Theme: First seminar on revitalization and development of Beijing ceramic art

Time: May 11, 2019

Venue: Guozhong Ceramic Art Museum

Host: Zhang Fuye

Host: The first seminar on the revitalization and development of Beijing ceramic art now begins. Please allow me to introduce the host of this seminar, Mr. Zhang Fuye. Mr. Zhang Fuye graduated from the Central Academy of Arts and Crafts in 1982 and taught at the university. In 1990, he was a visiting researcher at Tokyo University of the Arts, Japan. In 1999, he received his doctoral degree in literature. He is now a professor and doctoral supervisor of the Academy of Fine Arts, Tsinghua University, and director of the Institute of World Art History. He is also a distinguished professor of China National Academy of Arts, a member of the expert steering committee of China National Academy of Arts and Crafts, vice president of Beijing Arts and Crafts Association, director of Japan Art Evaluation and Preservation Association, and president of Hunan Institute of Traditional Arts and Crafts. Now let's welcome Professor Zhang Fuye to chair the first seminar on the revitalization and development of Beijing ceramic art.

Zhang Fuye: Thank you, teachers and colleagues. It is my great pleasure to attend the opening ceremony of the "First Ceramic Artists Exhibition" and the first time ceremony of the collection of works. I am also entrusted to preside over the seminar this afternoon. I am very glad to see our dear teachers, leaders of the association, my colleagues, old classmates, many students, of course, more of my old friends, such as the Central Academy of Fine Arts and other colleges and universities. I would like to take this opportunity to express my gratitude to all of you.

Today's seminar has three themes: the first is the role and significance of the revitalization and development of Beijing ceramic art in the construction of a cultural power in the new era; I hope that all the experts and teachers present here can share their insights and insights on this topic. Second, Beijing ceramic art revitalization and development of specific measures, ideas, we have any good suggestions can be put forward. The third is on the Beijing Arts and Crafts Association ceramic purple sand professional committee development of the train of thought, you have what opinion also please put forward.

There are about 20 experts who will speak today, and the time is very limited. I hope each expert will strictly control the time when he speaks, and it is best to control it in 5-8 minutes. Please. In order to ensure this time, I myself will not make any comments after each expert has spoken, because there is no time for this. First, let's welcome Liu Peijin, the former president of China National Arts and Crafts Import and Export Corporation.

Liu Peijin: I am very glad to see the meeting today. Before I came, I was very glad to see the catalogue they sent. I got here an hour early today and was even happier after seeing it. From the scene, the basic quality of the participants is a little higher, the categories of the exhibition are very representative in the country, the quality of the exhibits can be said to be brilliant stars. Under the influence of Zhang Shouzhi's "Moon", the stars shine brightly. Among them, there are dozens of works by Qiu Chunlin, Zheng Yukui, Xu Chuze, etc., which can be said to be quite strong. Of course, nothing is unified, and there are also various points of light, which are objective existence.

What is the point of this exhibition? As Chen Liehan, Qiu Chunlin introduced, this is the first time, and we hope there are the second, the third, the fourth, to create a Beijing brand. Personally, from the perspective of the overall quality of this exhibition, innovation has been the national leader, standing in this position in Beijing, it should be the leader of the ceramic industry. No longer say in detail, interested can understand.

The significance of the exhibition, indicates that the development of the national ceramic industry leader in Beijing, is everyone here is leading collective energy campaigner, promoters, leading, ceramic art sublimation and the development of the industry, especially innovation requires comrades play to the function of the capital, Beijing in particular, to exert the leading function of 1988 years ago. All of you have potential in this area. Why do I say before 1988? Because in 1988, the ceramic industry production was the ceramic department of the Ministry of light industry, and the foreign trade export was the foreign trade ceramic import and export corporation, one focused on production, one focused on overseas market development, organized and planned innovation led everyone to the world. At this stage, the export cost of ceramics was constantly reduced, the harvest benefits of ceramics were constantly increasing, and the influence of ceramics overseas was constantly increasing. Chinese ceramics entered the United States in the high-grade family ceramics for daily use, after 1988, quite a number of people, the use of the outside out, no, Chinese ceramics lost power, someone asked me, I do not say clearly.

Why is this a problem? In 1989, the reform of the system accounted for the whole chaos, there were three "not big", in recent years, the ceramic industry product sales difficult, development ability is not strong; The overseas market energy is not big; The innovation ability is not strong, the enterprise development hindrance is insufficient. How to solve this problem? Here are three suggestions:

First, with COSCO Group as the core, we will form a ceramic operation alliance at home and abroad. All of you present are emperors and empress. With the vigor of "emperors" and "empress" of Beijing ceramic industry, we will gather talents in the ceramic industry at home and abroad to form a worldwide ceramic talent alliance.

Second, to organize the exchange and improvement of ceramic art at home and abroad, and to form a world leader of ceramic innovation in Beijing.

Third, to lead Chinese ceramics to the market by means of exhibition, exhibition, sales, joint sales and profit, and give full play to the best level before 1988 when it entered the high-end consumption field.

Seeing this opening ceremony, I have great confidence that if Beijing holds such an event every year. It can further form a model and mechanism, and there is great hope for the development of China's ceramic industry. I wish all of you will play a higher leading role in the future development of ceramics, be good emperors and empresses, and lead the national ceramics forward.

    Thank you very much

Zhang Fuye: Thank you, Mr. Liu. Next, let's welcome Mr. Zhang Shouzhi, professor of the Academy of Fine Arts of Tsinghua University.

Zhang Shouzhi: My problem is that I usually take up too much time to speak. Today I have to control myself. Because there are so many authors, I take up too much time and affect everyone's communication.

I think it is very, very important for us to have this meeting today, which is also a good opportunity for Beijing pottery circle to communicate with each other after the reform and opening up. We have caught up with the planned economy in the early stage of protection and recovery of the development of the new China. After the Cultural Revolution, China's economic system entered the market economy, so today, from the perspective of the spread of ceramics in Beijing, it has entered the era of diversification. The friend of art school or, culture bound or, still have the company that is engaged in the craft art industry of Beijing or, also is a variety of forms on economic system now.

Chen Liehan we should thank him. As the Beijing arts and crafts master, he graduated from Jingdezhen ceramic institute undergraduate course, and read the central academy of arts and crafts Hu Weisheng professor, master's degree. After graduation after I recommended in our arts and crafts import and export corporation and it turned out that he is responsible for the Canton fair of the whole organization. Later, in the China Arts and Crafts Corporation, he established the Ceramic Gallery. So how many years has it been like this? For more than 20 years, now he has to let's arts and crafts arts and crafts of foreign trade and the original light industry group company merged group company and served as vice President, though he himself for so many years and did not give up his own creation, very hard, but he left for so many years without ceramic art organization work, so I think today we have such a good chance. First of all, I want to thank Chen Liehan.

However, due to the lack of time, there are probably more than 40 people present today who are engaged in the creation of ceramics. In the 1950s, during the period of planned economy, there are still a few people alive who have not been notified. There are also retired Beijingers who were assigned to various ceramic producing areas in the period of planned economy and returned to Beijing. They have a lot of work now, and they're still doing some work, and this is because there's been a long time, a couple of generations, and they probably haven't been notified. Today, so I said the first, in 70 Beijing's ceramic home for the first time to do a show, and there are a lot of us like the ministry of culture system is engaged in the arts and crafts, theoretical work, including technological academy of ceramics to smell of the cultural revolution comrade Zhang Yan, is now a ceramic history experts. From the 1950s to the 1960s before the Cultural Revolution, many of their children from Lui and Zhejiang Academy of Fine Arts settled down in Beijing. Now I come back to Beijing every year to live for a long time, but we haven't got in touch with those who are engaged in ceramics education, so I think there are more than 40 of us attending the meeting today, and I just say there are about 40 or 50 schools specializing in ceramics in Beijing art colleges.

The Northern Industrial University is the one of the biggest school in Beijing, if technology academy had not merged to Tsinghua would merge to Beijing university of technology, now called Beijing arts and crafts institute, now under construction in the new site. I went to see it a while ago and it was beautiful with mountains in the back and it was really nice. I think I am like a ceramic major teacher from the Department of Industrial Design of Beijing University of Technology. We have seen the recent salvageable ceramic restaurant on the Internet. The salvageable ceramic restaurant with the full set of unmanned robotic arm service has been in operation in Beijing. This design was also made by Zhang Kun, a master student from the Ceramics Department of our College of Arts and Crafts, so I think there will be more talents in our next meeting.

