The first person of Jun Porcelain - Master Liu Fu'an
Master Liu Fu'an is recognized as a representative figure of contemporary jun porcelain art. He was the first master to make the jun porcelain shape break through the 300-kind mark, the first to win the national gold medal, let the jun porcelain works into the national treasure museum, his works have won the highest award of Chinese arts and crafts - "Hundred Flowers Award" for many times, in 2002, the China History Museum collected Liu Fu'an's jun porcelain works, which is also the first time that the Chinese History Museum has collected contemporary works.
A talented and talented artist who has achieved enough outstanding achievements is called a master. The master must have masterpieces, and artists without masterpieces and masterpieces, no matter how high the statement can be won, are empty and untenable. Mr. Liu Fu'an is not a master of empty heads, he has created a series of successful masterpieces, and he has been highly praised by professional authorities. For example, his "Xiu Yu Vase" won the first place in the Hundred Flowers Award in 1985, which laid the foundation for his professional status in the unique porcelain industry and the reputation of a generation of masters.
Liu Fu'an, who has won eight national awards and 26 provincial and municipal innovation awards, was awarded the title of Master of Chinese Arts and Crafts by the Ministry of Light Industry in 1988, at the age of 40, becoming the youngest Master of Chinese Arts and Crafts. Previously, the Chinese arts and crafts masters majoring in ceramics were all in Jingdezhen, and Liu Fu'an was the only ceramic artist who was successfully crowned as a master of Chinese arts and crafts outside of Jingdezhen, the porcelain capital.
This success has not come easily. You know, from the time he entered the industry at the age of 13, it was also after twenty-seven years of experience and hard work that he deserved it, not a fluke.
For the various titles that followed, Liu Fu'an said: "The so-called master is only an honorary title, it is an affirmation of the state to today's craftsmen and artists, this is a dignity given to craftsmen since New China, an industry needs dignity, people need respect for him, and society needs to pay attention to his existence." It is precisely with this humble attitude that Liu Fu'an has made indelible contributions to the restoration and development of jun porcelain art.
The title of master gave Liu Fu'an a very high honor, and in turn, Liu Fu'an added gold content to this title with his lifelong struggle and achievements. It is precisely because of the existence of artists such as Liu Fu'an that the title of Chinese arts and crafts master as the highest level and achievement of the ceramics profession is worthy of the name, sacred and glorious. Engaged in the production of jun porcelain for 40 years, Liu Fu'an has left not only valuable works of art, but also his tenacious, strict and meticulous belief in porcelain making, which has set a benchmark for a new generation of jun porcelain people.
Liu Fu'an's works do not pursue kiln changes only for the sake of pursuing kiln changes, but do not overemphasize their "changes", but make "kiln changes" an organic part of the overall aesthetic effect of the works. This is in line with the concept of "planning in people and accomplishing things in heaven" that Chinese believed in since ancient times. For innovation, Liu Fu'an is not a fantasy, fabricated out of thin air, but extensively collected information, conducted systematic research and analysis of the heirloom works of the former sages, and accurately summarized the three solemn and stable types of ancient porcelain imitation of three generations of bronze and jade shapes with the three Chinese characters of "By", "Jia" and "Shen", so that its creation can be followed and canonical. Western philosophers have lamented that "the aesthetics of Chinese is a kind of perceptual wisdom", and the wisdom of the image outside the scene is the precipitate of Chinese aesthetics for thousands of years, and it is also the essence of The aesthetics of Junzhong that Liu Fu'an has diligently sought.
"Cai Gen Tan" has a saying: "The talent of a gentleman, the jade yun hides pearls, can not be easily known", the gentleman's humility, just like the subtle and introverted of jun, this is the tone of Liu Fu'an Junpin. At the time when the aesthetics of the Song Dynasty were at its peak, Song Jun also gained a firm foothold in the tide of gold panning, and ranked first in jun, ru, brother, official, and ding, and its beauty was especially introverted and humble, and the unity of heaven and man was long, which was the unique beauty of contemporary Chinese jun porcelain, and it was also the jun porcelain that Liu Fu'an pursued.
Song porcelain, is the most prosperous set of chapters in the history of ceramics, outlining the wind and bone of the utensils, let people enjoy a kind of dust out of the elegant chic, so the minimalist line is one of the symbols of Liu Fu'an. At the same time, Liu Fu'an started from the shape of the instrument, creatively used its structure as the standard for division, compared the skeleton of the Chinese Hanzi with the instrument type, and put forward the concept of "A, You, Shen" instrument type.
