Business and art, after all, are two opposing ideas. For many years, the advancement of commerce and the flourishing development of art have created an opposition between industrial manufacturing and handcrafting of the same kind of things. This is more evident in the art of ceramic art. Is it the pursuit of interests to use more modern means to expand production? Or is it the pursuit of art that brings handcraft skills to the extreme? In a conversation with the master of the “blue sea of ​​flowersâ€, we learned about the state of mind of the hand-made potters in the current situation.
Collision, the master of traditional production and the modern art of "blue flowers on the sea," was entered by the Central Institute of Arts and Crafts in 1992. Previously, the Institute of Arts and Crafts trained designers rather than artists. After learning, they went back and used the ready-made assembly line to engage in production. In other words, what is cultivated here is not an artist but a designer. The students here are the products of the modern economic situation. It stands to reason that Hai Chen, who is engaged in art, is not in the scope of their enrollment.
However, from that year onwards, the Central Academy of Arts and Crafts opened a new course called “Modern Ceramic Artâ€. When the ceramic art is highly mature, and when the post-industrial era is approaching, ceramics are finally ready to proceed from the mass production situation. Under the veil of ceramic art, a path to modern art was struck, and the sprout of handmade ceramic art began to emerge. In such a situation, Hai Chen was able to enter the school and come into contact with more professional ceramic art techniques.
At the school, future designers learn for practical interests, and after graduation they play the role of artisans. Artists are trying to accumulate the basic skills of art creation. Traditional production and modern ceramics began to collide from the day they began. When these students learn, the difference in philosophy will be even more contrasted. Some people will devote themselves to the creation of art in order to break the shackles of traditional manufacturing. More people will make compromises for practical reasons and become a craftsman.
Choice, academic and individual potters in the field of pottery, the existence of individual potters is understandable, but the existence of individual workshops is not so easy, because the process of pottery is interlocking: raw material preparation, glazing technology, Forming process, firing technology, these links are not one person can complete, such as firing this link, even large-scale workshops, will be combined into a furnace to burn, in order to reduce costs.
After graduating from school, other students returned to various ceramic producing areas, except that Hai Chen stayed in the school and used the conditions of the school studio to continue her ceramic art. At that time, her goal was very clear: Only works of art, not utensils, to fill the blank of Chinese ceramic giants in the ceramic art.
Soon after, the first exhibition of Hai Chen and the other two ceremonies was held. Although the exhibition of "Dried Pottery on Earth" at the Beijing Ditan Park was only for a short day, it was seen by ordinary people in Beijing. The exhibition is more like a group of people in a porcelain stall. It is generally the same with Panjiayuan, but it has a certain influence in the domestic circles at that time.
It is obviously not enough to close behind the door in the school’s porcelain kiln. Hai Chen left the school resolutely and traveled around the country’s porcelain kiln and chose to become a true personal potter. Later, when Hai Chen arrived in France and wanted to continue his education in the school here, he found that there was no need for it. He could do it with the local artists – and participate in the whole process of handmade pottery by French artists. It is a good way to learn.
The pioneering, blue-and-white porcelain and ceramic designers in Shanghai on the beach do not need to go abroad, because the technology they possess is enough to make a beautiful and practical porcelain in the factory. However, Chinese ceramic artists need to go out and feel the artistic concepts of pottery and pottery blended around the world to see the advanced level of craftsmanship. Finally, they still want to return to China, because only in the hometown of ceramics can they create new ideas. Your own business.
The reason for this is not only because of China's long-standing ceramic culture, but also related to raw materials. For example, the clay of Jingdezhen has a high quartz content and can be burned to 1330 degrees. It is already the limit to burn good porcelain clay from abroad at 1,250 degrees. If you want to inject your own artistic concept into top porcelain, you will only return to your homeland. Field operation.
Hai Chen returned from France, learned a lot with some masters, and watched a lot in Jingdezhen. In 1999, she started her own ceramics business in Jingdezhen and set her direction on blue and white porcelain. After her works matured, she held her first solo exhibition “Blues†at the Ritan Park in Beijing.
Shanghai's “Blue Flowers on the Sea†is a window to Hai Chen’s artwork facing the world. This small shop adjacent to the Bund is in the most western temperamental location in the Eastern International City. Every day people from all over the world pass by. When you step in here, you will feel the perfect combination of traditional Chinese culture and advanced handmade art.
Looking forward, the future of soil and fire has many different places for handmade pottery and traditional pottery. Handmade ceramics are works of art. Each work is created with the mind and passion of the art. These works have their own independent soul and they are all unique. During the production process, hand-made ceramics can be freely deformed by some imported small machines, so that they will not be the same as tableware, containers or souvenirs.