I would like to say a few words on behalf of the China Pavilion at the opening ceremony. One of the advantages of this place is to hold a ceramic exhibition, dedicated to the promotion of China's contemporary ceramic services. And this place doesn't charge any rent for exhibitions. The pavilion you use, including our meeting and the banquet for a while, is provided by Guozhong Ceramic Art Museum under Beijing Sino Ocean Group.

In the future, when people use this space, whether it's for exhibitions or symposiums, you have to have a place. If you go to some other national museums, such as the National Art Museum of China, one has to queue up, and the cost is also very high. Therefore, as Beijing Sino Ocean Group sets aside a certain amount of funds every year to promote China's contemporary ceramic culture, it is a learning opportunity for Beijing Ceramic Art Museum Cosco Group. Through contact ceramics, understand ceramics, and further want to China's ceramics, how to carry forward to the world. So this year and last year, we also held an exhibition on China and South Korea. This year, there will be an exhibition on China, Japan and South Korea. In the second half of this year, there will also be an exhibition for new members of the United Nations. After this exhibition is over, we will go to Geneva and the United Nations Ceramic Art Headquarters to hold another exhibition. There will be two such exhibitions in the second half of this year. There may be domestic production areas of Longquan celadon exhibition, so in the future like our Beijing ceramics exhibition, everyone as long as you like this place, welcome everyone to come here.

As I said just now, what you see during the exchange is the works, but I hope that through this symposium, we can get to know each other. I know 40 percent of the people here today, and 60 percent of the people I don't know. But 60% of the people I don't know, when I saw the work just now, I knew it was a ceramic factory of Beijing Arts and Crafts Company outside Xuanwumen in the early period of Beijing's reform and opening up. The factory was run by Zhou Shulan, a graduate of the Central Academy of Arts and Crafts in Beijing before the Cultural Revolution, after our reform and opening up. Zhou Shulan was not informed to attend the exhibition. If he wanted to come, he would bring some finalized works, as well as works from Guangdong, where he was mainly in two places. The factory was not small at the time, with several hundred people working on traditional Chinese Jingdezhen granite and display porcelain for European demand. Probably to exchange foreign currency for our country to buy advanced foreign industrial equipment, our factory has also made a great contribution. But after I found this factory authoritarian many workers of the factory is the Huairou people, later I in Huairou just there still have a house, I at that time the worker of this factory back in Huairou district, back to Huairou became the place of private enterprises, to let's Beijing arts and crafts processing, but also to be purple. Huairou did purple sand in the late Qing Dynasty to the Republic of China has been doing, of course, not Yixing purple sand, is the suburb of Beijing. But these years, I didn’t contact with the new person in this factory and I don’t know much about the factory now.

So I want to get to know each other through our panel today, add WeChat. In the future, we as Beijingers, how do we do our duty to put our ceramics, according to the needs of the country and the masses of social life, we do it well, through each of you brought the works. But most of you here today are the authors of the 40 years since the reform and opening up. Anyway, I came to see this exhibition. I came here this morning and I watched it for a long time. I have learned a lot. I hope we can communicate more in the future.

I would like to briefly introduce two, there are two old Beijing people, one is Comrade Liu Shengli. Liu Shengli is also our Beijing Arts and Crafts Association arts and crafts master, who is a native of Beijing. I remember we go to university after the liberation, Beijing does not famous ceramic production areas, but Beijing has been to the common people, already do ceramic to the court, there are only two places, a vallely glazed tile factory, at that time have vallely glazed tile factory in Haidian, repair to the Palace Museum, which is directly to the ministry of culture of the Forbidden City glazed tile factory may be due to environmental issues. Another is now Chaoyang park, Chaoyang park, in the original Liutuentuen kiln, and the face basin is the liberation of Beijing home, is also the glazed tile green basin, yellow basin. Huang Pengjia at that time was also our teacher Xu Hanzhong. His works were collected in Hong Kong before the liberation, and later we saw his works in the Chen Gas Museum, so we had two ceramic figures like this after the reform and opening up. I want to introduce you to some of the color glazed ceramic high temperature ceramic plate paintings that you see in this exhibition.

Comrade Liu Shengli was a soldier at first, the air force, air force school ground after graduation. Later, he was transferred to the Overseas Chinese Affairs Office of the State Council, and Shenzhen set up Overseas Chinese Town. He met Zhou Lingzhao from the Central Academy of Fine Arts when he went to receive the project on behalf of the State Council office. Zhou Ling is now 100 years old. And also together with Hou Yimin, Deng Shu and Chen Ruoju. This is a miniature view of their OCT in Shenzhen. He fell in love with ceramics at that time. When he returned to Beijing and returned to the wheat shop behind Lufthansa, which was his hometown in old Beijing, he decided to go to the Sculpture Department of Tianjin Industrial Academy of Fine Arts and learn to burn low-temperature ceramics in Wanyao Village. He has been self taught for more than 20 years now, and now there are some apprentices with him. These apprentices are all the children of Beijing middle school teachers and disabled people. After graduation from Shandong Youth School, he helped them to get started. But as you know, he started his business in the era of market economy. How has it been up to now, including his small company, which has been developing to today? I think his journey has also set a good example for us Beijing people.

Also Zhang Rongda was not invited. He is an educated youth, Niujie junior high school graduates. When he went to primary school in the countryside, he liked to make clay figures. Later, when he returned to the city, he became a bricklayer in the construction team in the Niujie street. He is often willing to dry dry bricklayer knead clay figure, so he was expelled from the street later.Then we saw this man in Lao She Tea House, sitting at the table. If someone wants to pinch a head shot, he will take a ball of newspaper and take 5-15 minutes to make it look exactly like their real ones. Later we introduced him to the Ministry of Foreign Affairs in Beijing and the Foreign Affairs Department in Beijing, so we often took him abroad. It was he who made the portrait of Richard Nixon at the Diaoyutai Palace in Beijing. He is the only one who kneads mud in Beijing. I said you knead the clay figure, and then the clay figure burned into ceramics. But it turned out that there was no market after the clay figure was burned. His works are very famous, the country and Beijing often take him abroad, but usually his salary is very difficult. What happened next? I introduced him to Foshan, where I create my work, where there's a market. I have joined our Beijing Arts and Crafts Association, and I probably haven't informed him today.

Last but not least, after the reform and opening up, I think there are many writers engaged in ceramics in Beijing, who love Chinese soil in every aspect and create their own works. Therefore, I think it is worth learning from us. And I just want to say that our peak comrade, peak to date her title is the potters, professor Gao Zhuang’s son. Professor Gao Zhuang is first teacher, one of my lifelong benefit teacher. I still learned from Professor Gao Zhuang. To this day, my own works can not even be achieved by half a finger of my teacher Gao Zhuang. How lucky to have so great a father to teach him, especially when he is involved in his own ceramic culture. Today he is sixty-one years old. At that time, he was also an educated youth of the place where we live today. After he came back, he followed his father to inherit the Chinese ceramic culture in the Academy of Arts and Crafts, some producing areas in Henan and Longquan in the country. As we all know, the craft of leaping Dao has solved the problem of the origin of leaping Dao by many archaeologists in history through his own artistic practice and the paper published in our cultural relics journal. In addition, the new president of the current World Celadon Conference of Longquan, Mr. Xin Aimin, brought out the hand blank by Mr. Gao Feng when he was in the second celadon factory. Celadon recovery is the state-owned enterprise of the single knife wheel molding, hand pulled blank became his antiquated porcelain outside the basic trial production, including the jump knife process in Longquan. I think Gao Feng has been learning ceramics in a quiet way all his life, and now he is teaching in a big temple in Dongguan, Guangdong. After everyone exchanges, we can see the profound tradition of Chinese ceramics and how we ceramic people today can better push us to this era, carry forward the ceramic culture, and serve the contemporary human well. Thank you!

Zhang Fuye: Thank you, Mr. Zhang, for your lively and wonderful speech. Thank you very much! Now let's welcome Mr. Yang Zipeng, the former minister of China Light Industry Federation, to give us a speech.

Yang Zipeng: First I didn't expect to speak. Second, today's activity is too special in the process of ceramic development that I have experienced. What is special about it? First, especially in the capital Beijing; Second, special in the seventieth anniversary; Third, especially in Beijing are all ceramic art practitioners. Originally in the country, Beijing is famous, Beijing ceramics is not as famous as those places just said, but its leading role can not be replaced.

