序言

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作为一个曾以陶瓷闻名于世的国家,我们拥有漫长而光辉的历史。但自上世纪初,欧美现代陶艺有了迅猛的发展,中国的陶瓷艺术却随着历史深埋入地下,湮没在古化石中,直到上世纪八、九十年代,中国的当代艺术与社会开放、经济发展一同起飞,陶艺也随之复苏……

这次参展的陶艺家都毕业于学院,他们曾被深厚的传统束缚过,曾迷惑于外在的冲击盲目过。陶艺家们在不断的反思和尝试过程中沉静下来,纷纷回到产区,回到传统中吸取营养,建立个人工作室,研究传统材料和工艺,把成熟、现代的艺术理念和对材料语言的把握结合在一起,使现代陶艺逐步摆脱工艺美术设计的范畴而成为一门独立的艺种。九十年代中后期,中国悠久陶瓷历史对世界陶艺界的吸引力也同时促进了中国当代陶艺与世界陶艺的交流,迅速走向国际化。中国当代陶艺家们也在短短的几年中创造出既有世界艺术语言和个人鲜明风格并深具中国文化内涵的一批作品,以其打入了世界陶艺界并占有一席之地。当然中国的当代陶艺摆脱大生产,形成工作室陶艺还只有二十年。也因为经济,社会观念等条件的制约,我们在材料运用的丰富性,表现手法的多样性和社会的普及性种种方面和国际还有差距。一方面陶艺家的数量、实力还不够雄厚;另一方面艺术家的理性观念和思维大多停留在感性的表现手法上。这将是陶艺界、陶艺家们在这个世纪要面对的课题和挑战。

当代艺术对于材料的运用以拓展到了超乎想象的范围,而陶艺家们对陶土的热爱是其他艺术材料和形式无法替代的。在上海举行的精文艺术大展中的陶艺部分,是展示当代陶艺作品的一个窗口,从一个新的角度看中国当代陶艺。希望在不久的将来,在中国这块土壤上,陶艺将走出边缘而在主流艺术中占据一个特殊而又重要的位置。

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Introduction

   China is renowned throughout the world for its ceramics, which have a long and brilliant history .But form the start of the last century Chinese ceramic art became a historical relic, buried deep underground among the fossils .It was only during the 1980s and 1990s, as the economy developed and society opened up, that contemporary Chinese art took off and ceramic art saw the beginnings of a revival.

 

   The ceramic artists included in this exhibition are all college graduates .They were initially held back by their heavy burden of tradition ;they were also dazzled ,virtually blinded by a sudden onslaught of mew ideas form abroad .But they soon grew calm ,and began to immerse themselves in a process of continuous reflection and experimentation .They returned to china’s ancient ceramics-producing towns and regions ,and sought nourishment in tradition .They set up their own private studios ,studied traditional materials and techniques ,and began to combine mature ,contemporary ceramics in china has grown beyond its past status as a branch of industrial arts and design to become an independent art form in its own right .

 

Since the mid-late 1990s ,the interest of the international ceramics community in china’s long tradition has given our ceramic artists more opportunities for exchanges with their overseas counterparts .as a result ,China’s ceramics scene has rapidly become more interntionalised. In the space of just a few years ,contemporary Chinese ceramic artists have produced a series of works which combine a global artistic language and a distinctive individual style with a strong Chinese cultural background ;they have joined the international ceramics community and established their own space within it .Of course ,it’s only twenty years since contemporary Chinese ceramics began to move away form mass factory production to individual studio creation ,and progress has also been held back by economic factors and social attitudes .We still lag behind our international counterparts in terms of the variety of materials used ,the range of different types of expression ,and public awareness of the art form .In part this because the number of ceramic artists is relatively limited ,as is their influence within society .Another factor is that many artists have not progressed beyond the stage of expressing themselves intuitively .How to conceptualise their work is a question ,and a challenge ,which the ceramics world and ceramic artists will have to face up to in the 21st  century .

   The range of materials used in cotemporary art has developed to an extraordinary degree .But ceramic artists have a profound love of clay-for them .no other medium or art form can replace it .The ceramics section of the Jingwen Arts Center’s opening exhibition features a number of current works ,providing an opportunity to look at contemporary Chinese ceramics form a fresh perspective .I hope that in the near future ,contemporary ceramic art will shed its status as a marginal art form in China and claim a distinctive and important place in

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