

How to do blank: If you are a novice, slow down the machine. Let's get down to business. First put a piece of mud in the center of the machine (start turning the machine after putting it away), press the center of the mud with your thumb and slowly press out a hole. Then press the mud into the pen container with both hands. If it is dry, soak your hand in water. Then it's time for you to create at will.

Modern artists in China can make gold pots with a diameter of1.8m, and can fire thin-walled porcelain bottles with a larger diameter than their predecessors, but they can't create modern ceramic works belonging to this era.

The long period of 100 years is a lonely blank in the history of China ceramic art, and the times are calling for the emergence of masters.

When Xing appeared as a dark horse in the foreground of China ceramics industry, he quickly attracted many eyes.

Unprecedented works show unprecedented creation, and 12 patents clearly tell history that the history of ceramic art has turned a new page.

Authoritative professional magazines in Taiwan Province Province call him "the best ceramic in the world", and ceramic art circles at home and abroad think that his appearance will rewrite the history of modern ceramic art in China, and China has surpassed Japanese in the field of ceramic art, thus breaking the pattern of ceramic power in the world today.

Pottery is mysterious, and neither manual efforts nor modern technology can fully reveal the mystery. The same formula may lead to very different temperatures. When the molded soil embryo is put into the kiln, man becomes the assistant of nature. The so-called "three points of labor, seven points of nature."

Fire, earth and some kind of spirituality whirl and roll in the high temperature area beyond the touch of human eyes, and finally merge into one. This is the foggy world in human culture so far.

"Kilning" is the most fundamental link in ceramic art. Because fire is inevitably separated from the direct relationship between people and things in ceramic production, ceramists lose absolute control over the firing process in the general artistic creation process.

The birth of the final work is accidental and inevitable.

The process of kiln transformation is a life experience, a feeling of expectation, and it is discovery rather than seeking. The relationship between technology, art and even life is completely integrated here.

The originality of Xing's ceramic art lies in his breakthrough in "kiln transformation". For thousands of years, the uncontrollable kiln fire has become docile and tame in front of Xing.

His works can be roughly divided into three categories in the ceramic circle: one is tea born out of tradition.

Tea ceremony bowl; One is the works of rotating bottles and hanging balls based on the traditional tripod furnace structure; One is masks, human bodies, leaves and other sculptures.

The three kinds of works reflect the author's exploration and pursuit in ceramic technology, modeling, glaze color and so on.

Tea Bowl is the largest and most representative work of Xing.

His 12 patent focuses on the tea ceremony bowl.

The birth of tea ceremony bowl is closely related to the ancient tea culture in China. Especially after tea culture spread to Japan, the Japanese combined with their own national culture to form a famous tea ceremony culture.

Japanese traditional ceramic masters all regard the making of tea ceremony bowls as the yardstick of competition skills.

In the oriental culture, the leisurely feeling of harmony between man and nature, the Zen meaning of viewing the sky as color and viewing the sky as color, is vividly displayed in the simple and quiet tea ceremony bowl.

The existence of this cultural background makes Xing choose the tea ceremony bowl as the main category and breakthrough of his ceramic art creation.

This choice also makes his creation find an opportunity to communicate tradition and modernity, nation and the world.

In a sense, the success of Xing Tea Ceremony Bowl is mainly the success of glaze.

Three-dimensional glaze opening; Red Tianmu glaze; Netted series glaze; The creation of special techniques such as pearl glaze is an important link in Xing's ceramic style.

Three-dimensional glaze opening won the national patent, which is an unprecedented creation.

The so-called opening refers to the natural crack of ceramic glaze, which is a kind of opening similar to "ice crack" formed by using the difference of expansion coefficient between inner tube and glaze.

Since ancient times, this kind of ice crack has become a special aesthetic fashion, which has attracted people's attention. The opening pattern and color are important criteria for evaluating the artistic taste of works.

However, in recent thousands of years, this kind of opening is almost naturally formed, and it is impossible to set the opening mode according to people's will, while the traditional opening is all black lines on a white background without exception.

Xing's three-dimensional opening broke this ancient pattern: he not only successfully fired the opening of white and black glazes and other colored glazes, but also turned these tiny openings into three-dimensional convex lines, just like the convex lines on cantaloupe.

The eternal ceramic glaze decoration technology has a bright new landscape and a bright village.

His three-dimensional glaze opening is varied, uneven and beautiful.