There are so many problems that need to be studied, so much work that needs to be done。 However in my own opinion, at least we haven't developed the strength and form that makes everyone feel like they have to come here. I have not done this thing for many years, but in the heart has been thinking about this matter, where can I do such a cohesive thing? Of course, I want to go to Jingdezhen first. But half of my heart is negative, Jingdezhen has too many advantages, advantages too much but become a burden. Each region has its own absolute advantage, and absolute advantage has become a barrier to their progress. We can solve it, but we can't solve it by ourselves. We need strength to push it forward. I've just heard Big Brother Peijin tell me that we need a leader in the whole country. However, the current conditions are far from the same as those in those days. It is not a matter told by any department or leader. It needs the power of market and the gathering of people's hearts. So I think, this time the Beijing ceramics concentrated exhibition is both report and display and promote, promote the power than report, display, review is a little stronger. That my point of view.

After we get back, I think we can organize other people to hold one or two discussions and have a good discussion about whether Chinese ceramics can still advance. Can our Chinese ceramics play such a role in the world as they did in those days? Can we get past them? A couple of questions, and I think the answer is yes, but how? It needs to be arranged. In addition to being negligent, you have to be organized. With an organization, there must be conditions for activities, including funds, approval from superiors, how to carry out activities, and how to contact with foreign countries. There are many things to be studied, which cannot be explained clearly at a moment. But I think there is momentum now with today's event. Mr. Zhang just called on many men of old and young in Beijing, including Gao Feng. Gao Feng has a lot of driving force, no matter in theory, practice, connections and personal positioning. There are not a few people like him in the country, and we have no organization or not seriously organized. Now that we have taken the lead in carrying out this activity this time, you might as well be a leader. In the future, whether you should be a big cadre or not, said another, when a leader, someone must organize, not Liu Peijin, not Zhang Shouzhi, we will all support, contribute ideas together, and think of ways together.

In addition, someone spoke about Kyocera at the meeting just now. I do not advocate using the name Beijing Porcelain, because it is the content of Beijing Porcelain and also the ceramics of Beijing. Do not call it this name. When I came here today, I don't know which friend mentioned that Chinese ceramics have a history of five thousand years, and later they said that there were new discoveries, etc. All these are not mentioned. At least we should realize that the history of China includes ceramics dating back at least five thousand years, the first five thousand years is longer, and the next five thousand years is also longer. How to understand, how to understand, how to enrich another, the underground excavation of the material objects have already proved a lot of things. However, we do not want to boast with others, the world is only China, we do not have to be too proud, but our benefits are benefits, not in the heart of a little bit of strength as proud. Communicate with relevant parties in the future, strive for leadership on the understanding and support, to organize everyone step by step, to realize the importance of do the things and the great significance, not brag, so either today or Beijing potters activities, or in the future there are a lot of worry, think, can have hopes, let it have a landing push forward step by step.

What I said may not right. Liehan can consider this.

Zhang Fuye: Thank you, President Yang, for your insightful and down-to-earth speech. Thank you very much! Now let's welcome Ms. Pang Yuan, professor of Academy of Fine Arts, Tsinghua University.

PangYuan: I didn't realize that every time make ceramic exhibition also think of me. My these works are more than 30 years ago. I am also reminded of a lot of worry. Once I have more than 30 years ago for ceramic, today, at that time Deng Xiaoping after the third plenary session, from the factory back to school, and then transferred to ceramic practice teaching, because I am not the original ceramic. From a freshman to judge my studying ceramic, just that moment is ceramic murals upsurge, the school let me ceramics China, taking students to practice, make the flower glaze, as soon as I see I like very much, because these flower glaze before firing is not the original color, khaki, all 3 color glaze, glaze, 4 5, glaze and white glaze are about the same But I see a ceramics factory they create new term is generally is scribed line, like arts and crafts of single flat, I don't have a time line, I drew a line is empty, it will be very familiar with all the colors, all kinds of glaze, its velocity is one layer down, this is the right of seam to stay to paste into a piece of, leave too much of it is very thick, no flexibility. So every time I go to the factory is one or two months, the first month to do the whole experiment, I do the experiment is a basket of a basket, at that time every night is after eleven or twelve o 'clock to sleep, get up at five o 'clock in the morning to open the first kiln, go to the late did not have, good are taken away.

I see flower glaze have a habit, I am a student of the central beautiful courtyard the first division. Xu Beihong was in at that time, so at that time I learned oil painting, watercolor, Chinese painting, and in the flower glaze to learn the feeling of oil painting in the inside. I don't think it's very much like painting, it is very simple, color is very able to bear or endure look, so I did a lot of at the time, the success rate is very low, also often be taken away, Put aside in their workshop to be visited by some leader to take away again, everyday of be on tentering. Before and after in the color pottery factory, Jun pottery factory I had done several times, I have ideal to say I want to go to Liling. I had learned watercolor and I feel to go up Liling is very good, can combine watercolor there. I also want to go to Jingdezhen in combination with ink, some ink and wash, then returned from the Yixing got a container is my work, there are 70 groups of glaze, I am ready to work, have a factory in Beijing, but I am a to ceramics, ceramic department said I already have gone. I said I don't know, why don't you tell me, you have been transferred, files are gone. I was so stupid at that time. The file was just an envelope. From this department to that department, the files are gone.

In our time, you were a screw and you went wherever the Party told you to go. I cried for three days and my eyes were swollen with tears. Then I said no, I still had to go, so I went. Who saw me in the past, said Mr. Pang, what did you burn recently? As soon as I arrived at the foundation department, Mr. Pang, what did you draw recently? I suddenly realized that I should be painting. Later, I thought that I just like arts and crafts, and if I had to draw, I would draw on paper. From now on, I will be in another occasion, taking students to sketch all over the mountains and fields all day, and coming back to do creation. I will hold Chinese painting exhibitions by myself, and now I am a director of the Chinese Painting Association. Therefore, I have spent the last 30 years in the painting circle, but when I think of this period of history, I really have a feeling that the fate of people in our era is not determined by themselves.

Then they said you have ceramic kiln, and now my painting also has the feeling of a ceramic kiln, therefore, all of which may be the god arranged for me I should such a picture. I like drawing has a unique style, so everybody said I'm young, because I am very happy, because I am very open, in which I live very happy.

However, I also have an idea that it is not convenient for me to continue the labor intensity at my age, and I may not be able to stand it, but I am willing to do it and communicate with others in this respect. I once had a Japanese man talk to me on the phone for more than an hour, he said how do you control this line? He said the color is not a layer of fall, change a pattern is different. I'm still willing to talk to anyone who wants to talk to me about that.

The second hope is that if you want to engage in ceramic painting, you must have the foundation of painting; if you want to engage in underglaze painting, you must be able to paint watercolor; if you want to engage in blue and white painting, you must be able to paint ink and wash painting. Therefore, I feel that the painting styles on ceramics are not diverse enough. This is a small suggestion from me.

Zhang Fuye: Thank you, Mr. Pang. Next, let's welcome teacher Liu Fangchun to speak.

    Liu Fangchun: My voice is not very good, I won't say much. This exhibition is beyond my expectation. These years, I have not paid much attention to these activities. I do my own writing and things. But today, this exhibition is very good, I have been to the place, the first two years of Jun porcelain exhibition teacher Zhang invited me to see once, so, the exhibition effect is quite good, we also pay a lot, arts and crafts association, the institute of fine arts, the press, mainly Chen Lie han invited me to participate in this matter, the early activities are all work. Publications are all communicated over the phone or WeChat. The effect of the exhibition is very good, which is beyond my expectation and the same feeling for everyone. There is such a ceramic art exhibition in Beijing. I hope it can be continued for a second or third time.

The ceramics of Beijing can be pushed up to the glazed tiles of Ming Dynasty, which still play a great role up to now. There are some others, including the pottery factory in the northwest gate before liberation, which I went to the primary school. Ceramics is not a large factory area, Beijing ceramics it is art, including the royal inside and outside, this piece of culture as a piece of history, now also carried forward. I hope this exhibition will continue. 

Of course, this is the first time. There will be second and third sessions. Can we make a thematic discussion ahead of time? For example, after the return of Hong Kong, China Resources cooperated with the Arts and Craftsmanship Institute for the cooperation of celebrity porcelain after the return of Hong Kong. There were more than 150 pieces of works in total, and each district had a number. I was the representative of Longquan in those days. Like this theme of a certain political activity or cultural and artistic activities after a topic down, as a society or publication, we are not to cooperate to set a topic, in order to commemorate a certain activity. For example, two years later for the Winter Olympics, can we create a ceramic exhibition in the Beijing ceramics industry in this big environmental event? In my opinion, such activities are appropriate. As a kind of cultural activity, they can be combined with sports, tourism and souvenirs. They are both cultural activities and commercial activities. For example, tourist souvenirs, we can make them in a wider range and diversified forms.

