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In 1990, The World of Collection, a
famous Hongkong magazine published some of my works designed
in modem folk blue-and-white, accompanied with my article
entitled" Notes On The Folk blue-and-White Design ."In this
article I wrote:" I love the folk bule-and-white art of
Jingdezhen. I am so infatuated with it and always forgets
myself whenever I visit Jingdezhen Porcelain And Pottery
Museum where store the bowls of early Ming Dynasty with the
design of gloud in folk blue-and-white, bowls of Chenhua
Period of Ming Dynasty with the design of bamboo and plum
tree in folk blue-and-white, dishes of tianqi Period of Ming
Dynasty with the design of characters in folk blue-and-white
,and bowls of late Ming Dynasty with the design of landscape
in folk blue-and-white and the design of playing baby in
underglaze folk blue. These works were naturally and lively
wrought. Their simplicity and naiveness, originality and
gracefulness appeal to me so strongly that they always give
inspiration to my work."
Mypractical research based on my strong interest in the folk
blue-and-white art benefits greatly from the precious relics
of art passed on to us from our forefathers. Now, history
endows us with the mission to inherit, explore and develop
this art. We would otherwise fail to live up to the hope of
our forefathers and therefore feel ashamed to our offsprings
and our nation. Since 1984, I've been studying the folk
blue-and-white art of the Jingdezhen tradition and
specialized in developing, exploring and inheriting this
traditional folk art. For over ten years Ihave been making
research on how to develop and improve the folk
blue-and-white decoration on the cheap bowls of the old days
and make it very much a modem-styled blue-and-white art for
the expenxive art ceramics. Having experienced failures and
pains, success and happiness, my efforts finally bore
fruits. Afters more than ten year' research, I have gathered
some personal experience and understanding on the art of
modern creation in folk blue-and-white.
No pains, no gains. My achievements in the art of modem folk
blue-and-white creation become influencial at home and
abroad. My works are accepted and affirmed by the experts
and people around me. This achievement, I know very well,
only means my past success, as there is no limit to art. I
fully understand that I have a long way to go and a new
world to begin with.
A strong fresh wind of modem foreign ceramic art blew into
the old ceramic capital of Jingdezhen as China opened its
door to the world. Soon there appeared an upsurge of modern
ceramic art creation in Jingdezhen, which tended to break
away from the conventional ceramic art, Gradually, there
appeared in Jingdezhen a circle of artists engaged in the
creation with modern ceramic art. As one of the circle,
Itried to explore and find out a new path of modern ceramic
art for Jingdezhen. My works at tempted to draw the gems
from the modern western ceramic art as well as inherit the
merits from our tradition. The efforts of my colleagues and
me did succeed in opening a new path for the creation of
modern ceramic art in Jingdezhen.
As other arts, the art of modern ceramics should embody the
characteristics of universality and nationality as well as
regionalism. The development of modern ceramic art in
Jingdezhen cannot be cut off from its historical tradition.
In face of the impact wave of modern foreign ceramic art, we
should theoretically reflect on our tradition and
sober-mindedly analyse and scientifically draw from the
western culture. Only in this way can we find the
intersection point between the ancient and the present,
between the Chinese culture and western culture; and only in
this way can we explore a path of our own which will be
permanent and elastic for the modern ceramic art in
Jingdezhen. The modem folk blue-and-white art and modern
cermic art in Jingdezhen are the carriers of modern cultural
concepts. Both of them are the artistic phenomena naturally
originated from the ideal of art as a return to the
primitive and natural simplicity. Both of them have shown
their straightforwardness, simplicity, naturalness and
easiness in artistic forms. Both of them are the art of fire
and clay. Although they follow different paths in creation,
they lead to the same goal in art. The skillful combination
of them will surely produce a resonant
--integrating modern folk blue-and-white art with modern
ceramic art to create the new- |
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