From the point of view of celadon ceramic work, the incorporation of ceramic art concepts and methodology as an integral element of modernist art has been a major force promoting integration and reformation. In Mainland China, after 30 years of reform and opening dating back to the 1980s, there has been a certain degree of overlap in the formalistic language and aesthetic values embraced by traditional industrial handicraft ceramics and academic ceramic art, with its preference for more Avant-garde concepts. The expansion of this overlapping space has in turn attracted much attention. Indeed, at a number of important modern ceramic art academic work exhibitions held over the last few years, the seemingly preconceive notion of an insurmountable barrier between academic Avant-
garde experimentation and traditional industrial handicraft ceramics and the almost absolute juxtaposition of modernism and tradition, that was so in evidence during the initial period of opening and reform, has already been replaced by a more or less universal acceptance of the universal values embodied by modern art. This point is most notably reflected in the works of young and middle aged ceramic artists from both handicraft and academic ceramic schools. Most of these express their strengths and distinctive styles on the basis of their own techniques, materials, cultural background and societal resources, and work hard to continue expand the space for the medium of ceramic art as a vehicle conveying the complexity of modern aesthetics, social, and historical and cultural experience. As part of this process of historical development and change, those engaged in the practice and theory of celadon ceramic art need to ask what distinctive contribution celadon has made and in what areas has it led the way in the evolution of modern ceramic in Mainland China? Celadon is infused with a more powerful sense of abstract form that other categories of ceramics. The subtle combination of the dispassionate colored glaze and the strict form of the vessel include sublime extraordinary classical beauty, which is itself connected to the idea of collectivism and ideas about the perfect as detailed in Confucian philosophy. This naturally suppresses or dispels the violence of mediocrity, clamor and impetuousness.
As part of the modern ceramic art movement, the aesthetic quality of celadon with its roots in distant history has been viewed as representing the rational spirit of traditional Chinese culture and been developed in a multiplicity of different directions. In this context, the cold abstraction unique to celadon clearly serves the purpose of guiding the revolution in modern ceramics toward the recreation of classical spirit with local meaning. In this way, it continues to trigger the self awareness and motivation of artist increasingly influenced by a strong sense of local culture
and spirit. In the face of this fixed language context, the diverse development of the creative language of modern celadon together with the enrichment and complexity of its cultural and social import is inextricably connected to the extension and change of the concept of modernism in the history and culture of ceramic vessels. The sense of ritual created by the dignity, serenity and meaningfulness exuded by celadon vessels ensures that the traditional and modern expressionism of celadon transcends the standard grasp and concrete representation of the brilliance of the fleeting yet profound rationality that emerges from the incidental dialogue that occurs between the hand and the mind, the clay and the fire. To a certain extent, this brilliance is infused with the local cultural and historical values
on which modern ceramic art in Mainland China is based and this trend can be seen with particular clarity in the wide range of different ceramic art vessels created in recent years.
In the language context of industrial design, the combination of strict celadon vessel forms and outstanding handicraft work has become an important focal point from which to better understand the development, change and value of modern celadon art. Certainly, focusing on vessels is an expressive requirement and part of the definition of modern aesthetics. Ever since the 1950s, academic ceramic artists such as Professor Deng Bai have taken creative ideas from ceramic art that combine literati appeal and modern art’s sense of forms and introduced them to traditional celadon work, thereby guiding creative trends in celadon art work. In this period, legendary Longquan celadon masters such as Lee Huaide and Xu Chaoxing made major contributions in ensuring the nearperfect organic unity of glaze, decorative patterns and vessel shapes, accepting and building on the rich heritage of the handicraft skills and aesthetic charm of ancient Chinese celadon. As individuals they also developed the full range of ceramics skills, controlling the entire process, from glaze composition to hand-throwing, decorative ideas and firing techniques, scaling new heights in handicraft art celadon work. The new direction in which these individuals directed the Chinese celadon handicraft tradition has since been embraced and continued by a new generation of Longquan celadon handicraft masters. For example, the followers of Xu Chaoxing have already formed a celadon art school that exerts considerable creative and market influence. His followers tend to display an appetite for taking the handicraft stylistic ideas, production techniques and decorative methods of the older generation even further. At the same time, the clear and fresh aesthetic appeal of the younger generation of ceramic artists differs from that of the older generation, particularly the way in which they have accepted and absorbed the formalistic concepts and creative methods of modern art. These have then been taken and transformed into resources and capabilities that can be used to showcase and enhance the traditional techniques they have mastered, achieving an impressive level of proficiency. This point is clearly reflected in their understanding of the sense of pure form as it relates to a ceramic vessels and corresponding improvements in expressive capability. Through this lofty sense of celadon vessel form, these ceramic artists have found a channel for modern expression that suits their current situation.