Talking about these two points, I hope that the organizers and leaders can think about this, and even open more forms of discussions, artistic research and formal organization after coming down, so that we can do our work. Of course, the first time to start a more difficult, later do more active, play a role in this aspect.

Zhang Fuye: Thank you very much, Mr. Liu Fangchun, for your thoughtful comments. Thank you for your statement. Now let's welcome Professor Li Yanzu, professor of Academy of Fine Arts of Tsinghua University and dean of School of Art, Culture and Museology of Jingdezhen Ceramic University.

Li Yanzu: Good afternoon, teachers and friends! I am very glad to come here to attend the exhibition and seminar. I have been acquainted with ceramics for a very short time, and all the teachers present here are my teachers, especially those from our original school of arts and crafts, ceramics department and so on. I am also very grateful to Mr. Chen Liehan.  Mr. Chen Liehan is also a ceramic professional teacher who graduated from Tsinghua Academy of Fine Arts. He has insisted on it for decades and now he has started to establish Beijing Ceramic Association to do this forum.

Actually because I used to Beijing ceramics history is not quite understand, just listen to your teacher said that Beijing ceramic history is very long, actually I used to write a long paper writing pottery, I specifically did in Beijing Glass factory, but I didn't expect it from the beginning of Ming dynasty was such a long history, such a long history.

Twelve years ago, I came to Jingdezhen as a scholar at the request of Jiangxi Provincial Government. I stayed there for 12 years, because I used to focus on painting. As Ms. Pang Yuan said, painting is the foundation of arts and crafts, but it also has a very exciting and attractive intrinsic nature. Like do ceramics, ceramic is addictive, they say you do all do people have the feeling of the ceramic, doing the doing is addicted to it, can't, so I in Jingdezhen for 12 years, have time to go to the workshops, off and on to the workers learn how also learn something, my understanding of ceramic art, the understanding of art combine it inside, it show it.

I want to talk about a future development of contemporary ceramic art in Beijing. I feel our present ceramic artist or Beijing ceramic art has a very important characteristic, the composition of this feature is actually our ceramic artist team, most of whom were art academy, or from the ceramic art teaching practice and some ceramic artists in Beijing. It is different from local places such as Jingdezhen, Yixing, Tangshan and so on, which are mainly based on industry. So you go to Jingdezhen, his trade has a base of his craft, but also has its limitations, no matter what the trade. You see Jingdezhen also has colleges and universities, but his colleges and universities are subject to the local, so he is not easy to be able to have a more open vision, so this forms a great feature of our Beijing ceramic art circle, that is, our station is taller, vision is wider.

At the same time our ceramic artists in Beijing and is not superficial, and indeed through a variety of opportunities in ceramic technology solution to master the fundamental of ceramic art, craft, like just Pang Yuan teacher also introduced their work, according to the average person understanding is carved carved out of line, is actually through the combination of the glaze grasp not engraved lines, natural. There's a lot of tricks in this, a lot of understanding of the craft. So these two aspects, I want to form one of the biggest characteristics of our Beijing ceramic art circle.

As for the consideration of development, as you have just said, it is difficult to get things started. In fact, this exhibition and this forum portend a very broad horizon for future development. From the development of our country, the art as a culture, as a cultural strategy, with the development of national economy and society, it will play a more and more important role, so such a huge space, for most Chinese culture characteristics of ceramic, the ceramic is a very important learned business CARDS, foreigners know Chinese culture have a lot of ways. But first is ceramic, it take out, can go to the world, don't you explain, all people can read, its language has become one of the most characteristics of Chinese culture and one of the most cosmopolitan and modernity ceramic language, so if we in this respect, rely on such a large space, how to play our role of ceramic artists in Beijing, initiative. As well as the organization of the ceramic industry headed by our teacher Chen Liehan, we can further expand our influence by organizing exhibitions and seminars step by step. Just now, some teachers have pointed out that we can communicate with them on many important foreign affairs, including making gifts for the country, which is also a major task for Beijing arts and crafts circles. There was such a tradition of ceramics in the past, why can't we further develop this aspect now? Maybe it's joint force.

On the other hand, in addition to recommending works, we may have to further organize discussions, deepen and organize articles in ceramic research. As far as I know, some collectors now think that it is better for us to have authors and works in our collection, because they hope that there are some documents and works in our lost works, because works will be passed down continuously. So in the research, papers and so on, perhaps this aspect should also be regarded as a ceramic industry needs to pay attention to an aspect.

At last, I brought a magazine to Chen Liehan today, "Ceramic Research". Now I am the chief editor. Originally, they have issued more than 120 issues, but the more they do, the more they do, no one read them. I think as our Beijing ceramic art, this can be used as one of our base, Chen Liehan teachers as well as several teachers can serve as our staff, we can use it as one of our base, we have a voice of window, one is to introduce our work, the second to introduce our academic research achievements, in this respect Qiu Chunlin teacher is editor in chief. I am the deputy chief editor, please Liehan and so on several teachers, including Mr. Zhang are our academic committee, I hope we present teachers have better works, papers, introduction, we have four every period, the launch of 1V1 works, papers. Let me just say a few words, thank you!

Zhang Fuye: Thank you, Professor Li Yanzu. Now let's welcome Mr. Qin Pu, professor of Central Academy of Fine Arts.

Qin Pu: Good afternoon, everyone! Today I am very excited, the first is just said, how many years no contact, suddenly Chen Liehan gave me a message, said that this activity. For me, it was very touching. First of all, I have not engaged in ceramics for many years. My works were created after graduation, but I have always been in the ceramic circle. Because I am in the sculpture class of the ceramics university of grade 78, grade 78 is the veteran. I have been in Jingdezhen for four years, and my impression of Jingdezhen, including the ceramics business, is very touching to me. I have been talking about this issue. Now I am doing public art in the Department of Sculpture of the Central Academy of Fine Arts. The contrast is very big, but this contrast gives us a huge space. When I was in the School of Ceramics, what impressed me most in Jingdezhen was that such exquisite ceramics could come out of such backward agricultural culture and productivity. At that time, this contrast was a question for me. In particular, I was looking at the fact that the eggshell porcelain was made from straw seedlings in the corner of the rice platform by the farmers during their leisure time, and then made there. I didn't understand. I said can you see the tire thin? The farmer said, without looking up, "You've got to listen. At that time, it had a very big impact on me, and it was all heard in the speed, the feeling of the porcelain clay and the saw.

At that time, I was in Jingdezhen, to put it frankly, it was under this kind of influence that my master told me, Xiao Qin, pay attention, ceramics are more expensive than rice and noodles, you should cherish it, including this material. I didn't understand it at the time, but now for my view of materials, it was planted at that time. I major in sculpture. When I came to the sculpture porcelain factory, we watched the old master fly up and down with a knife. At that time, we became silly.

When I arrived at the Central Academy of Fine Arts, many teachers said that my dry billet was broken when burned in the kiln. I said how did you get it? He said so move, I said sure broken, he said why? I said no, because there is a relationship between the gas inside, there is a problem of the center of gravity, you luck, after turning down the billet to move away. Because there's a dry contraction, the dry contraction must have cracked. Later, I was asked to stay in Jingdezhen, but as a northerner from Shandong Province, Jingdezhen was really backward at that time. I couldn't stand it any more, so I ran away and asked to go back to my hometown instead. However, with the development of Jingdezhen, especially now, after 30 years of reform and opening up, coupled with the changes of the past few years, a large number of outside forces have come to "fight" Jingdezhen, because Jingdezhen has formed an inherent, especially ancestral, thing that you cannot break through, you can only rely on external forces.

Including Beijing today to do this, is because we have the platform, I only found out when I do public art, the art of today we are all space art, said today's urban sculpture, environmental art, furnishings, art derivatives, and the product, is actually has entered into a larger space. A man all levels went up and service to consumer. And ceramics is the most powerful, we think, from the most humble pottery, a common people to eat bowl to our most high-end porcelain, we this space how big?

And then there's our spending. Because I have been teaching students for several years, I have found that we have a lot of cultural creativity, but ceramics, especially the essence of things handed down from our ancestors, are rarely seen. Many sculptors and artists in the Central Academy of Fine Arts are doing artistic, cultural and creative work. As we all know, there are thousands of cultural and creative works in the Palace Museum, but how many ceramics are there? Ceramics is what we are best at, and of course there is the possibility of firing it, but we have to ask the question. I'm a sculptor. Many people use glass vats, bronze, etc., but ceramics are rare. In addition, our country pays attention to the national intangible cultural heritage projects. I don't have much contact with ceramics, all of which are jade and jadeite, but only wood carvings come to me. But the ceramics may be regional relations, may have relations with the porcelain area.

