The "Academic Forum on Chinese Ceramic Painting and Gong Xunming Ceramic Works Exhibition" organized by The Jingdezhen Sanbao International Ceramic Culture Think Tank Center for more than half a year was finally held on July 27, 2021 at 9:10 a.m. on the first floor of the local Sanbao Porcelain Valley Cultural and Creative Center Art Museum as scheduled. The campaign period is four days (July 27-30, 2021). The content of the event is not only exhibitions, but also forums, and there are also academic salons, which are very richly arranged.
The opening ceremony of the event
The opening ceremony on the morning of the 27th was presided over by experts of Jingdezhen Sanbao International Ceramic Culture Think Tank Center, executive vice president of the Advanced Research Institute of Ceramic Culture of Jingdezhen Ceramic University, vice chairman of Jiangxi Calligraphers Association, chairman of Jingdezhen Book Association (former) and Professor Guo Li.
Professor Guo Li presided over the opening ceremony
Professor Li Liangzhi, Secretary of Jingdezhen Ceramics College, and Professor Ning Gang, President of Jingdezhen Ceramic University (former) and Vice Chairman of Jiangxi Artists Association, delivered speeches on behalf of the organizers.
Professor Li Liangzhi spoke
Professor Ning Gang made a speech
Ceramic artist and president of Jingdezhen Ceramic Art Research Institute He Kasanong delivered a congratulatory speech on behalf of the co-organizers.
At the end of the opening ceremony, Mr. Gong Xunming, a professional painter of ceramic art and the main creator of the "Gong Xunming Ceramic Art Exhibition", delivered a welcome speech to the guests.
Mr. Ho Kasa Nong delivered a congratulatory speech
Mr. Gong Xunming delivered a welcome speech to the guests
This "Gong Xunming Ceramic Works Exhibition" is undoubtedly a success. It is not only reflected in the high-quality ceramic art works created by Mr. Gong Xunming, but also in the specifications and levels of the main, co-organizers and invitees, as well as in the number of visitors, personnel structure and the effect of external publicity on the day. It is reported that "in the few days of exhibition, the local ceramic art exhibition has set a record for the frequency of ceramic art exhibitions in recent years, which has become a highlight of the current downturn in the ceramic art market, and has also become the biggest topic in the local ceramic art industry." ”
A corner of the scene
The chief planner and commander of the "Chinese Ceramic Painting Academic Forum and Gong Xunming Ceramic Works Exhibition" is Professor Ning Gang. In addition to introducing the president of Jingdezhen Ceramic University (former) and the vice chairman of Jiangxi Artists Association, Professor Ning Gang is also a master of Chinese ceramic art, a national second-level professor, a member of the design team of the Degree Committee of the State Council, and the deputy director of the Design Teaching Steering Committee of colleges and universities of the Ministry of Education.
The general design and general execution of this time is Mr. Wu Hao, founder, vice chairman and secretary general of Jingdezhen Sanbao International Ceramic Culture Think Tank Center. He is not only a local ceramic culture communicator, but also a unique representative of China's ceramic industry novelist, playwright, ceramic art economist; Mr. Wu Hao has presided over the "Chinese Ceramic Culture Hundred Forum Public Lecture" and "Jingdezhen Ceramic Culture Hundred Forum", cooperated with Jiangxi Television Station, planned the "Big Country Ceramic Craftsman" series of special shooting, and founded the "Wu Hao Porcelain" public account is to win the praise of many ceramic enthusiasts at home and abroad.
Wu Hao was reading a corner
In the past one or two decades, due to the strong pull of China's art consumption market, the ceramic handicraft products in the Jingdezhen ceramic market have transformed from craftsmanship to art, ushering in an unprecedented period of rapid development for it, and quickly becoming a ceramic art creation center in the country and even the world. In the meantime, after the "roller coaster" ups and downs, but the local Jingdezhen ceramic art market has been increasing the development trend of creation, and the number of people is increasing, and in the country and even the world ceramic production areas to form a unique creative group "Jing drift", "Jingju" family.
Of course, while we see its rapid development side, we must also see its shortcomings. It is mainly manifested in the following aspects: First, the number of ceramic art market is large, there are few fine products; second, there are more homogeneous products in the ceramic art creation market, and there are fewer personalized products with unique styles; third, most of the creators in the ceramic art market have transferred from manual to artistic creation, most of the creative personnel lack the most basic theoretical knowledge training of ceramic artworks, the style of creative products is not high, the lack of ideological themes, and the "epochality and personality" are not prominent; fourth, the local ceramic art creators are too conservative in their thinking. Some of the creations of foreign ceramic artists cannot get rid of the shadow of their original calligraphy and painting creations, while others are too Westernized and they are incompatible with each other. The entire ceramic art creation market has not formed a synergy; fifth, the ceramic art consumption market, consumers have a serious lack of understanding of the artistic value of artworks and the price of artworks, and the market is fully launched.
The scene of the academic seminar on Chinese ceramic painting
In view of the above problems, some ceramic art workers and ceramic art theorists in China (including the Jingdezhen area) have done a lot of work and held various activities such as similar activities, but in the end, it is difficult to obtain substantive results. Still, they are working hard and can never give up. This is worthy of all of us to fully affirm, and it is also the hope of our industry.