In foreign countries, ceramic art has always been divided between handwork and machinery. Machine-made pottery is used to produce tourist souvenirs, and hand-made pottery is divided into artworks and small crafts that they play with. In some places in Europe and Japan, even housewives can make their own ceramics. Because they have some small ceramic machines and small firing machines, these things are exactly what Chinese individual potters are lacking today, and they are expensive to buy. Although domestic companies are now starting to develop and produce such machines, there is still a gap between quality and foreign mature products in the short term.
Traditional workshops have strict control over the type and dosage of china clay. However, handmade pottery can be used more casually, mixed with different china clay, and made with works of different textures and different color densities. The artist has plenty of room to play. Their imagination to carry out their experiments. Such as blue and white porcelain, its color can be controlled by controlling the content of iron in the clay to adjust the depth, a magnet can do it.
Blue-and-white porcelain is a special kind of porcelain. The blue ink-and-wash conception best reflects China's traditional philosophy and attitude toward life. Both Chinese and foreigners who love Chinese art can feel close and understand. Therefore, the blue-and-white porcelain hand-made works can best enable artists to develop their creative skills, thinking that it is already a work of art belonging to the world.
Handmade ceramics do not need to be rushed. The artist's maturity can wait. However, the quality of raw materials obtained by the handicraft ceramic artists is very unstable. With the increase in the price of chinaware, the local merchants will shoddy. The quality of porcelain clay can only be seen after the porcelain is fired, so it is very painful and inescapable that a group of handicraft porcelains will be abandoned due to the quality of china clay, and the speed of hand-made pottery will be compared. Slow, so the finished product of handmade ceramics will be reduced, and the relative cost will become higher. These are the realities that a handmade potter must face.
There are many difficulties in hand-made pottery, but artists are always optimistic and this art is slowly accepted by people. At first, the guests of the handmade pottery shop were all foreigners. Even if the Chinese used to buy ceramics, it was “as a gift to foreign bosses.†But now, more and more Chinese people have begun to walk in and buy artwork for themselves. There are even young people who give handmade ceramics as gifts to their elders. This art of soil and fire began to enter the hearts of the Chinese people through the efforts of Chinese artists.
Although China's ceramic production accounts for more than half of the world's ceramic production, there are few Chinese ceramic works appearing on the world market today. Hand-made pottery is an art belonging to tomorrow in China because it has more room for development. Hai Chen himself also combined art and practical products and received favorable comments. In her base in Jingdezhen, she also worked hard for hand-made pottery: to give the best treatment to the master, to give young people the best environment for development.
Collision, the master of traditional production and the modern art of "blue flowers on the sea," was entered by the Central Institute of Arts and Crafts in 1992. Previously, the Institute of Arts and Crafts trained designers rather than artists. After learning, they went back and used the ready-made assembly line to engage in production. In other words, what is cultivated here is not an artist but a designer. The students here are the products of the modern economic situation. It stands to reason that Hai Chen, who is engaged in art, is not in the scope of their enrollment.
However, from that year onwards, the Central Academy of Arts and Crafts opened a new course called “Modern Ceramic Artâ€. When the ceramic art is highly mature, and when the post-industrial era is approaching, ceramics are finally ready to proceed from the mass production situation. Under the veil of ceramic art, a path to modern art was struck, and the sprout of handmade ceramic art began to emerge. In such a situation, Hai Chen was able to enter the school and come into contact with more professional ceramic art techniques.
At the school, future designers learn for practical interests, and after graduation they play the role of artisans. Artists are trying to accumulate the basic skills of art creation. Traditional production and modern ceramics began to collide from the day they began. When these students learn, the difference in philosophy will be even more contrasted. Some people will devote themselves to the creation of art in order to break the shackles of traditional manufacturing. More people will make compromises for practical reasons and become a craftsman.
Choice, academic and individual potters in the field of pottery, the existence of individual potters is understandable, but the existence of individual workshops is not so easy, because the process of pottery is interlocking: raw material preparation, glazing technology, Forming process, firing technology, these links are not one person can complete, such as firing this link, even large-scale workshops, will be combined into a furnace to burn, in order to reduce costs.
After graduating from school, other students returned to various ceramic producing areas, except that Hai Chen stayed in the school and used the conditions of the school studio to continue her ceramic art. At that time, her goal was very clear: Only works of art, not utensils, to fill the blank of Chinese ceramic giants in the ceramic art.
Soon after, the first exhibition of Hai Chen and the other two ceremonies was held. Although the exhibition of "Dried Pottery on Earth" at the Beijing Ditan Park was only for a short day, it was seen by ordinary people in Beijing. The exhibition is more like a group of people in a porcelain stall. It is generally the same with Panjiayuan, but it has a certain influence in the domestic circles at that time.