Why is Beijing the best place? After forty years of ceramic development in China, we have what we call scientific firing electric kilns and gas kilns, which are convenient to carry, and are not restricted by the porcelain area. The other thing is talent, because I've been a teacher and I've found that people really matter now, which is what we call creativity, students. Another is team work, the various platforms of today's business, as you all know, we now do a thing don't need you to find one by one, you search on the net after completely. Then you will find it, I do private custom students, their play, if it is an artist, he earn money earn two million, one million a year, playing with a dry, why? All the exercises below. I just come up with ideas.

Why are we talking about this today? Beijing is the place where talents gather most, so I am very grateful today, Chen Liehan organized this is actually to let everyone to close, there is a platform, we have so many talents, there are so many colleges and universities, to put it bluntly, now the burning is no longer a problem. In addition, we now frequently communicate with foreign countries, such as Tsinghua University and Central Academy of Fine Arts. Today, I saw a Turkish makeup mud material in Jingdezhen. We not only export, but also import and turn it into our own nutrition. The food we eat is also very important. I think we have it all today, especially when we came to the exhibition today, the glaze color surprised me, the western oil painting can reach this level, and the Chinese ceramics' five thousand years of confidence is here.

In this respect, I think we have a lot of room for development, this space is available, the key is how to implement and improve methods. I'm a fifties born, but I have a lot of ideas about innovation. I was the first person to teach 3D printing course in the Sculpture Department of the Central Academy of Fine Arts. I led many students, and I could not even type words on the computer. However, I found a rule in it, which was "Basic Law of Shaping + Philosophy". But I found that there are very good, one day students in the algorithm said, if I am a ceramic factory director I will be sent, why? Because the amount of information it gives you makes you feel that creativity is infinite. In fact, what I value is not its technology, but the influence of the intelligent creativity behind it on us. Not much, of course.

Today's college teachers in Beijing may have their own regions and areas of study, which, if organized, will be large. Because today we have entered the information on the flow of the era, the region is not a problem. I can do anything with a smart phone, and I can see a ceramist's performance in Jingdezhen in an instant, which is not a problem.

What's the problem? First, schools cultivate students' creativity; The second is how to integrate, what kind of network do we build.

That's all I have to say. Thank you.

Zhang Fuye: Thank you, Professor Qin. Next, let's welcome Mr. Xia Dewu, professor of the Central Academy of Fine Arts, to speak. Mr. Xia just flew back from the south this noon and came directly to the meeting this afternoon.

Xia Dewu: Good afternoon, everyone! You've already said a few things I want to say, but I want to say something a little bit different.

First of all, I think it is a good thing that Chen Liehan planned this exhibition with the support and assistance of all parties, especially the strong support of Beijing Sino Ocean Group present here. This thing has been accomplished. In fact, when you think about it, you know how difficult it is, especially for ceramic works to do an exhibition is very difficult, I do not want to say so many people. My personal ceramic exhibition, I have done a lot of personal ceramic exhibition in the past two years, it is really not easy, so I think I am an author of the exhibition, I thank the organizer, thank the curator.

Second, I graduated from the School of Ceramics, and now I am teaching at the Central Academy of Fine Arts. To share my study, creation and work experience is a fortune, because I have gained from the teaching system and characteristics of these schools, which will not be detailed. And then I'm going to say what is the future of this exhibition? I think it is very important, we call it the first session today, there must be the second, the third session, only sustainable development is the fundamental guarantee that this thing can do well, if there is no possible enough, a flash in the pan. I don't know the specific operation, but I particularly hope the second and third sessions.

In terms of the works, I would like to talk about some personal ideas. I think it is really not easy for the first time to achieve this level and get so much recognition from everyone. It is really like a hundred flowers blossoming and everything is available. But I calmly thought, in view of the topic of today's seminar, what is the future development? To appear as a so-called ceramic artist in Beijing, but also to lead the country, is a big responsibility. Actually there is no need to give yourself so much pressure so we just opened a head, but we have to consider the whole platform standard, we can't say at home, outside can be good, art, culture, academic is not a result of this, must be put in a fair platform to determine its position and direction, and who is this who also can't cheat.

Don't talk about other people, but make three comparisons to know where we stand:

The first comparison, longitudinal comparison, is our history, our history do not look at the modern, do not look at the modern times. Let us look at the great ceramic country before the Song Dynasty examples. We can know how powerful the ancients. How many today's works can be compared with monochrome porcelain, celapon, modeling, literati quality? It seems to me very little, it's a professional and I have to think about it that way.

Second, transverse comparison, do not say, said Japan, today see Japanese ceramics will find it has China's shadow, but also have their own national things, it has the ancient tradition of good inheritance and development, but also have contemporary today the strongest in the world no matter from the environment to small vessels. It can be included in the ceramic art to the world. Or today's contemporary art of ceramic materials, we are not worse than, not a little bit. I was lucky enough to know Japanese masters, one was Shimhei Nakamura, the other was Yang Aoyama. I met Yang Aoyama at the European Ceramic Art Center.I was one of the first Chinese artists there, and I worked there for three months, which was the highest academic platform, and it was during that time that Yang Aoyama was there. You go to Japan today, or to the international look at the contemporary ceramic artists, it is really one of the best, very remarkable, I later to the precision also visited him. We can't compete with Japan horizontally, even though he is our grandson.

The third comparison is to look at the contemporary art. Since it is art, we can say that the century-old ceramic art has a place in the history of world culture and art. It is called ceramic art, which is an independent art category. Today, since it is called pottery, we have to put it on an international platform to examine it, we find that compared with the modern European pottery, it has no characteristics. In all the contemporary ceramic exhibitions and competitions we have held in various countries around the world, our intervention and our awards are not zero, very few, and the burning is pitiful.

These things are a little bit too critical, but I have to say that to develop our ceramics we really have to look at it on a global scale, so that we know what we want in the future.

Finally, I want to say that the organizing committee should not be limited to Beijing ceramic artists. Ceramics is a kind of culture, and those who must be involved in the Beijing culture and art circle can participate. The Dutch European ceramic art center, if the person make ceramic I suggest you go to Amsterdam in the Netherlands, look at the pure academic units, the national funding, without any commercial purposes, every three months around 10-14 people, four years before you want to apply for are not necessarily group, is the world's best academic art platform.

There I contact met a situation, is that they invited dramatist, composer, architects, designers, for a period of such studies, the results of these today I want to particularly inspired, is an architect did not make any ceramic, but he combined with his professional made a mould, is a dog die. Put the porcelain plate on the natural cooling. He said I will have my own design in the future. I give this example for no other purpose, is that our vision is bigger, more accommodating, to learn ceramic people as long as he does a good job, we will accommodate, so that in the future, our ceramic culture in Beijing will really make other people who do not play ceramic people in Beijing sit up and take notice, thank you!

Zhang Fuye: Thank you Professor Xia for your wonderful speech! Now let's welcome Professor Jiang Bo, a researcher from the Academy of Art Creation of China National Academy of Arts.

Jiang Bo: Hello, teachers, gentlemen, and alumni. Thank you very much! Today, I attended this meeting, which impressed me deeply in two aspects:

First, this exhibition reminds me of my Alma mater, Jingdezhen Ceramic Institute, where my teachers, Mr. Zhou Guozhen and Mr. Yao Yongkang, have lived together with several competent experts and leaders present for 40 years. Mr. Yao has left, but Mr. Zhou is still in good health. After this visit, I felt that I was one of the curators and Chen Liehan was my senior brother. When I was in college, he passed by my classroom in a hurry and judged my works with Qin Pu. Coming back to them today, I feel that ceramics give me strength, so I am very grateful to these two senior brothers. Secondly, I have a very good teacher brother, Mr. Xia Dewu, who is from the Central Academy of Fine Arts. He learned the ceramic language more rich, also let me learn a lot of things. After coming here today, I feel more that the unique beauty of ceramics can accompany our life, our feelings, our lives and make us get together. I think this is the charm and value of ceramics. Therefore, I feel that today is a very worthy day for celebration in terms of our feelings, physical environment, friends and friendship. I hope we can work together to put the Chinese ceramic language into practice through the cooperation of Beijing ceramic artists.

Second, because I was majoring in sculpture in Tao University at that time, I went to the Academy of Fine Arts to learn pure sculpture and easel sculpture after graduation. Now I still return to the material of ceramic body after returning to China. The works I took this time, such as a big disk and a lake, have evolved the Chinese tea ware into this form through a kind of philosophical thinking. I think the evolution of this form is not important, more suitable for my perception of the ceramic itself, ceramic language can get rid of some form, get rid of some natural state of the ceramic is more suitable for glaze color and essence of the performance, I am 60 years old today, still learning from zero, still get a lot of strength from the ceramic.