The so-called "A" large and small body structure presents the momentum of the bottom being stable and majestic, outlining the tough posture of lotus leaf Qingyu, such as plum bottles; "by" the small and large Chinese character shapes, most of them have the stable dignity of Mount Tai, and at the same time contain the arrogance of ascending to the top, overlooking the mountains and small mountains, such as phoenix bottles and gooseneck bottles; "Shen" is a symmetrical state that embodies the stability of the upper and lower ends, and is more right for the soft and quiet charm, such as Yishou bottles, rich bottles, etc.
The three words "A, You, shen" fully display the wind and bone of Chinese, and a look of wind and rain is coming, and my spirit of not moving is overflowing with words. What we see is liu fuan summed up three chinese character instrument types, the Tao Te Ching: "The beginning of all things, the avenue to simplicity, derivation to complexity", Liu Fu'an believes that the avenue to simplicity, the great transformation into one, the three characters are from "zhong". The instruments of A, Yu, and Shen are all the spiritual realizations and portrayals of "Zhong". "The University of the Middle" "In the middle of the world, the great benye of the world; and the one who is also the one who reaches the tao of the world." To neutralize, heavenly status, all things nurture", the Tao gives birth to one, one life two, two births three, three births to all things, and the middle is the basis, this is the way of the middle way. Liu Fu'an believes that the round place of heaven and the center of human habitation are the common sense of nature, and utensils should be easy to be like this.
Liu Fu'an's glaze color is Liu Fu'an's personal symbol, not to mention the innovation of the glaze ratio, just see the color of the kiln, you can make people recognize at a glance whether it is from Liu Fu'an's hand, so it seems that Liu Fu'an has made the glaze color his own symbol. Red, whether it is auspicious or unified red, perfectly presents the ultimate state of red, and the crystal clarity in the jade run shows the unique spray tension of red. Natural kiln transformation can stabilize the peak state of red, is undoubtedly a challenge to the craftsmanship, Liu Fu'an did it, his red not only reflects the epic and magnificent sense of Song Jun's copper red glaze, but also continues the Chinese's love for red dazzling; purple, is a common glaze color in jun porcelain, although it belongs to the same color, Liu Fu'an's purple presents both the quiet and calm of the wisteria Luo Waterfall years, and the tranquility of the river, the flow of color in the work is able to feel the footsteps of color wandering, and every ripple of the pattern has traces to follow. The same goes for blue... Whether it is a monochrome glaze or a flower glaze, whether it is the restoration of the oil drops or the research and development of jade glaze, Liu Fu'an insists on using color to create a better world of jun porcelain, every trace of beauty in the work is intoxicating, the color kiln becomes natural, do everything, and the rest is chance.
Moreover, enamel is the key to carrying its shape and color, the most basic composition of the entire utensil, and the tone of the charm of the utensils, and Liu Fu'an's glaze logo is no less than its type color. Liu Fu'an made his glaze formula public to the world, although the world can burn the same glaze color, but just talk about the glaze, it is a difference of thousands of miles. Known as mutton fat white jade is precious, the pursuit of mutton fat white jade in porcelain is Liu Fu'an's self-pursuit of enamel to the extreme. Liu Fu'an's enamel is not only as lustrous as the new grass, but also transparent in its wetness, but also does not lose the new luster of the grass buds after rain, which is the most rare.
And all these characteristics can be planned in the hands of Liu Fu'an, in order to create the beauty of Liu Fu'an's jun porcelain, deep and lonely, and achieve a kind of historical elegance. Zhang Chao, a Qing dynasty, once promised a kind of beauty, "Flowers cannot be without butterflies, mountains cannot be without springs, stones cannot be without springs, water cannot be without algae, trees cannot be without vines, and people cannot be without fetishes." Tibetan utensils such as reading, life in the world, the body is rich and elegant, pure breath, quite a bit of Hengyu Master's "Half Zen": "Half of life lies in me, the other half listens to nature" meaning!
It can be said that Liu Fu'an's jun porcelain works not only on the basis of the traditional jun porcelain process, but also integrate the freehand mood of "transcending objects" and the plastic art of "realm expression", and give full play to the glaze color and instrument design characteristics of jun porcelain to the extreme, so that contemporary jun porcelain has played and innovated in the process of modeling, glazing and glazing, and breaking through the limitations of history to make large pieces of jun porcelain. Pushing the contemporary art of jun porcelain to a new height, Liu Fu'an has also become a landmark figure of the times in the history of the development of jun porcelain.
Source: Spiegel Tai Art Museum