At present, how to solve the problems that appear in China's current ceramic art market has become a heart disease in today's ceramic theory and academia. If this problem is not solved, the market for Jingdezhen and even Chinese ceramic painting and ceramic artworks will be in a never-ending debate, and it will be difficult for the entire industry to have substantial development.
At present, we face many problems, or problems to be solved. We won't list them all here. What we want to solve is the first problem before us. (1) What is the concept of contemporary Chinese ceramic painting, that is, what is contemporary Chinese ceramic painting; (2) is there a "paradigm" in contemporary Chinese ceramic painting;(3) who can represent contemporary Chinese ceramic painting, whether it appears as a single "individual" or as a "group"?
Gong Xunming and his "Gong Xunming Ceramic Works Exhibition" did cause a lot of sensation in the local area this time, from the content of the work to the form. Since there are a lot of reports in the major media at present, we will not repeat the narrative here. Leaving aside his object image here, focusing on the issue of Mr. Gong Xunming's creative thoughts and creative concepts, can his views on "abandoning materials" and "discarding materials" in the creation of ceramic painting represent the future development direction of contemporary Chinese ceramic painting, or is it the mainstream? If not, who can? It can even be said that contemporary Chinese ceramic painting is still in a chaotic period, everyone is still in the process of exploration, to truly enter the field of contemporary Chinese ceramic painting art creation, we still have a long way to go?
To answer the above questions, we believe that it is difficult to find answers from individuals or groups or ceramic works; it is also difficult to come up with convincing reasons from materials and craftsmanship. We have to construct it academically, theoretically, philosophically, and even religiously, and these are the things that we lack the most in the field of ceramic painting.
In order to make this "Chinese Ceramic Painting Academic Forum" efficient and substantive. The organizers and organizers took this issue into account when planning this academic forum and exhibition of works. Professor Ning Gang and Mr. Wu Hao, the chief planner and chief executive of the event, were still discussing repeatedly a week before the launch of the "Chinese Ceramic Painting Academic Forum and Gong Xunming Ceramic Works Exhibition", and finally decided to make the "Chinese Ceramic Painting Academic Forum and Gong Xunming Ceramic Works Exhibition" an academic exhibition, and strive to explore a new model for the development of ceramic artworks in the field of Chinese ceramic painting through the exhibition of academically driven works. The main and organizer of the "Chinese Ceramic Painting Academic Forum and Gong Xunming Ceramic Works Exhibition" determined that in addition to the participation of foreign universities, art groups and academic institutions, the two local colleges of higher learning and the China Ceramic Museum, the heads of major art academies and art research teams in Jiangxi Province were invited to attend. This is rare in the Chinese ceramic painting industry, and it is not an exaggeration to say that it is a grand event.
At 10:30 a.m. on July 27, 2021, the "Academic Forum on Chinese Ceramic Painting" was presided over by Professor Ning Gang, President of Jingdezhen Ceramic University (former), Vice Chairman of Jiangxi Artists Association and Doctoral Supervisor:
Ning Gang: First, if the Chinese ceramic culture is traced back, 5,000 years ago, the text appeared from the Erlitou culture in Henan, before the beginning of the oracle bone. The Yangshao culture in Henan and the Majiayao culture in Gansu are actually the earliest paintings in China. Among them, some of the ornaments we can't paint now, and many of the shapes should be the most modern and contemporary now. It's so beautiful! Second, if the earliest Chinese ceramic painting should start from that period, the Changsha kiln of the Later Tang Dynasty, which is also an earlier kind of ceramic painting, has continued to our Jingdezhen. Until the late Ming and early Ming dynasties in Jingdezhen, folk blue and white flowers were also early Chinese ceramic paintings. Some people say that the "Eight Greats" are influenced by the folk blue and white r in Jingdezhen, which is possible. Third, in the late Qing Dynasty and the Republic of China, the light color was lowered, the lead powder was mixed with pigments, painted on porcelain, and the ceramic painting formed was gold, that is, they pioneered modern Chinese ceramic painting, because before this it was mainly decoration. Later, there was the emergence of the zhushan eight friends new color caicai, and then to the later teachers Wang Xiliang and Zhang Songmao, who created the glory of this era in Jingdezhen. Today, contemporary painting and modern painting have shown a trend of a hundred flowers blooming and a hundred schools of thought contending. Fourth, now Jingdezhen has been a hundred flowers in Chinese ceramic painting, especially many foreign painters come to Jingdezhen, they play a very important role in promoting Jingdezhen ceramic painting. When a reporter interviewed me, I said that I think the current market is not as good as before, a bit sluggish, but our artists have sunk down and are all creating. Their work is innovative, academically researched, and I say I see hope. Today, the art of ceramic painting in China has once again achieved unprecedented development and enjoys a high reputation internationally, thanks to the unremitting efforts of several generations of artists. In the works of many artists, we can see that ceramic artists try to break the original concept of arts and crafts or painting in the general sense and turn it into contemporary art, and seeing Mr. Gong Xunming's works today gives us a new understanding of his inheritance of traditional ceramic techniques and contemporary innovation. Seventh, after we read Mr. Gong Xunming's works, we have a deep feeling. From Mr. Gong's works, it is explained what is a new material, what is a new material and a powder, and the comprehensive performance between the materials. Mr. Gong organically intertwines a variety of materials, allowing us to see the colorful melody of ceramics on the plane, and this colorful and melody on the one hand reflects some characteristics of traditional painting, such as the way of using lines, the way of filling in pictures, and the same places and the same places, such as the subject matter of his paintings or landscapes. It is not a simple brush to check, some are in the way of dots and lines, some are in the way of filling in the map, and many retain the use of lines and color blocks. In terms of rendering, because of the change of the traditional painting of the thin color rendering, more is through the material change, the unique characteristics of the formation of a simple rich and thick color. Then this simple rich and thick color is undoubtedly the result of the mutual harmony of various materials, and it is the organic combination of new color and pastel.