I hope all the gentlemen and friends present here can help me, criticize me and encourage me under the environment of Beijing. Thank you for coming here today. Goodbye!

Zhang Fuye: Thank you, Mr. Jiang Bo. Next, let's welcome Mr. Qiu Chunlin, director and researcher of the Institute of Arts and Crafts of China National Academy of Arts.

Qiu Chunlin: Honourable teachers, some of my teachers' teachers, I can stand here is really a new ceramic recruit. Just now, Mr. Jiang Bo said to learn from scratch. I really started from scratch. This time, I am very grateful to the organizer and the undertaker for their groundbreaking work. Of course, groundbreaking work is very meaningful. Director Yang asked me a question at the beginning, he said, Mr. Qiu, can you mention the word Kyocera, can you mention the concept of Beijing Porcelain? I was asked by him, I thought Beijing porcelain is not Beijing ceramics? He hopes to distinguish it from other ceramic producing areas in China. The landmark of Beijing is a big event in China. I think his starting point is also good.

I talked to him about a personal point of view, I said also have the opportunity, or have a certain foundation of Beijing ceramics as the concept of Beijing porcelain, why? In the traditional society, the famous porcelain is supported by the kiln, and there is no famous porcelain without the specific kiln, so it is affected by the regional environment. But in today's era of open, developed a variety of information era, and ceramic production, fire technology can be completely from each other, so each ceramic production areas of ceramic artists in Beijing, to participate in a variety of other separate ceramic production areas for an exhibition, are not the same with us, we deeply reflect a diverse. Reflect each ceramic kiln in the city of Beijing a basic situation, a display of flowers blossoming.

So our characteristic is diversified, can radiate the whole country, our characteristic is that we do not have but we have everything, Beijing ceramics can be said to have no historical burden of each kiln itself, this point is particularly good, but without the burden how to make achievements? Depends on academic, your eyes, your ability to design, for each of you a porcelain of a rational understanding or criticize, and find the crux of the each porcelain area development the insufficiency of or, as porcelain area outside of us how to influence for it or do their own efforts, I think this is one of the best ceramic artists in Beijing. Not subject to the influence of the traditional design of various porcelain areas, but can independently play some of our artistic innovation, so as to intervene or lead the development of some porcelain areas.

All kinds of porcelain also need to see the works and hear the voices of Beijing ceramic artists. Why? It is a very good mirror for them, he can see his strengths and weaknesses. So Chen Liehan teachers this plan I feel particularly successful, from the form has very big development space, but on special conception to find a breakthrough point, is a scholar in Beijing, including Beijing ceramic artist, how can play their own unique advantages, how to find their own identity, determine their own position. It is also a cultural consciousness of us as Beijing ceramic artists. As this kind of cultural consciousness is not good once, two times, three times, four times, I want to do the third, the fourth time after so many years of accumulation, Beijing ceramic art exhibition is absolutely a very bright Chinese ceramic art, very worthy of attention to such a cultural event.

I think it is a fool who can do culture, which means it does not have to be too clever, too clever to hold a Beijing ceramic culture and art exhibition today, and a new economic culture and art exhibition every day, but this is very wrong. You see the Japanese you see he is not smart, but he does things with tenacity. A fool, a group of fools insist on doing a thing to do, do it for more than ten or twenty years is a cultural event, no one can ignore him. It is impossible to ignore and skip this section, including writing the history of arts and crafts. Therefore, I think that after the success of the first exhibition, there will be the second, third and fourth sessions. It is very important to persist in doing this for the benefit of the country and the people.

Teacher Li gave a very good suggestion just now, how to organize the Beijing Winter Olympic Games, do some creation in it, whether it will become the strengthening planning of the second Beijing Ceramic Art Exhibition? I think it is very necessary, teacher Chen has a great responsibility, I just say this point, thank you!

Zhang fuye: now let's welcome professor wang limin, dean of art and design department of Beijing city university.

Wang Limin: Thank you, Professor Fuye. Thank you, Professor Chen Liehan.I should say a junior in the ceramic world, why junior? Although I studied in the Ceramics Department of the Institute of Art and Technology for my undergraduate degree, I have been engaged in teaching work since then, instead of making art creations. Today, I am very glad to be invited by Mr. Chen Liehan to attend this exhibition and the representative of Beijing City University, which is one of the guiding units, to attend this exhibition and seminar. Today, I met a lot of university teachers and teachers at this seminar, and my heart is full of excitement. Since I have been engaged in art education in university, I would like to talk about some of my ideas in the aspect of art talent education.

When I was in school, there were only a few students majoring in ceramics. Now there are more than 2 million students majoring in art in China, but there are still very few students majoring in ceramics. Take our school for example, there are more than 24,000 students in our school, which is a combination of undergraduate and graduate students. The art major accounts for more than 5,000 students, but we have the ceramic design direction, so far no students have chosen it. Artists gather here, have their own creation, do popularize, but in the end, I think it is better to let more people know about ceramic art and accept ceramic art. If we don't have more people to do it, we won't be able to do it.

Just now, I accompanied Minister Yang to attend another exhibition. I did not hear the remarks made by the predecessors. Minister Yang said in the car that Beijing is a place where talents gather and experts gather, but it has not formed a ceramic brand like other places such as Jingdezhen, but Beijing has not formed a brand. The most critical core problem is the lack of talent savings, especially the reserve talent savings. As an institution of higher learning, how to cultivate more ceramic art with academic qualifications (including undergraduate and graduate students) is a top priority. In recent years, we have adopted some measures. We want to introduce some doctors in the field of ceramics and give them preferential treatment, such as solving the household registration system, solving the job problems of relatives, children in Beijing, housing problems and so on. However, after taking these measures, we still can not get in. This requires all aspects of everyone to work together to do things in this respect, it is possible to supplement the reserve talents of ceramics, training up.

The first Beijing Ceramic Art Exhibition is a very good opportunity, is also a very good opportunity, is also a voice opportunity, I think there will be the first, the second, the third, the fourth, in addition to these masters, experts and professors, will more students participate in the future? Today, this venue is very good, the area is limited, can the space be bigger, there are more participants, let more people know, together for the revitalization of Chinese ceramics, make a little voice, make a little contribution.

That's all for me, thank you!

Zhang Fuye: Thank you, Mr. Wang Limin. Next, we would like to welcome Mr. Zhang Xing, associate professor of the Academy of Fine Arts of Tsinghua University and director of the Institute of Traditional Ceramics and Innovation.

Zhang xing: sorry, I came late, because have a little matter, to this matter I am more interested.Thank you very much to Chen Liehan for his contribution to Beijing ceramics.Let me just say two things:

First, I'm a little feeling, see many teachers work, I just remembered as before or not, today it's still very attractive, at the time of work like Mr. Hu, and so on some of these teacher's work is more than a decade ago, 20 years ago doing still very attractive, so I deeply feel the difference between the master and the teacher, this is the first point. This is also our future in Beijing is the place for discussion of ceramic or ceramic is a very good place, Beijing should belong to culture high or cultural high ground, so I think it is based on such a platform, how real focus model, I think the show is also very good, after about industry and art. Because today more about art, the cultural industry contemporary and traditional, can do such a comparative advantage of the exhibition. Most of the scholars are actually gathered in Beijing, which is the most important issue we will discuss in the future. It may be helpful to sort out the theory or start the national art education from the research aspect. Most of us present here are scholars and teachers, and all appear in this identity, so it is more suitable for Beijing.

Second, since there is height has, I hope we sometimes do some small material, process, fall to the ground. Ceramics are not virtual, but also need to be done down. In Japan and Europe, they are all rooted in one place, and sometimes it takes years or decades for the effect to come out, so I think the speed is relatively slow. We can conduct large-scale research in the short term, and research on material technology in the long term, which is the biggest characteristic of our producing area.

There is nothing else. As for these two points, I hope to have a chat with you again when I see you today. I wish you good health. At the same time I also hope that more young people to participate in the future, because in Beijing do ceramic people a lot, also chat with the high teacher yesterday, Beijing do people still have a lot of ceramic, see in what form to absorb all these people come in, do a good discussion, may to everyone has something from should still can find opportunities in Beijing, also thank you very much Liehan. We will help when we are needed in the future, thank you!!

Zhang Fuye: Thank you, Mr. Zhang Xing. Now let's welcome Mr. Gao Feng, a senior teacher from the Academy of Fine Arts of Tsinghua University. In my impression, Mr. Gao is one of the teachers with the most craftsman spirit in our college. He has a lot of his thoughts and they are very profound, which leaves a deep impression on me.