More importantly, the direction and shape of pulse opening can be controlled according to the requirements of the author. Whether it is vertical or horizontal, oblique or positive, concentric or straight, you can do whatever you want and be superb.

Xing changed the old saying "three points of cultivation, seven points of harvest" into "seven points of cultivation, three points of harvest"

Mesh glaze is another series of high temperature glaze works created by Xing.

The reticulated glaze produced on the basis of three-dimensional opening is mostly brown or dark brown, and the reticulated glaze is relatively dull.

Single-layer and double-layer interlaced reticulate patterns, some as thin as hairspring, some as python patterns, are ecstatic and elusive.

"Red Tianmu Glazed Pottery and Its Making Method" is a national patent obtained by Xing.

Tianmu glaze is the general name of iron black crystalline glaze in Song Dynasty.

In history, Tianmu glaze was mostly dark brown, yellow Tianmu glaze was also fired, and red Tianmu glaze began to appear from Xing.

In the materialistic world, modern people pursue long-lost natural taste and nature. Xing's tea ceremony bowl opens up the new by borrowing the old, conveying the warmth, benevolence and truth of the earth to people. A handprint and a fingerprint record the creator's free and unrestrained feelings and the vastness and profundity of the earth itself.

Moisten as jade, white as snow, red as fire, and the glaze is covered with subtle lines, such as pond ripples, mountain streams and springs, mottled shadows under the bright moon, and the ice in Jiang Shangqing suddenly cracks in spring ... bright as a clear sky, reminiscent of a carefree sky and dark as a sunset in the mountains, as if escaping from the world of mortals.

A series of works, such as bottle spinning, ball hanging, gourd and incense burner, show Xing's wonderful grasp of the inheritance and innovation of China's traditional pottery.

The 10 layer rotating bottle collected by the Palace Museum in Beijing contains 10 layer balls in the hollow bottle, with an ear on each side of the upper and lower ball parts, and a rotatable hollow ball hanging under the ear.

Hanging ball is a kind of tripod pottery with pendulum-like hanging structure, in which one to five balls are hung layer by layer.

Hanging balls are mainly in traditional tripod and furnace styles, while others are similar to pots in Chinese bronzes.

Hanging the ball inside and moving outside is wonderful.

In addition to the wonderful shapes of these works, it is amazing that this layered empty bottle structure is another breakthrough of the author in pottery making technology.

Let's take a look at Xing's third kind of works. It is estimated that these masks, human bodies, leaves and animals are all called sculptures.

Perhaps you will be surprised: Are these works with almost different styles and characteristics written by the same person? Yes, and this is only a small part of his ceramic works in recent years.

If the tea ceremony bowl series shows Xing's breakthrough in ceramic glaze, people will find that his works are still standardized in shape and style under the influence of traditional style; If the spinning bottle and hanging ball show Xing's unique ingenuity and genius, then people will applaud the ingenious conception and difficult skills of the work! If only so, the most valuable part of Xing's thoughts and creativity may be covered up, which is the most important thing for him as a modern ceramist.

The essential difference between modern ceramic art and traditional ceramic art is that the difference between excellent works and ordinary works lies not entirely in technology, but in strong personal character and life implication.

A good ceramic work must be a superb work, and a superb work is not necessarily a good work.

This dilemma is precisely where ceramic art is more complicated and difficult than other plastic arts.

The greatness of ceramic art lies in completely transforming fanatical emotions and stirring hearts into works through technology, and then conveying them.

It is a kind of free realm of "masters don't carve" and "elephants are invisible", and the ideal realm pursued by "harmony between man and nature" in eastern culture is only the most worthy of the name in the process of ceramic creation.

If there is no such work, or if Xing's works as a whole have no such bursting life, then he may just be a ceramist who is only one step away from the position of a modern ceramist.

The red glaze on the top of this bottle-shaped work named "Waterfall Red" is like gushing blood, implying the pride and beauty of vitality, a stunning magnificence. In the history of pursuing elegance and harmony in traditional ceramic art, can you find such thrilling works?

Xing likes to create with rough sand, which may imply that the author is pursuing a strong and healthy life form; The images of red and black symbolize the struggle between righteousness and evil in life. The river of human destiny runs in the endless wilderness, washing away the sediment and hitting the rocks, and the real life is exposed between heaven and earth without any cover.

For thousands of years, there has been a cry of joy in the elegant and quiet ceramic space!

In Xing's early works, these grotesque animals and masks reflect Xing Qite's imagination.