Zhi Lin (Dean of the School of Fine Arts of Jiangxi Normal University of Science and Technology, Doctoral Supervisor, Vice Chairman of jiangxi Artists Association, Master judge of Chinese Arts and Crafts, member of Arts and Crafts Committee of China Artists Association): Gong Xunming's porcelain paintings, absorbing traditional Chinese decorative patterns, and drawing on the ideas and concepts of Western composition, reconstructed the new porcelain painting inspiration, both the color of oil paintings, the texture of lacquer paintings and the decoration of prints, and most importantly, the design of the works. Through the exploration and application of decoration, painting and other arts as a one-piece language to its porcelain paintings, Teacher Gong has formed a change of expectations and obtained a fusion and breakthrough in ceramic painting. Its painting craftsmanship decoration and ceramics form a new relationship between glaze color at high temperatures, so that this traditional decorative facility and decorative vocabulary combine to have its own ontological language and, like our vaporization, independent from the breath. Obviously, the most important thing Mr. Gong wants to do today, or the most wonderful thing about his work, is the porcelain plate. Painting emerges from a memory representation of the craftsman, through which this becomes a pure artistic expression. Today, we see Teacher Gong's exhibition this time, leaving people with a new language of painting on porcelain, the author's new life exploration and artistic expression, the pursuit of simple language in life, the interpretation of his ideological realm, through Teacher Gong many times to Tibet to collect style sketching, the purpose is to take life as the basic element, to create excellent works that the broad masses of the people like to hear, which shows the author's continuous pursuit and exploration of art, not afraid of suffering, not afraid of hardship, persistent pursuit of truth, goodness and beauty in life, and praise the strong new picture of our great motherland For our porcelain painting career to open up a pioneer, open up a new porcelain painting exploration, for the future porcelain painting art has added a new form of expression and a new painting language, with international standards, through this exhibition, we colleagues, more confident to do the porcelain painting art more thoughtful, more original, more international visual language. I wish Teacher Gong Xunming a complete success in this exhibition!
Chang Binghua (professional painter, first-class artist, Jilin Provincial Arts and Crafts Master, Visiting Professor of Nanchang University of Technology, Jingdezhen Oil Paint Ceramics Art Museum): Everyone talked very well, I went to Gong Xunming's studio a week ago to visit and visited, I felt very deep, Teacher Gong's works, everyone was very shocked after watching it, mainly over the years, constantly sketching, putting mountains, water, clouds, fog, with a symbol to express, this innovation is not what we ordinary people can do, engage in art for too long, do not go out to sketch, Do not find a sense of nature, it is difficult for you to use a symbol to describe the mountains, describe the water, describe the fog, so This new painting language symbol of Teacher Gong, or everyone's recognition is the main reason, glaze color in the field of Jingdezhen ceramics has continued for thousands of years of history, but the works we see in the market now are almost all old faces, so Teacher Gong's works can shock everyone, I think the main reason is that Teacher Gong has been constantly exploring and innovating over the years, just like everyone just said, If we Jingdezhen ceramic artists have a small number of people, can come up with this spirit of Teacher Gong, the perception of Jingdezhen ceramics, the spirit of struggle for the ceramic cause, then the development of Jingdezhen ceramics will be like a tiger, I often chat with friends when I say, we should all take up, the country, not casually give the treatment of the ceramic pilot zone to Jingdezhen, Beijing, Shanghai, Shenzhen The cultural atmosphere is also very good, so the ceramic artists in Jingdezhen bear a very heavy responsibility. It is also the responsibility of history, so as a jing drift or a ceramic enthusiast, I feel that the example of Teacher Gong is something that we all must learn, otherwise you have been doing too much in the field of ceramics, what do you paint your father, what do you paint, what do you paint as your teacher? What do you paint? This waste of time has no greater significance, it is just a repetition, and we must take ceramic painting as our own responsibility for fighting for ceramics like Teacher Gong.
Mr. Gong has been a good friend of mine for many years and has given me a lot of guidance on all aspects of my painting, and I would like to express my gratitude.
Moderator Ning Gang: Next, first of all, I would like you to discuss the content of the works exhibited in gong Xueming's ceramic works exhibition. The second discusses the relationship between Chinese ceramic painting and the inheritance and innovation of contemporary ceramic culture. The third is the association of Chinese ceramic painting with other ceramic paintings. Fourth, the relationship between Chinese ceramic painting and contemporary Chinese painting and Western oil painting. Fifth, the trend of contemporary Chinese ceramic painting. The role and responsibility of jingdezhen in the field of contemporary Chinese ceramic painting art can become an academic center of Chinese and even world creation center. However, everyone can not be limited to a few aspects, can play. I now give the floor to you.
