Chinese ceramic art must break away from low-grade aesthetics

Today's Chinese ceramics are all holding high the banner of art, masters and masters are even more than one shoulder, but not only can not be among the high-end stage of international pottery, but also may be the lowest level of aesthetic standards in the history of Chinese ceramics.

Zi Wei said: "Take care of it, it depends on it; take care of it, get it down; take it down, you do not get money." Ancient Chinese ceramics have historically valued "taking the law to the top." The cultural hierarchy that represents the highest aesthetic in society at that time directly affected the design and production of ceramics. Royal imperialism and literary customization are the most important factors affecting the aesthetics of Chinese ancient ceramics. The secret color porcelain of the Tang Dynasty, the five famous kiln of the Song Dynasty, ancient literati tea, incense mats, and porcelain furnishings, and even later the official kiln and high-end custom porcelain, its design often has literati doctors, painters, even the emperor, at least their taste About the design. Even though many ordinary kiln utensils are used, they are also heavily influenced by literary poetry, calligraphy and painting. There are fine points in the production, but the high-grade aesthetic of Ya Culture is undoubtedly the object of the law. Three generations of the Yuan, Ming and Qing dynasties, the royal family and aristocrats in the Middle East and Europe made it custom-made to form the famous export porcelain in the history of Chinese ceramics. Among them, there are Chinese ceramic design styles that affect the design of the West, and some of the custom of the Middle Eastern and European royal families affect the Chinese ceramic art style. Therefore, the glory of Chinese ancient ceramics can not be separated from the combination of the literati's high aesthetic aesthetic taste and the civil craftsman, but also the essence of the high-end aesthetic collision between East and West.

However, today, Chinese ceramic art seems to be out of touch with high-end aesthetics. The use of various porcelains as a "separatist" makes ceramics fall into the aesthetics of the countryside and cannot rise to higher aesthetic realms. The vulgar aesthetic has become the mainstream of Chinese ceramics. It is not only related to the destruction and fragmentation of noble cultures in past absurd periods, but also related to misleading markets over the years. Market only masters the title of the price, while ignoring the lack of aesthetic qualities of some masters. The title of masters of arts and crafts was established, and the first time was to protect traditional handicrafts, which enabled those old artists with relatively low education levels to obtain material protection similar to that of associate professors. Unexpectedly, the title of "master" was later popular with professors. A well-known academician who has a professor's title has been a senior ceramicist. He was a judge of the Master's title, but he was often regarded as a lesser master than he had to make up for himself.

The official market **, the prevalence of Ya bribery is also the cause of the prevalence of ceramic vulgarity. Corrupt officials' collection of ceramic art is not aesthetic, but it is greed, but because of its lack of art appreciation, it can only read the title and ask the market. This also exacerbated the speculation of ceramic masterpieces in the market, in order to meet the requirements of the Ya-Bribery for gold content.

The combination of producers with lower cultural and artistic literacy and similar buying and collecting groups with similar aesthetic standards has made the vulgar aesthetic a hot topic in the field of ceramic craftsmanship. While the low-grade and exquisite works of famous aesthetic masters became popular in the market, they further misled China’s ceramic art creation trend over the years and misled a large number of potters and collectors. Ceramic artists and their works, which were created with artistic and academic attitudes, were marginalized in the pottery industry in China.

Vulgars are often dressed in artistic cloaks.

Today's ceramic masters are mostly able to paint on porcelain. They all rely on other craftsmen to draw and burn the kiln. They only paint on the porcelain blank, but most of the paintings are craftsmanship. It will draw a few strokes, but it is often easy to be regarded as cultural and artistic in the countryside. However, some of the famous ceramic masterpieces were painted on paper if they were not painted on porcelain, but they were produced by Dafen Village in Shenzhen. There are also famous ceramic masters, who have imitated the works of masters of Chinese paintings, but they are not yet in place, but they are more expensive than the objects they model. The poor painting, as long as it is painted on porcelain, is like being married to a giant.

There are also seemingly avant-garde potters who use the limitations of domestic pottery arts, academia, and collectors’ knowledge of foreign contemporary pottery and Western contemporary art. They blindly copy and copy Western modern and contemporary art works and pottery works. They also claim to be innovative. Won a lot of eyeballs or even praise.

The identification of artistic aesthetics is based on profound historical accumulation and extensive contrast. As the saying goes, I'm not afraid of not knowing the goods, but I am afraid that goods are better than goods. The current vulgar status of Chinese ceramic art is mainly due to the limited creation of creators, reviewers and collectors.

Into the aesthetic ability is low. However, with the widening horizons of the Chinese people, the aesthetic capacity of domestic collectors is gradually increasing, and in particular, the future generations of younger generation collectors of higher cultural and artistic qualities will succeed the “local-type” collectors. The situation is bound to change dramatically. Vulgar pottery works and truly artistic works will all be in their rightful place.