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To further promote the ceramic development in Taiwan, Yingge Ceramics Museum used to hold Taipei Ceramics Awards for seven times and Taiwan Ceramics Gold Awards for six times consecutively. The former was focused on ceramic art, whereas the latter highlighted ceramic practicality in the hope that ceramic utensils could be widely used. The beauty of countless works has been showcased in various exhibitions every year in which general public get a chance to be better acquainted with the dynamics of Taiwan’s ceramics and its important role in daily life.
The First New Taipei City Ceramics Awards is a whole new competition in 2013 that blends the value and versatility of aforementioned awards. Its Innovation Awards include the Creative Category and the Utilitarian Category, aiming to become a platform for ceramic works of both kinds to shine. It is hoped through the awards could Taiwan’s ceramic development march forward, and demonstrate exceptional ceramic works that combine techniques and aesthetics of life.
The Creative Category is to recognize the energy and creativity shown by innovation in art statement, expressive techniques, forms, ceramic texture, and use of mixed media. There are one gold prize winner, two silver prize winners, three bronze prize winners, and 36 finalists in the total of the record high 110 entries in recent competitions of this kind. Many of the contestants are young ceramic artists whose works are themed on either Human Life or explorations on one’s Nature and Conscience.
Despite of the scarcity of experimental works this year, both silver prize winners bring in outstanding works with creative experimental elements. Li Tsung-ju’s Straw Clay Branches is mainly made by porcelain clay. Straws covered by mud are juxtaposed in the process of firing, leaving traces on the final work. It shows power and the link between the tangible and the intangible. Transitory Space by Thomas Cheong Kah-ho combines fluorescent acrylic sticks and traditional utensils and adds a touch of image reflection. The work creates the time space between the new and the old, just like living in the transitory space between the real and the virtual world. Generally speaking, the competition this year has seen some great concepts, use of materials, and diversity of skills. 

About My Creation

TSAI Jung-yu

TSAI Jung-yu

Art Functions as Life and Belief

I entered the world of ceramic art when I was 33. From this time, art has been my belief.
Since September 6, 1976, when I opened the main door of Prof. CHIU Huan-tang’s studio, ceramic art has become the totality of my life. At the time Prof. CHIU suggested that I “go two routes at once”: pure ceramic art and pure industrial art. And so I have maintained my initial enthusiasm for working in ceramics, “doing the work I like and maintaining a living,” being very industrious, and devoting my full mental and physical powers to this work all the way to the present. The various forms of approval that I have earned along the way have made me deeply aware of its two-sided nature: it is both an honor and a responsibility. Thus in the past few years I have continued urging myself onward, doing my utmost to make full use of my abilities, and exploring hitherto unexplored subjects in the realm of ceramic art.
A work is the transformation of its maker’s life; glaze, texture, and implied meaning are the aspects to which I attach a great deal of importance. I have always emphasized this sort of working attitude: “A vessel is not just a vessel—it should equally contain within it the life of its maker.” The work shows an attitude toward life. For instance, in the series Fullness, Honesty, Cherishing Good Fortune, Uprightness, Accommodation, Open-Mindedness, and so on, the forms of the works not only conform to images I have seen or mentally imagined but also convey my various attitudes toward life. Each work is not just an object but also contains within it its maker’s attitudes and ideas. Its owner will know, through the object and its form, what its maker is explaining, which ideas he is communicating.
With regard to glaze, I focus on expressing its color and texture, and letting the glaze itself speak. No longer do I use it to express shapes and images—that is, I’ve let it get purified. Through my earlier experience studying painting and my fondness for photography, I am easily moved by color combinations and textures bearing the scars of time, and this is what opened my mind’s eye to the keen appreciation of lived experience. One rarely sees very bright colors in my works. The great majority of them are rather plain. I truthfully convey my attitudes and thoughts on life in my works.


Personal Chronology


Born in Wufeng Township, Taichung County, Taiwan Province (today Wufeng District of Taichung City).


Attends Wufeng Elementary School.


Attends Wufeng Agricultural School (five years).


Joins Huahsing Art Printing Plant as an apprentice where he learns about painting and design.


Studies painting with teacher Hou Shou-feng.


First encounter with photography.


Marries Liao Kuei-ying.


Attends a talk by Yang Ying-feng, starts to collect beautiful stones


Studies pottery with Yang Lien-ko and starts collecting cultural artifacts.


September 6 - visits Professor CHIU Huan-tang and officially joins Tao-Zen Pottery Workshop where he studies ceramic art.
Visits South Korea and Japan.


Early in the year joins Professor Lin Pao-chia’s Taolin Ceramic Art Workshop where he studies glaze.
May – establishes Kuanta Art Studio in Wufeng.


Establishes a ceramic art classroom and starts teaching students.


1979 Holds first solo ceramic art exhibition at Taichung City Cultural Center (today Wen-Ying Cultural Center).
A solo exhibition at Spring Gallery in Taipei City generates interest in modern ceramic art work and attracts collectors.


Nominated one of top 10 young artists nationwide.


Organizes Ceramic Art Collective with students
Visits Osaka, Kyoto, Tokyo, Mashiko and Kasama in Japan.


Visits Britain, Norway, Holland, Belgium, France, Switzerland, Italy, the Vatican, Greece, Egypt, Bahrain and Hong Kong.


Travels to Japan (Kyoto, Seto, Mino, Tokoname, Sigaraki) and Hong Kong (to take part in international art festivals).


Visits China (Nanchang, Lushan, Jingdezhen, Huangshan, Hangzhou and Yixing)


Visits Japan (Karatsu, Arida, Imari, Hasami, Hagiyaki, World Expo.


The September 21 Earthquake damages Kuan-Ta Art Center and countless cultural artifacts and works.


Kuan-Ta Art Center is awarded one of the first “Craft House” certificates


Visits Tambayaki in Kyoto-Hyogo Prefecture, Japan.


Visits Hangzhou and Shanghai World Expo in China.


Attends Cross-Strait Handicraft Seminars in Shanghai, Suzhou, Nanjing and Yangzhou


Visits the Beijing Taiwan Center, Ding Kiln in Quyang County, Hebei Province, Kaifeng Official Kiln in Kaifeng, Jun Kiln in Yuzhou, Ru Kiln in Ruzhou, and Tang Dynasty Tri-Colored Glazed Ceramic in Luoyang, Henan Province.


Receives “Ceramic Art Achievement Award” at the 1st New Taipei City Ceramics Awards and holds a solo exhibition at Yingge Ceramics Museum in New Taipei City.

3F Special Exhibition Rooms