Without doubt, Lu Weisun is one ceramic artist who has achieved much of note in this respect. His work takes the traditional handicraft forms based as they are on precise control of technique and transforms them into pure artistic expression focused on personal aesthetic ideals and cultural sentiment. His comprehensive technical training and historical ideas are stimulated by a desire for simple artistic expression that comes from the heart. A creative process that focuses on the vessel and crafting a shape naturally incorporates the essence of handicraft art passed down over generations. It is in this unadorned simplicity that we find the artistic expressionism of traditional celadon handicraft work in the wake of its modern transformation. From this point his work evolves into a form of sustained self-development, self-discovery and affirmation. Indeed, the artist has himself said that each stage of the creative
process with celadon comes with a range of unknowable variables. In the moment the kiln is switched on, the artist is always a little uneasy, assailed by a range of complex emotions, but at the same time this also means he or she is filled with expectation the next time he fires work in the kiln. It is this power that pushes the artist forward one step at a time, providing the impetus needed to create art. In contrast to the way in which Lu Weisun yearns for bucolic retreat from life like the literati, the work of Chen Aiming is more focused on the combination of strict classical form and refined glaze, showcasing the artist’s understanding of the aesthetic charm of Song dynasty celadon.
In the field of modern handicraft celadon, many ceramic artists focus on techniques, decorations and glaze as a way of expanding the language of handicraft art, in the hope of enriching the decorative feel of celadon vessels. Chen Xuangen and Ye Xiaochun have both attempted crackled-ice glaze on different vessels. The former has utilized glaze made from greatly contrasting colors to create a harmonious sense of reflection, whereas the latter uses the texture of the cracked-ice pattern to strengthening the decorative expressiveness of simple and solid vessels; Xu Ling attempts to create a modernist balance between the solidity of the celadon and the malleability and texture of clay; The primitive celadon glaze vessels of Chen Xinhua are in simple regular shapes with the aim of showcasing the strict ordered glaze and patterns; Jin Yiduan likes to decorate ancient celadon vessels with exquisite lively patterns of
flowers and other plants as underglaze, creating a vitality that is rich with a sense of the times; Many of the works of Ji Youquan express the artist’s understanding and awareness of the ancient simplicity and imposing nature of Song dynasty celadon.
If we are looking for the differences between celadon ceramic artists born in the 1950s and 1960s and those who came before them, then although their works still tended to express the heritage and tradition of handicraft art and decorative technique, they went further than the older generation of ceramic artists in their pursuit of artistic free expression. Although this pursuit was itself restricted by the hidden limits or rules that underpinned traditional technique and aesthetic values, behind these limitations lay the support of the relatively stable market for imitation antique ornamental ceramics in Mainland China, which remains the situation today. In other words, although these pieces were the artist’s own expressive works, they are also in many respects commonplace. Today, industrial
traditional celadon work faces the problem of how to strike an optimal balance in the relationship between classical heritage and free expression.