Metamorphic human works with the theme of life and death are intertwined with various complex cultural concepts, cultural traditions and artistic spirituality.

Between divinity and humanity, between ideal and illusion, mountains and rivers, birds and animals, human heroes and saints, fighting and games are all fixed there. Ghosts and gods, heaven and hell are one. They carry the heroes of kiln fire, illuminate the face, eyes and chest of the viewer, illuminate the sadness and joy hidden in people's hearts, and burn bitterness and joy. This is a hymn of great freedom.

In front of the audience, most of them are shapes that nature can't find at all. Those non-human and non-animal, but also works of people and animals, more like an illusion in a dream.

This gourd humanoid work reminds people of all kinds of folklore and folk beliefs with a warm sense of humor. Fairy-tale wishes are like fairies in dreams.

The author's creative mood is relaxed, his hands are free to turn, and his inspiration is as changeable as mercury, so that the soil is endowed with spirituality and he can breathe as he pleases.

The human body is the most striking category in Xing's works, and it is also the most comfortable and free creation of Xing.

These childish human images are exaggerated, abstract and reasonable, without the rigor and rationality of the academic school, but full of romantic and naive enthusiasm from the folk soil.

Like the stone horse and beast in front of Huo Qubing's tomb, the whole body is full of simple and honest vitality.

Exaggerated hips and * * *, twisted waist and legs, local deliberate and accidental texture and glaze color contrast make us unable to classify. Perhaps his works are unreasonable and cannot be distinguished according to rational logic. The mystery, strangeness, ugliness and humor of the modeling make people feel the mysterious and ancient original image. The local rugged and simple ancient customs remind people of the charm of African civilization, Mayan culture and Chu culture. They are like a deep call in the distance or a gesture with vague meaning in the distance, which embodies a magical and distant artistic conception, integrating secrets with scheming, body and spirit.

Without the slightest pretense, affectation and hesitation, * * * and creativity broke out in the soil. Probably only the real orientals, the real land of the East, can produce such works.

Some people vaguely see the shadow of such modernist masters in Xing's works.

In fact, Xing, who had only received six years of primary education, had no idea who Picasso was before he created these works.

But people's subconscious seems to touch the essence of Xing's works from another angle.

Picasso absorbed Asian and African folk art and primitive culture extensively in his artistic career, and formed his own pioneering ceramic creation.

But just as Gombrich saw the flaws in Picasso's ceramic art, Picasso is great as a painter, and his ceramic art shows more the process of exploration and absorption.

In other words, it is impossible for Xing to create Picasso.

Xing, a common people and a folk artist, shows amazing cosmopolitanism in his works because of his understanding of folk art superman and the expressive force of genius, which coincides with the cultural characteristics of different nationalities.

Perhaps this is another phenomenon worthy of great discussion by historians and art theorists.

The creation associated with life always has a sense of mystery.

No teacher-student relationship, no family background. These excellent works make almost all critics speechless for a while. The mystery of Tao is unpredictable.

This is similar to man's fate, and entering his works will also enter his life.

Xing's life journey is full of hardships and thorns, which makes his art today. From the bottom of society to today, the legends and twists and turns he has experienced are far from being accommodated by a book.

We can only hope that interested readers can learn from his works, and also hope that in the near future, a work can truly and comprehensively present his thoughts, experiences and art exhibitions to readers. I can predict that it is not only a wonderful biography, but also a silhouette of China's social evolution and changes in humanistic thoughts in recent decades, because these are inextricably linked with his works.

The rock wall eroded by years has become a pottery pattern, a little bit by little, which is the memory of life's trek.

It is a calm sea, but it retains the waves of the sea, like the sleeping wind, but leaves the shape of the wind.

Waterfall red is the noise of blood, and pearl glaze is the crystallization of tears. When the earth was given warmth by the author, it became a poem burned in the fire.

In the autumn wind, the leaves of the branches fall irretrievably and rush to the soil and roots of the source of life. In the eyes of ceramists, autumn leaves are not the sadness of youth passing away, nor the depression of life destruction, but the punctuation of life cycle in the universe and the glory of youth nirvana.

Monsters and naked women were born from the earth, and fire gave them souls. Rub God's secret into the soil quietly with one hand, and the fire will explode, playing a symphony with beauty!

Coming from 1000 years ago, coming from 10,000 years ago, this is a colorful world, a world of mud, fire and hands.

Those long-lost spirits fly lightly in this dream, smiling and nirvana in mud and fire!