Gao Feng: It's a strange thing that I have the honor to be here today. I'm a person outside the system, inside the system. When I was 20 years old, my father asked me to learn ceramics. When I was young, my father asked me to learn painting, sculpture and other things. My father knows a lot of things. My father died at the age of 81, and when he was 80, he said I had spent five years of my life making ceramics. Mr. Zhang Shouzhi said that when my father taught him that, my father might have been doing ceramics for three or two years instead of five. My father used to be an expert in ceramics in this country, sometimes in sculpture and other things. He was a special person, he had a lot of titles, but when he was 80 years old, he looked back and he said the one thing I valued most in my life was being a craftsman. Of course, he also went to college. He went to graduate school in a couple of years.

After I learned ceramics from my father when I was 20, I spent most of my time on my own. At the age of 20, I made a choice to go to school or be a potter. I chose to be a potter and become an amateur potter in school. Although the title of a potter is a worker, actually being a potter is amateur and not professional enough. There is a special state of being a professional potter. I chose to be a potter for a special reason. By the time I was 20 years old, I had a full consciousness of ceramics. So, here is a tribute to the great potters of China over the past 20,000 years!

Today I see all the important great ceramic or only the potters did, no matter what they dubbed the title, if he is really do ceramic well, I think he is the potters, both professors and scholars or other, really can do ceramic, if the ceramic is really his own doing, can be called a potter works or potter works. He must be a potter. Does he know anything about fire? Do you know soil? Do you know how to shape? Or there are some tricks, but these are not the most important ones in my opinion. Most importantly, ceramics were a vehicle for a great civilization. It is not empty to say that the device carries the path. Since twenty thousand, in paleolithic gradually subsided, the new stone, in the later of the iron or other civilizations came, ceramic as the carrier of a great, because it is eternal, it is artificial stone, so it's like the stone, paleolithic and neolithic, can bearing civilization, it has a timeless. The immutability of the most important thing is true, it's around the world people need a kind of expression of the very real, it is a kind of goodwill, it around the person's life need to do the full expression of goodwill, it will bring the beauty, the beauty is irreplaceable, as the aesthetic view of different people in every age. Specific beauty is created around the needs of each different person. It's not imaginary. So the true, the good and the beautiful are the most important original intention of ceramics.

When I was 20 years old, I chose to stand at the end of the line of potters. Today I may have been in this line for 40 years. There are some new ones coming out of this place. Is there really a great potter behind us? I believe there will be. The development of ceramics in the past twenty thousand years has only laid a foundation for the ceramics in China and in the world. The ceramics in the future will certainly be more great. I am confident of this. But in fact, it is not easy to do. In my opinion, what many people do in the ceramic industry today is relatively empty and unrealistic. They do not really care about the people outside themselves who really need to use ceramics to feel the beauty of life, or at least lack of heart. Do you care about others, as opposed to showing yourself? Early ceramics were made for himself, so he must have cared for himself. Then the ceramic is made of professional and amateur potter, so they have to care about others, because he put the ceramic swapped out for another important stuff back, in food, equipment, houses, clothes or anything else, so those things for you, not somebody else easily people today get ceramics may be more complex, so complicated too slowly. Forgot some of the most original ceramic things. Much of today's ceramics probably can't be classified as "great ceramics."It's going to be insignificant, and like a lot of plastic and other things, it's going to be designed with a lot of effort, and it's going to end up in a landfill. They will not be dug up with great names, like the ancient stone, the ancient earthenware, the ancient bronze ware, or anything important, because they are already more selfish, more greedy, more despised.

So I thought, do we want to revitalize ceramics today? Revitalize what? What needs to be revived? Need to be real. Really care about people, care about our history, that is, we have a rich historical soil, care about our present, many people still can not buy any good ceramics for use. We also care about the future, because ceramics are not like some paper products, flowers, such things will rot tomorrow. Ceramics no matter what you do is an attempt. It is a thousand years, or a thousand years of lovely, or is a thousand years of shameful. So we should pay special attention not to become a shameful author for generations to come, we should be good potters, we should try to discover the very important, very lovely things in our history and civilization, not so easy to find. Because in front of us are blocking some shameful ceramics, those ceramics are shameful, do not say that things in the Ming and Qing Dynasties are good, a lot of things in the Ming and Qing Dynasties were made under the decadent system, very decadent, today is not worth taking, but today many people take, shame.

In the past, the reason why we always talk about Japan and Germany is that people can see the gratifying and proud things of their own nation as the root of their national culture and the soil of their own country. But what about our soil? Now sometimes it has deteriorated and desertification has gone away, so we should properly reorganize our gardens, reorganize our fixed culture, our old culture, there are very desirable things. Did you see the kiln being built? A thousand years ago, the kiln could be about 136 meters long. The things loaded into it were all made of the same soil and the same glaze, but no two of them were the same. They were all the same lovely, but they were different. Why can't we? We can, we are far away today, so I want to be a good potter. After 10 years of building a small kiln outside, I have trained a total of 5 people. I don't know how many people you can educate. After 10 years, I have recruited 10 people in total, and now there are 8 left, and only 5 have gone out. It is difficult to teach, teach, and you can only teach to this a few, do not say how many people can teach, not high treatment can, enough to really take out your goodwill, take out your true really good state of mind, not adulterated or is at a discount, discount not a potter, porcelain factory has a rule, the first time I learned ceramic to a porcelain industry in Henan. There is a standard that is not very good is the list of 30 or 40 pieces of waste, any one of which is considered defective, and today we can mark into the defective things that are made by too many people. Sorry, I want to be a potter, and I only teach potters who are going to make real pottery. Those who are going to play, play by themselves.

Zhang Fuye: Thank you for your speech. Next, we have invited several authors, young talents, and several representatives to speak. First of all, he is the head of the design department of Beijing Chase Day Culture Company.

Zhu Kaipei: Thank you very much, because this time I was also the teacher of Chen Liehan and my mentor. I graduated from Jingdezhen Ceramic University and studied in the China Academy of Art as a graduate student. Basically, there are many of my seniors here. I've had a lot of judges in competitions, so it's a bit of a learning.

In fact, I think what you said is a very important joint for those of us who are engaged in education or design outside, or to connect with the market. First of all, I can feel the academic height of this seminar, including the exhibition, which is very high and lofty. In this case, I also feel the three tasks:

1. Research tasks;

2. Teaching;

3. Creation.

I am working as a teacher in Zhejiang Wanli University. Of course, the responsibility of a teacher is also very stressful for some young teachers nowadays, because they have the direction of creation and research topic, so we have been learning from teachers.

Of course, our current work mainly focuses on the study of Yue Kiln. Ningbo is the birthplace of celadon, so I basically started as an artist and created this piece of porcelain, and then went down to earth to do cooperation projects with Ningbo Municipal Government, including intangible cultural heritage projects. Therefore, I really hope that all the teachers and some experts and seniors can guide me in this aspect.

Due to the limited time, including myself, I am now engaged in the work of art + commerce, including the design of vessels, and there are also some teams working on it, so there may be a lot of directions relatively speaking. But in any case, we are also moving towards the artistic creation, sincere to face. Today I will stop here, because time is really tight, thank you!

Mr. Zhang Fuye: Next, let's welcome Mr. Zheng Yukui, the master of Chinese ceramic design.

Zheng Yukui: Thank you, Mr. Chen Liehan, and thank you to the Ceramic Art Museum of Junior High School for letting me have the opportunity to show my works here. I am from Shandong Province, and I was born in a family that made ceramics. I have been exposed to pottery since I was young. I majored in ceramics in 1982. In 1999, I began to work in the ceramic studio of the Sculpture Institute of the Central Academy of Fine Arts, where my teacher Qin Pu introduced me to make ceramics. I have been doing ceramics ever since, and I have not done anything else for more than 50 years. Just now, Mr. Gao Feng said that we should be a valuable potter. I will try my best to be a valuable potter.

I put the rest of the technique, the prospect of a big fellow teachers said, and I said our ceramics, ceramic itself is not easy, but you contact with the material is after tens of thousands of years of evolution, ceramic material formed tens of thousands of years, tens of thousands of years later into our hands, we put it into a kind of artifacts, I think is our a kind of predestination. Emotionally, I like it better. As long as you touch the ceramics and turn them into a kind of implements, I think it is also an honor of my life. To show the beautiful things in our hearts, I think it is also a kind of sublimation to our spirit.

In addition, I feel that ceramic itself is incompatible with fire and water. It goes through water, fire and our hands to combine it into a kind of implements. I think the compatibility between water and fire is a great merit for us ceramic people. I am also more excited, not too can speak, do potter is just more will work, thank you!