Ye Jianxin (Professor of the School of Advertising of communication university of China, doctoral supervisor, dean of the China Academy of Art Communication, president of the "Art Market" publishing house): Just now you perfectly introduced today's exhibition of Teacher Gong, I am deeply touched, it should be said that the subversion also interprets the birth of new ceramic painting. Why? In the whole work of teacher Gong Xunming, what I see is a crossover, the so-called cross-border has the color of oil painting, the decoration of printmaking, and the language of porcelain, which is my feeling. 1. Gong Xunming's porcelain painting works use Monsell's three-dimensional color performance, the impact is particularly strong, never forget, and has a signature quality effect. 2. Our ceramics have gone from tradition to today's ceramic painting, which has a process that can be fully reflected in the works of teacher Gong Xunming. 3. Gong Xunming went to Tibet 7 times and drove himself, what does this mean? Therefore, from the whole work of our teacher Gong Xinming, I feel that he has a kind of nature, a kind of ability, and the most prominent thing is the originality. Originality is very important, Chinese contemporary painting has no originality, his road is not far. 4, I think art can not paint the ground as a prison, if it is art painting the ground as a prison, it is difficult for our art to progress. We come from foreign pop art, three-dimensional art, etc., how our ceramic paintings are in line with international standards, this is a topic in front of us. I think we have passed such a seminar, we want to congratulate and bless our teacher Gong, I will talk here, thank you.
Zhang Jinghui (Professor of Jingdezhen Ceramics College, Master Tutor, Vice Chairman of Jingdezhen Artists Association): I would like to talk about some of Mr. Gong's current ideas on three issues, and it is also a common issue that we should consider in ceramic painting at present. The first question, back to the present. We can walk all over the world with a mobile phone in hand, in today's current state, how will we engage in ceramic painting, can cause everyone to think, this is the first question. The second question, back to the origin, back to the origin of an original self, that is to say, our artistic creation today is no longer a continuation of a traditional way, but a reflection of the self and a awakening of the self. The current ceramic painting must go to a state of self-consciousness as a kind of walking. I think it's not a simple sentence, it's a realm, and that's the second problem. The third question, back to the ontology. What is back to the body? Ceramic art creation, for nearly 100 years, basically stayed in a state of imitation, a state of literati imitation, and it did not really have the problem of the currentity of the architecture ceramic painting language.
Today's ceramic art creation has given us a lot of space, but some of us practitioners can paint, but we can't fill in the colors, which can't help but be said to be a sad thing. Ceramic painting is not a copy of Chinese painting, nor is it a copy of oil painting, nor is it a copy of printmaking, Chinese ceramic painting to get out, must return to the construction of the ceramic language itself, which I think is particularly important. I'll make a brief statement today, leaving time for you, thank you.
Zhou Guozhen (a famous contemporary ceramicist, educator, judge and professor of Chinese arts and crafts masters): Gong Xunming was originally a sculpture, and I have mainly pursued sculpture in my life. The present is not simple compared to the past. In the past, it was the craftsmen who came from all directions, and the utensils came from the world, and now it should be said that the artists came from all directions, including foreign countries, and there were 8 national art academies, which in the past could not think of (they never put ceramics and ceramic crafts in their eyes before). Ceramic art pursues the unity of heaven and man, and its magic lies between similarity and dissimilarity, which is the goal of Jingdezhen ceramic art.
Making ceramics is different from other types of art, more than 1300 overheated, more than 1200, and sometimes it is completely an artistic effect that you can't imagine. I don't think I regret making ceramics all my life. I'm ninety years old, and I haven't made a mistake in the decades. I graduated from the Central Academy of Fine Arts in five or four years to Jingdezhen Ceramics Institute, it has not changed the place, nor has it changed the sculpture major I have studied, I have been contributing to the profession, then Gong Xunming, I think he is the most creative person among my students, especially through the current exhibition, it can be seen that he is not satisfied, constantly innovating, constantly self-denial, this spirit is inseparable from me. But he didn't completely copy my path again, this is the manifestation of his contribution, and I think this spirit is worth following up and advocating. Inheritance is not copied, innovation does not forget the original. We have to innovate, we can't forget the original, forgetting the original shows many aspects, like he drove to Tibet several times, which is also an aspect of not forgetting the original.
Art comes from life, and I think Gong Xunming's spirit in this regard is very valuable and very worthy of everyone's absorption. Of course, there are great changes in Jingdezhen ceramics, but there are still many people who can't forget to copy the tradition, and only know how the master teaches him how to paint, which is still very common, it can be said that it is very serious. So I think we are doing this academic research today, ceramic painting, ceramic painting, all aspects really need to be constantly and non-stop to study it, otherwise our actions are blind, these, the management of this aspect of the institution do not know to realize?!
Why should the state put the base of inheritance and innovation in Jingdezhen, and where are the roots, I think that on the one hand, there is also the seriousness of the art world's worship of the West, on the other hand, the seriousness of copying tradition. In the pilot zone, both aspects must be avoided. To look at our traditional things objectively, and how to look at our Western things, it is not right for you to completely deny it, and it is not right for you to completely accept it. Mr. Zhang Daqian painted a lifetime of flying sky and gave the book to Picasso. Picasso said that there is no art in the West, and the real art is in the East. Is this story worth studying, and what do those people who look down on China and look down on their own national art think? So we really want to study our own Oriental culture and art.