Zhou Wu is one individual who straddles the divide between academic and industrial ceramic art. Although I cannot say with any certainty how Zhou feels when creating, his works display the courage of daring academic exploration and corresponding ability, as a result of which a balance is achieved between the two forces that is rich in expressive tension. The way in which the artist focuses on the vessel is very strong is clearly related to the strict instruction in traditional celadon handicraft art he received from a very young age. However, we also need to recognize that within this approach there are also subtle signs of a certain change in approach as seen in his attempts to shift from a focus on the material aspects of the vessel to a new rational expressive type of celadon focused on the
crafting of space and form. Needless to say, this path is replete with unknown variables. What we can say with some certainty is that Zhou Wu’s exploration of the language of celadon based as it is on a self awareness of modern artistic form can be traced back to the academic thinking and creative ideas he encountered in the department of ceramic art at the China Academy of Arts. One of the older ceramic artists at the school, Chen Songxian, has a reputation for being critical of the clamor and impulsiveness that defines modern society and culture. If we examine the inherent beauty of celadon, then his works exquisitely express the lyrical charm of traditional celadon aesthetics based on the depth of his understanding of the language of modern art. They also incorporate certain invaluable forward-looking ideas and methods, a creative trend deserving of further attention in the field of modern academic celadon art. Liu Zheng has consistently focused on pottery sculpture and ceramic painting and as such has not worked much in the medium of celadon. Having said that, although works such as “Zhong Kui” are occasional pieces they also reveal the artist’s exploration of the free expression of ideas through porcelain and matt-coated celadon glaze.
The works of Xu Qun are always tranquil and infused with meaning, something that can be traced back to the ethereal, cold, and rational sense of ritual in celadon vessels from the rainy season in southern China. In her work this is transformed into an indescribable silent beauty connected to the vast open spaces of the north. Xu has a very open mind when it comes to her creative vision, but is also able to very naturally dissolve the burdens associated with materials, techniques, semiotics, aesthetics, culture and even society. In her hands those things that non-experts consider to be important with regards art or non art seem to lose their importance or labeling power. Everything is simplified to a nature shape infused with Zen-like calm. In her work the boundaries between vessels and non- vessels are not entirely certain and the relationship between light and heavy is overlapping, which draws out a huge interpretive space. Whether she focuses on art or life, the artist maintains a calmness, refined, gentle and smooth rhythm and focus. In addition, we can also see in her work a distinctive understanding and knowledge of vessels, the properties of clay and the molding of shapes that female celadon artists often unconsciously display. In the works of Zhu Naya, this understanding is reflected in the light and shade seen in the small spaces she crafts. Although her pieces remain true to their roots, they are also infused with new meaning. It is the flow of the overlapping light and shade in the celadon glaze that infuses the works with imaginative space. Chen Sisi has seeks out a crafted form
of expression that is distinctly female in between the fragility, smoothness and glitteringly translucent nature of
celadon.
As modern ceramic art language has become increasingly global, the unavoidable truth is that academic celadon work has become more conceptual in nature. We often encounter the use or misuse of non-historical or discordant celadon language. This is the result of the Avant-garde “elimination of history” and for celadon with its long cultural and historical tradition, this approach can both simultaneously good and bad. However, it is pointless to complaining about the segmentation of celadon language. As long ago as the handicraft art movement of the late 19th century and early 20th century ceramic artists such as Charles Binns used celadon pieces as a decorative method replete with expressive ability, natural integrating it into their own ceramic art language. Japanese ceramic artists achieved an even higher plane. As such, celadon work based on the vicissitudes of an individual’s life is more important. Whether it is industrial or academic celadon, only by eliminating eye-catching semiotics and technical declarations can a brand new local expressive type of modern ceramic art take shape. The cultural view and socio- cultural critique of ceramic artists could become a motive force propelling modern ceramic art in Mainland China, including the medium of celadon, toward a new more global form of expression.
Moreover, I believe that it is only through this process that is it possible to overcome the difficulties that celadon ceramic art work faces today or will face. Examples include, themes relating to society or realism, feminist viewpoints, representational expressive methods, the commemorative nature of ceramic vessels and their dialogue with modern architectural space.
The use and limitations of geometric and organic abstraction or painting as an access point means that the modern celadon that is environmental art, the overlapping nature of sculpture and non sculpture, pop art and every day language, are the only way to ensure continuity in terms of creating art history of value and critical meaning. It is only then that the interaction and overlapping of handicraft and academic celadon ceramic art can enter a period in which it expands more than ever before.