It is obviously not enough to close behind the door in the school’s porcelain kiln. Hai Chen left the school resolutely and traveled around the country’s porcelain kiln and chose to become a true personal potter. Later, when Hai Chen arrived in France and wanted to continue his education in the school here, he found that there was no need for it. He could do it with the local artists – and participate in the whole process of handmade pottery by French artists. It is a good way to learn.
The pioneering, blue-and-white porcelain and ceramic designers in Shanghai on the beach do not need to go abroad, because the technology they possess is enough to make a beautiful and practical porcelain in the factory. However, Chinese ceramic artists need to go out and feel the artistic concepts of pottery and pottery blended around the world to see the advanced level of craftsmanship. Finally, they still want to return to China, because only in the hometown of ceramics can they create new ideas. Your own business.
The reason for this is not only because of China's long-standing ceramic culture, but also related to raw materials. For example, the clay of Jingdezhen has a high quartz content and can be burned to 1330 degrees. It is already the limit to burn good porcelain clay from abroad at 1,250 degrees. If you want to inject your own artistic concept into top porcelain, you will only return to your homeland. Field operation.
Hai Chen returned from France, learned a lot with some masters, and watched a lot in Jingdezhen. In 1999, she started her own ceramics business in Jingdezhen and set her direction on blue and white porcelain. After her works matured, she held her first solo exhibition “Blues†at the Ritan Park in Beijing.
Shanghai's “Blue Flowers on the Sea†is a window to Hai Chen’s artwork facing the world. This small shop adjacent to the Bund is in the most western temperamental location in the Eastern International City. Every day people from all over the world pass by. When you step in here, you will feel the perfect combination of traditional Chinese culture and advanced handmade art.
Looking forward, the future of soil and fire has many different places for handmade pottery and traditional pottery. Handmade ceramics are works of art. Each work is created with the mind and passion of the art. These works have their own independent soul and they are all unique. During the production process, hand-made ceramics can be freely deformed by some imported small machines, so that they will not be the same as tableware, containers or souvenirs.
In foreign countries, ceramic art has always been divided between handwork and machinery. Machine-made pottery is used to produce tourist souvenirs, and hand-made pottery is divided into artworks and small crafts that they play with. In some places in Europe and Japan, even housewives can make their own ceramics. Because they have some small ceramic machines and small firing machines, these things are exactly what Chinese individual potters are lacking today, and they are expensive to buy. Although domestic companies are now starting to develop and produce such machines, there is still a gap between quality and foreign mature products in the short term.
Traditional workshops have strict control over the type and dosage of china clay. However, handmade pottery can be used more casually, mixed with different china clay, and made with works of different textures and different color densities. The artist has plenty of room to play. Their imagination to carry out their experiments. Such as blue and white porcelain, its color can be controlled by controlling the content of iron in the clay to adjust the depth, a magnet can do it.
Blue-and-white porcelain is a special kind of porcelain. The blue ink-and-wash conception best reflects China's traditional philosophy and attitude toward life. Both Chinese and foreigners who love Chinese art can feel close and understand. Therefore, the blue-and-white porcelain hand-made works can best enable artists to develop their creative skills, thinking that it is already a work of art belonging to the world.
Handmade ceramics do not need to be rushed. The artist's maturity can wait. However, the quality of raw materials obtained by the handicraft ceramic artists is very unstable. With the increase in the price of chinaware, the local merchants will shoddy. The quality of porcelain clay can only be seen after the porcelain is fired, so it is very painful and inescapable that a group of handicraft porcelains will be abandoned due to the quality of china clay, and the speed of hand-made pottery will be compared. Slow, so the finished product of handmade ceramics will be reduced, and the relative cost will become higher. These are the realities that a handmade potter must face.
There are many difficulties in hand-made pottery, but artists are always optimistic and this art is slowly accepted by people. At first, the guests of the handmade pottery shop were all foreigners. Even if the Chinese used to buy ceramics, it was “as a gift to foreign bosses.†But now, more and more Chinese people have begun to walk in and buy artwork for themselves. There are even young people who give handmade ceramics as gifts to their elders. This art of soil and fire began to enter the hearts of the Chinese people through the efforts of Chinese artists.
Although China's ceramic production accounts for more than half of the world's ceramic production, there are few Chinese ceramic works appearing on the world market today. Hand-made pottery is an art belonging to tomorrow in China because it has more room for development. Hai Chen himself also combined art and practical products and received favorable comments. In her base in Jingdezhen, she also worked hard for hand-made pottery: to give the best treatment to the master, to give young people the best environment for development.
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