Xiong Jianxin (Chairman of Jiangxi Industrial and Art Society, Master of Chinese Arts and Crafts, Professor of School of Art and Design of Nanchang Hangkong University): Today I am very happy to be invited to Jingdezhen to visit The ceramic painting exhibition and academic seminar of Teacher Gong Xunming, I have read his works many times before, giving me the impression that the works are mainly figurative and realistic performances, this visit to the exhibition, I feel that Teacher Gong's porcelain paintings are a new look. The works are full of contemporary painting charm and a new visual language, the works do not repeat the ancients, nor do they repeat themselves, and the expressions and visual symbols of his ceramic paintings are constantly innovating.
The works exhibited today, I think are mainly based on modern composition decoration, the picture pursues simplicity, simple effect, but pursues the texture of ceramics, not to reflect ceramic materials for the purpose. This spirit of exploration and experimentation is worth learning and learning from us engaged in ceramic painting authors, Jingdezhen's ceramic painting is mainly based on traditional forms of expression, of course, there are also some academic authors who pursue the contemporaneity of ceramic painting, I think that the works exhibited by Teacher Gong this new look will definitely have a huge impact on the ceramic painting industry, and have a certain leading role in the diversified development of ceramic painting styles, I hope that this innovative exhibition will do more, more publicity, more promotion, more touring exhibition, This is a very good inspiration and reference for the authors engaged in ceramic art creation, and finally wished Mr. Gong's exhibition a complete success.
Zhang Jianrui (Professor of Jiangxi Normal University, President of Jiangxi Provincial Association for the Promotion of Culture and Art Development): Hello, I am a student of Gong Xunming and Mr. Jinghui, a professor of Jingdezhen University, who is from oil painting, I am an educator and a painter, after watching Teacher Gong's works, I admire Teacher Gong for being able to paint those very figurative and realistic landscapes in front of me, and suddenly after so many years, they have been converted to a language of flat structure, which I think is a great courage.
Looking at some of Mr. Gong's works composed of planes, I feel that there is no main main line, for example, some words are like graffiti on the New York subway, some are like flat embroidery, etc., but there are a few things I particularly appreciate, he first draws thick lines, and then fills the picture with thick paint, the lines and unfathomability of its back pile, it is difficult to use language to describe that thick feeling, which is what Orientals commonly pursue. Although Teacher Gong's paintings are all composed of some flat surfaces, they are not only good-looking, but also have a deeper concept and more essential things.
Guo Li: I just listened to a lot of teachers' speeches, and I agree with them. After watching Teacher Gong's exhibition, I was very touched. Mr. Gong is a ceramic artist I have always paid great attention to, and I respect his persistent exploration of ceramic painting and his achievements. His exploration today is to show the world the unique charm of ceramic painting, which can be created in various forms, traditional Chinese style, and now Western style. And not just the styles we "originally" knew.
Jingdezhen is the porcelain capital of the world, ceramics is the foundation of the city, is based on ceramic art, so it has a very unique character. We know that jingdezhen has had iconic symbols in every historical era of its ceramics. Qingbai porcelain of the Song Dynasty, blue and white glaze of the Yuan Dynasty, color glaze and doucai of the Ming Dynasty, pastel of the Qing Dynasty, etc. What kind of ceramic symbols will our generation create for contemporary Jingdezhen ceramics? So I said in the host speech: This forum and exhibition talk about ceramic art, in fact, we are talking about and discussing the future of Jingdezhen.
The source of our History of Chinese Painting is the Faience Pottery of the Dadiwan Culture, which has a history of 8,000 years. That is to say, ceramic painting is the source of Chinese painting, so I often say: ceramic painting is an ancient topic, but it is a new topic. With the emergence of human civilization, silk and paper, due to the practical functions given by ceramics as soon as they were born, they have not become the main carrier of painting creation. The superiority of silk and paper was highlighted and became the main carrier of painting. Therefore, the main achievements in the long history of painting in China are concentrated on silk and paper. However, with the development of history to this day, the improvement of the level of science and technology, ceramics as a carrier of painting has once again become possible, and it has shown an increasingly prosperous state, and she will return to her original position.
I once had a prophecy: the era of the domination of the European and American monocultures of the world's culture will become history. With the great rejuvenation of the Chinese nation, Chinese culture will gradually move towards the mainstream of world culture and will regain its status as leading world culture!
The First Opium War, the closed-door Chinese agricultural civilization, was vulnerable to Western industrial civilization, and after more than a hundred years of ravages by Western powers, it completely defeated Chinese's self-confidence in its own culture. Until contemporary times, there are still many people who take Western concepts as advanced and Western standards as internationalization... However, since the reform and opening up, after China's integration into industrial civilization and globalized market economy, in just over 40 years, it has gone through the history of hundreds of years of development in the West, the advantages of being a latecomer have been highlighted, the development has made rapid progress, and it has quickly become the world's second largest economy. That is to say, Chinese culture has its unique and powerful inclusiveness and expansibility, and can accommodate Western culture and various cultures. In the new historical period, the development of China's science and technology, economic prosperity, and new international status have given us the self-confidence of our own culture. The premise is the great rejuvenation of the Chinese nation.