Zhang Fuye: Thank you, Mr. Zheng. Now let's welcome Mr. Chao Ziwei, a freelance artist who is now studying for his doctorate at the Academy of Fine Arts of Tsinghua University, to speak.

Chao Ziwei: Hello, teachers. I am very excited and happy today. Why? Because today there are so many predecessors, friends, experts, scholars, as for me, I also have a family heritage. Just after listening to the teachers say that, I also feel very much, just now teacher Gao Feng said potter, I very agree with this statement.

I have a twin brother. We have been in Beijing for 20 years. I spent more than five years at the Central Academy of Fine Arts, and then got a master's degree and a doctorate in aesthetics at Tsinghua University. I studied sculpture in my early years, but now I study ceramics. What do I feel more personally? This industry expressive force of ceramics is quite rich. Because just a lot of things the teachers have said, say a little of my own ideas.

In my opinion, ceramics is a very rich material. Many people's understanding of ceramics in the past, when I talked with my friends, many people think that ceramics can be made in a certain aspect or shape, but in fact ceramics can be expressed in anything. My family has many generations of inheritance. At that time, I had a prejudice against ceramics. When I was a child, my grandfather, grandfather and father left in my home the ceramics of my grandfather and father, which are very good. When I was learning sculpture, I just didn't want to do ceramics. I thought ceramics was too hard, and there was no effect. It was too tired to do this industry. But I now personal feeling, now want to go astray into demons, by the past do not like to go astray into demons now actually also has a process. Because you find a lot of beauty in it through years of study and research, which you never experienced in the past. In those days, when I was making something, I simply made it. Today, if I work hard, I can make a work in one month or two months, or I can spend a month firing a work. And in the process of making, I found that there were many things that could be expressed that we could not imagine in the past.

Now there are a lot of artists involved in ceramics. Today, I am also very grateful to Mr. Chen for providing such a platform for you. Today is the first time to see this exhibition. Hopefully in the future there will be a second and a third time and more artists will be involved, which is key. In fact, many people in my circle of friends express their works in the language of ceramics, which is very rich. In the past, when I exhibited ceramic works in the early stage, many people did not recognize it, because they did not dare to write ceramic materials, saying that it was fragile or something. However, in my current works, I am more involved in sculpture exhibitions and exhibitions of other industries, but less in ceramics. But I feel more deep point, hope that more people in the future to understand it, understand the ceramics to bring us a lot of things. Today we are not only making the shape of ceramics, we say that the metaphysical means, the physical means, but we can do this in the modeling, making anything, we can make you feel very wonderful things, these need us to do more.

There are a lot of things I would like to say, but in the interest of time, I will say less. I wish this exhibition will be more and more successful, and I hope there will be more artists in the exhibition in the future, and more abundant things will come out in the ceramic exhibition, thank you!

Mr. Zhang Fuye: Thank you, Mr. Chao Ziwei. Next, we have an outstanding representative, Mr. Ding Yiming.

Ding Yi Ming: Thank you. First of all, I'd like to thank Mr. Chen Liehan for inviting me to attend this exhibition. My teacher Chen Liehan told me about this before years ago, say a word in heart, because I often plan some exhibitions myself, and doing exhibitions is the most laborious. Today, my teacher also told me that doing exhibitions is the most laborious. Here I would like to express my special thanks to my teacher Chen, and of course, Miss Zhang and Miss Zhang Xing are responsible for the publishing work.

I graduated from the University of Ceramics. After graduation. I did a lot of work in publishing and media. I also owned several magazines, so I often went to various parts of the country to do some interviews, so I was familiar with all the porcelain producing areas.

We have also seen these works in Beijing. Although they are all made by some artists in Beijing, they are diversified in style, and most of them are made in the following porcelain producing areas. I think this is a good thing, because in this way, we can be more creative and creative with diversity. I have my own ceramic art base in Jingdezhen. If our Beijing artists come to Jingdezhen to create, I am very willing to provide relevant help, free of charge, you can come to my place to eat and stay. In my base, my base was officially open for business in January this year, I can receive 200 people at a time, if you have time, I also hope you can come to my base to do the creation, in fact, Jingdezhen is a very good place for creation.

I'm not going to say any more, but I'm going to stop here because I don't have time.

Zhang Fuye: Thank you. Thank you very much for your wonderful speech. Now let's welcome Mr. Chen Gaorgao, President and Editor-in-Chief of Beijing Arts and Crafts Publishing House, to make a concluding speech. Special thanks for the timely printing of the collection of works of this exhibition last night, and today is with the temperature came to the opening ceremony.

Chen Gaochao: Thank you, Mr. Zhang. I am really happy today. Professor Chen Liehan planned this exhibition after he turned from a master to an academic one. We can feel it through the atmosphere. When we see this book, but also permeated the teacher Chen Liehan a lot of effort. He paid a lot of effort. As you have just said, there are leaders, experts, professors and artists from all walks of life attending the conference today. So, this book is done, really feel full of confidence. It is a groundbreaking exhibition, from this curation we have the honor to assemble a book for the Beijing Ceramics record, may be a very meaningful thing.

"Beijing ceramic" these four words after gold content will be more and more high, the first is the national region of ceramic ceramics such as Beijing has the academic level is likely to be few, covering the well-known colleges and universities, artistic research institutes, some professors from academic to creation, now still some artists from returning to academic, two-way crossed. It may be a distinctive feature of Beijing ceramics, which may be incomparable to other producing areas. So I think today's seminar is a good start, and I believe that Beijing is in the right place at the right time. Therefore, Beijing is relying on the good policy of cultural development of the country, as well as so many excellent experts, professors, masters and practitioners in the industry. Land means being in Beijing. General Secretary Xi Jinping has identified Beijing as four centers, which are closely related to ceramics and Beijing culture. I think anything at the right time, right place will definitely make Beijing a success. Today is the first, but by no means the last. I believe that the team of Beijing Ceramics should grow stronger and stronger, and the level is definitely leading the Chinese ceramics.

thank you!

Zhang Fuye: Thank you very much. There are still many guests at the meeting today. Due to time constraints, I can only find another opportunity to invite you to present your own views later. I have been commissioned to preside, and I would like to take the last few moments to say a few words about my feelings.

First of all, I think this seminar is a great success, because all the experts and guests were able to express their opinions freely. I've hosted a lot of seminars before, but few of them are as vivid and honest as this one. As we have heard, the remarks of some distinguished guests here are different from those of some experts. I think this is normal and should be advocated.

In my opinion, all of you are very serious. I feel deeply that you have many ideas and suggestions for the revitalization of Beijing's ceramic art. Moreover, I can feel your sense of social responsibility and historical mission, which makes me very moved.

In addition, the quality and level of the speech itself is also very high. It can be said that there is no lack of shining points and have their own views. In particular, we think that such symposiums should continue to be held in the future, and we should have more specific topics to discuss in depth, so that they will be even more valuable.

Just now, leaders and experts have mentioned the value of ceramics. Ceramics themselves are not natural materials, but they use natural materials to inject people's will and wisdom. They are the first artificial materials created by people in this history. This historical process of development is indeed a reflection of the great wisdom of the people.

Another experience, you may have noticed, is that many arts have been interrupted or died out, but only ceramics have been in this way from the beginning to the present day. Mr. Guo Moruo said that a history of ceramics is a history of culture, which confirms the value of ceramics. We all have the experience that reflects the ancient civilization of human beings, when there is no written record, how did those civilizations reflect? When you go to museums around the world, it is still carried on these pottery jars, which carry the wisdom of human beings and the wisdom of human civilization with high capacity. This is the great significance of our research, discussion or development of ceramics.

We must inherit, inherit and carry forward. Making things is one thing, and the most important thing is spirit. If the spirit and people are present, the project will be easy to handle. It doesn't mean that something good can be made in any place. The key lies in the people. Therefore, I think that the revitalization and development of Beijing's ceramic culture mainly depends on all of us present here. It should be said that this matter is still urgent. If we don't do it, who will? If not today, when? So all of us must join hands to carry on this great cause.

Thank you very much for your presence and wonderful speech today. Thank you! Once again, I would like to give applause to Mr. Chen Liehan, the chief planner of this activity, and Mr. Zhang Qin for their wonderful hosts today.

Zhang Qin: Teachers are inheriting tradition of beauty, in one thousand we just as a latecomers, an art workers, a little bit of the industrial press, led by Mr. Chen Gaochao ready if you can do for you the service team, with the way this market works, let's go of ceramic, walk to influence more people to establish a concept of beauty in heart. If we can do a little bit of work, it really is a blessing. Thank you very much!

(The End)