Just now, teacher Zhou Guozhen also said that innovation does not forget the original, that is, the innovation of our Chinese ceramic painting. So first of all, we must clarify the definition of Chinese ceramic painting, what is the connotation? How to innovate? Innovate what? We should think about her theoretically and academically, and finally be able to get a concept that the entire art world can recognize, and form a complete theoretical system, formal system and language system. Promote ceramic painting into the mainstream of Chinese art, and be on a par with guo, plate, oil and carving. I think this is the responsibility and responsibility of our Jingdezhen people, ceramic painters and their theoretical circles, and it is also a very key to the future development of Jingdezhen.
I have been doing research on jingdezhen ceramic culture, and found that some concepts are still very vague at present, and I will not expand here. Everyone knows that Western painting is mainly composed of color and plane, color modeling and light and shadow modeling. Chinese painting is line modeling, Western painting is more objective painting, Chinese painting has long been subjective painting, this is the basis of two paintings, the culture carried by ideological concepts is not the same, Chinese painting is the literati's affection for painting, the expression is the literati's thoughts. So I think it means how we will develop ceramic painting in the future, how to establish the origin of ceramic painting from the root from the concept, from the spirit, and from the cultural point of view, which is very critical.
I also have a prediction that ceramic painting will be a popular painting in the 21st century, and it will soon become the mainstream of painting in our country! I thought: "Ceramic painting", this is the iconic symbol of contemporary Jingdezhen ceramics!
Thank you!
Wu Tianlin (Dean of the School of Art of Nanchang Hangkong University and Master of Chinese Ceramic Art): I knew Mr. Gong in the early 1980s, when I was still studying for the art examination, I remember that he personally demonstrated and taught color painting for us at home, which had a profound impact on me, but his distinctive artistic style and appearance deeply affected me, and he was one of the artists I admired. In today's exhibition, we see that Mr. Gong's works integrate painting, decoration and artistry, giving people a refreshing new atmosphere of painting on porcelain. His innovation and breakthrough are highly respected in Jingdezhen today.
When it comes to porcelain painting creation as an independent painting genre and entering the topic of the national art exhibition, I think there is still a long way to go. Many of our artists in Jingdezhen today limit the theme of their works too prematurely, often using peonies or plum blossoms as the object of expression, the so-called "one Korea eats all over the sky", the lack of thematic creation, the lack of materials and the diversity of expression, the lack of exploration and innovation,
Finally, I hope that we ceramic art workers will work together to constantly deny ourselves and change ourselves, and strive to pursue ceramic art works with profound ideas, profound skills and excellent production, and our porcelain painting work products will become independent paintings in the near future. Thank you.
Li Wenyue (former vice president of Jiangxi Ceramics Jf Vocational Art College, Master of Chinese Arts and Crafts, National Intangible Culture Non-hereditary Person, National Second-level Professor): I should say, it is local, I was born by myself, my father also made ceramics, I entered the porcelain factory in 76 years, and now it has been 45 years, and I am very happy to have this opportunity to participate in our teacher Gong's ceramic art tour exhibition and Chinese ceramic academic seminar.
A ceramic exhibition, like this kind of academic height, and then all aspects of the elite gathered together, there are many professors from the provincial city, as well as Beijing and other places, it is very rare, ceramics is our national essence, but also we Jingdezhen people cause a source of pride.
How did our ceramics develop? President Ning just said that it is the responsibility and responsibility of contemporary people, and it is a big topic worthy of discussion and discussion.
Jingdezhen can say that every historical period has its contribution to the history of ceramics, and how our contemporary ceramic people do it, I think this is very important. Why does our country put the ceramic innovation experimental zone and the ceramic heritage innovation experimental zone in Jingdezhen? I think these four words we all have to think about, just innovation, I think it is not enough.
Foreign artists can affect our Jingdezhen place, and then more I think our local artists must have a spirit of responsibility, and can't completely rely on what foreign artists are called to change our Jingdezhen. In fact, we also have a lot of teachers who are innovating and on the road to change. Seeing our works of teacher Gong Xunming today, he not only has his own unique thinking in the form of painting and the application of materials, but also in the road of his own artistic development, it should be said that they have brought a lot of enlightenment and influence to our contemporaries, for example, I have the impression that 10 years ago in the Jingdezhen Ceramic Art Research Institute, there was a creation exhibition on the theme of Tibet and Tibet.
Many of us Jingdezhen ceramic people he only do one thing in his life, for example, he painted a flower for life, painted an animal for life, for life, for example, painted a certain point, not a certain group of people, and then Gong Xunming teacher he should talk about 10 years of a big change, 5 years there is a new trend of artistic expression, I think we ceramics industry to have a little more like our teacher Gong such ceramic artists, constantly enrich our contemporary ceramic painting language, we Jingdezhen ceramic art tomorrow will be better.
Then I also have a thought, it's not just ceramic painting, it really affects the world. Actually we designed Jingdezhen ceramics. And then our contemporary ceramic people, teachers who are really engaged in ceramic design all their lives, everyone is famous, I think it is very difficult for me to find 20 people or 10 people. Everyone is taking the road of porcelain painting, which is not a good thing. I think we ceramic people, especially those of us who are engaged in ceramic education, should cultivate the design talents of our ceramic art, and then more people will participate in the direction of our ceramic design art expression. That's right. Thank you to our organizers, but also thank you Teacher Gong, thank you all for this opportunity to communicate, thank you.
Yu Fuchang (National First-class Artist, Member of Jiangxi Branch of China Artists Association, Director of Ceramic Art Committee of Guancheng Museum): I have been in Jingdezhen for 14 years, and I was the first to talk about the innovation of Jingdezhen ceramic culture in the Jianguo Cultural And Creative Park. I had contact with Mr. Gong 12 years ago, and at that time I was very impressed with his works, and today I have gone from realism to decoration, which is very different from our traditional ceramics, and it really gives us a new feeling. In order to make Jingdezhen ceramic painting enough to enter the national team and integrate into the world's modern and contemporary art, this is a trend of thought, without such an innovative spirit as Teacher Gong, without a group of innovative talents like Teacher Gong, it is indeed difficult. When I came to Jingdezhen at that time, I was more impressed, and there were several people such as Qian Datong, Luo Hao, wang Yong, and so on. They are all "jing drifts" like me. Some people don't understand it. In fact, they played a leading role in some aspect of the creative process of our Jingdezhen ceramic culture, and this group of people has made great contributions.
The characteristics of Mr. Gong's artistic works are similar to the characteristics of Mr. Qian Datong's artistic style that I just talked about, all of which have taken the road of a college and recreated the achievements of a group of artists such as Picasso and Mondrian Kandinsky, and I think this creative wind should continue.
The biggest feature of Mr. Gong's work is the use of the three major compositions of the plane composition and color composition, he completely subverted our general sense of the pattern, both strong decorative, very strong painterly, especially the application of some space proportions, etc., which is worth our good study. Thank you.
Cao Aiqin (China Light Industry Big Country Craftsman): I am the first China Light Industry Big Country Craftsman Cao Aiqin, my family's eight generations of kiln workers, just now I listened to Professor Ning Gang presided over the forum speech and Professor Zhou Guozhen and other professors' discussion, the speech is particularly good, I also talk about some insights. I've known him very early on, and he has an artistic talent. The village girl he used to create, meticulous and refined, just like his character, decades of hard work have formed his unique style.
Ceramic painting, it is a vivid history of China's development, it is Chinese's adherence to and identification with its own culture, is the cultural gene flowing in the blood. With the progress of science and technology, the changes of the times have brought ceramics to the cultural pride and self-confidence of Chinese, how to inherit and innovate, and how to find the driving force through academic research on ceramics from ceramic culture. We can see the spiritual connotation of Chinese culture in ceramic painting by ceramic artists from the history of ceramics. When I was studying at the Communication University of China, my mentor Zhang Daoxin came to Jingdezhen to paint porcelain, and he taught me that ceramic painting modeling is very important, to focus on small, to start from a high place, to put your own ideological wisdom and enthusiasm into a work, so that the work can achieve the ultimate goal of the unity of heaven and man, which is art.
The study of ceramic painting is multifaceted, with historical and theoretical studies. Promoting the development of ceramic painting requires the sublimation of the spiritual world of art everyone. The higher the aesthetic pursuit of the high level, the higher the requirements for the pursuit of personalization, artistry, interest and spirituality of the product.
Ceramic painting is our best display, we must have innovation, have responsibility. Just now, Professor Ning Gang's theme of this forum is very well interpreted, setting a benchmark for us. Finally, I also wish you all good health, and I wish the Academic Forum on Chinese Ceramic Painting and the success of Teacher Gong's exhibition, thank you.
Zhang Zongtai (member of the China Artists Association and professor of China University of Petroleum): The reason why Mr. Gong's works are very shocking after everyone has seen them is mainly because he has sketched his life over the years and expressed the landscape and clouds with a new language symbol, which is an innovation, not something that we ordinary people can do. No matter how long you have been engaged in art, if you never draw from sketching and find the kind of perception of nature, it is difficult for you to use a symbol to describe the mountain and describe the water description.
Teacher Gong's new painting language symbol is one of the most important aspects of his innovation that I think has been recognized by everyone. Glaze color in the entire field of ceramics has continued for thousands of years of history, but now we see some of the works on the market are old faces, if we Jingdezhen ceramic artists, if there is a small number of people can come up with this spirit of Teacher Gong, this perception of ceramics, the spirit of struggle for the cause of ceramics, the development of Jingdezhen is incredible.
I also often chat with friends, I said that our government should take responsibility, the state is not casually giving the treatment of the ceramic experimental area to Jingzhen Town. Beijing, Shanghai, Shenzhen, a lot of artistic atmosphere, have not been treated, so Jingdezhen people Jingdezhen ceramic artists shoulder a very important responsibility, but also have this historical responsibility.
Whether we are "Jingdrift", whether we are now Jingdezhen people, or a lover of Jingdezhen for many years, I feel that Teacher Gong's exemplary spirit wt is something we all must learn. Art is not repetition, nor can it be repeated, and if it is repeated continuously, it is a waste of time and a waste of life. Teacher Gong has been a good friend of mine for many years, and has also given a lot of guidance to my paintings from all aspects, and I would like to express my gratitude and thank you. Thank you.
Mo Hao (now living in Songzhuang, professional painter, pen chicken famous in the world): My name is Mo Hao, from Beijing engaged in the study and creation of Chinese painting, today I have the honor to invite to Jingdezhen to participate in the ceramic art seminar, just now the teachers, dean leaders of the speech, for me to provide a good learning opportunity, the future will be actively involved in our Jingdezhen art creation, thank you.
Zeng Jin (Dean of the Ceramic Art Research Institute of Guizhou University for Nationalities, Candidate of the National Million Talents Project, Young and Middle-Aged Experts with Outstanding Contributions to the Country, and Masters of Chinese Arts and Crafts): As one of the organizers, on behalf of Guizhou University for Nationalities, I would like to congratulate Professor Gong Xunming! I was trained and grown in Jingdezhen, in 2017 by Guizhou talents introduced to Guizhou University for Nationalities, Jingdezhen is the root that nourishes me, Guizhou is my second hometown, the two are inseparable, it is the source of creation in my life, the ceramic culture of Jingdezhen spread to Guizhou, because the teachers here are my strong backing, with all of you, so I have confidence. As a native of Guizhou Nationalities University, as an artist engaged in ceramic painting, I feel that I can invite Mr. Gong to hold this year's first exhibition at Guizhou Nationalities University, which is not only the exchange of cultures between the two places in the academic community, but also an epoch-making collision, because 600 years ago, Jiangxi people brought porcelain-making skills to Guizhou, plus the local culture of Guizhou, formed Guizhou's clay pottery (now listed as national intangible heritage), more than 600 years later, Gong Xunming's work exhibition was successfully held in Guizhou Nationalities University. At that time, it caused strong repercussions and high praise in the academic circles of Guizhou, Teacher Gong was hired by Guizhou University for Nationalities as the chief expert, but also the core expert, Teacher Gong can constantly update his creative concept, integrate his own works and the times together, but also the responsibility and responsibility of an artist. I feel that Mr. Gong is not only a role model in the art world of Guizhou Nationalities University, but also a role model for artists of our time, not only dazzling in the field of ceramic art in China, but also in the future in the field of ceramic art in the world, using his keen insight and works with the imprint of the times to interpret the art of ceramics.
Wu Hao (comprehensive commentary): Today's forum, there are many people who come, there are many people who want to speak, due to limited time, there is no opportunity to think of more speakers, I think after the forum, we can arrange time to continue talking.
In addition to fully affirming Mr. Gong Xunming's creative spirit, courage in self-innovation, and the form and content of his works, everyone had high hopes for the academic forum held by the Ceramics Think Tank. At the forum, from the perspective of what everyone said and the content of the statements, we still found that there was still a distance from our request. In this regard, we can also see that ceramic painting, from creation to theory, Jingdezhen from the art creation center to the academic center, there is still a long way to go.
What is the art of Chinese modern and contemporary ceramic painting?
This is an ancient, yet modern topic. However, although it has been talked about for thousands of years, there is no accurate concept in the existing collection of books in our country. Art, tracing its essential characteristics, is the creative activity of human beings under the guidance of aesthetics. It is inferred that the art of ceramic painting is the creative activity of ceramic practitioners using ceramic materials on the surface of ceramic objects under the guidance of aesthetics. In the creation of ceramic painting, all records and reflects the lives, aesthetics, thoughts, religious activities, etc. of modern and contemporary people, which should belong to the category of modern and contemporary ceramic painting art.
According to the above inference, I believe that ceramic painting should be a broad concept, it has a variety of forms, including carving, scratching, wisping, carving, painting, etc., as well as glaze, underglaze, glaze, painting on the embryo, and so on.
What is a good modern and contemporary ceramic art or a good modern and contemporary ceramic art painting product? Judging by the basic theory of socialism with Chinese characteristics, "the forms of creation and the products that the masses of the people (that is, the majority of consumers) like and respect are the best art and products." As for the form of its expression and the specific content of the display, I think that, as in our daily writing, some people like to use the ancient style, some people like to use the modern style; some people like to use the form of novels, some people like to use the form of poetry, and some people like to use the form of prose to express themselves; in addition, some people like to use their native language to Chinese, and some people like to use English, Japanese, German, Latin, and so on. In short, whichever way the creator thinks is more suitable for his own expression, he will use which one. Is there a right or wrong? I don't think so. As for what is good and what is inferior? Some people think that this is a matter of benevolence and wisdom, but I think that this formulation is not correct. Not responsible for yourself, and not responsible for others. It still has a standard, that is, any expression of the article, only the content and ideas to be expressed are clear, clear, and easy to understand, that is, excellent, on the contrary, do not know what is cloudy, is inferior.
Literature is an art, and painting is also an art. Some of the above views in literary criticism are borrowed from the art of ceramic painting, and I think it is better to understand some of the problems that arise in modern and contemporary ceramic painting at present.
We can also infer from this that the creation of modern and contemporary ceramic art in China is a group form, not an individual phenomenon. No matter how good the individual is, it does not represent this era. It can only be said that it is one of the outstanding representatives of this era.
Borrowing from the above inference, Mr. Gong Xunming and his works, we can also say, or even can only say, are one of the representatives of this era. Here, on behalf of all the members of Jingdezhen Sample International Ceramic Culture Think Tank Center, we would like to congratulate Gong Xunming on the successful holding of the ceramic works exhibition, and also thank everyone for their active participation in the forum activities, and also thank all the staff who dedicated themselves to this event! Thank you