Looking at China and the West, Connecting the Past and the Present-Chen Liehan's Ceramic Art Analysis and Translation
China's ceramic culture has made significant contributions to human civilization. It not only affects the entire Asia, but also the entire Europe, and thus extends to all parts of the world. China is not only an ancient country of ceramic culture, but also a great country of ceramic culture.
In ceramic culture, ceramic art is widely loved around the world for its unique cultural charm and aesthetic characteristics. However, in the late Qing Dynasty, with the decline of the national movement, the innovative consciousness of ceramic art gradually declined. Antique, retro and cumbersome stacking made Chinese ceramic art gradually lose its charm. It was also at this time that a group of cultural people who were interested in the development and innovation of ceramic art, such as a group of literati painters of the "Xin'an School", opened up ceramic painting in the marginal space between painting art and traditional ceramic arts and crafts. A new art form.
In the middle of the twentieth century, the fierce collision between Chinese and Western cultures, on the one hand, injected new cultural connotations into traditional ceramic decorative art, and advocated the requirements of the era of decoration innovation; on the other hand, it introduced the art form of Western modern ceramic art into China. , Reusing many forgotten porcelain and pottery craftsmanship forms, and combining modern cultural awareness and aesthetic requirements to make new and innovative combinations, and become the "new nobility" of modern Chinese ceramic art. In this way, in Chinese ceramic art, a three-legged cultural pattern of modern ceramic painting, modern ceramic decoration, and modern ceramic art has been formed, rejuvenating the vitality of Chinese ceramic art, and enriching the aesthetic connotation of Chinese ceramic art. The driving force of this considerable progress comes from the creative concept of art. For this reason, I have a realistic basis for summarizing the development of modern Chinese ceramic art into a three-legged pattern. China's rich ceramic art tradition is the foundation on which we stand and the starting point for our development and progress; and artistic innovation is the banner of China's ceramic art development and progress. Especially since China's reform and opening up, Chinese ceramic art has presented a prosperous scene of a hundred flowers blooming in the three pillars of modern ceramic painting, modern ceramic decoration and modern ceramic art.
Chen Liehan is an outstanding ceramic artist who has grown up after my country's reform and opening up. Due to the influence of the characteristics of the times, Chen Liehan gradually formed his own unique characteristics of the times in the creation and development of ceramic art. This characteristic can be summarized as "Looking at China and West, connecting ancient and modern."
Chen Liehan was admitted to the Fine Arts Department of Jingdezhen Ceramic Institute in 1983. During the four years of study, I not only laid a solid foundation for ceramic art creation and design, but also mastered the expression language and traditional craftsmanship of various ceramic art in Jingdezhen. This foundation played a decisive role in his future development. After being admitted to the Master of Ceramics Department of the Central Academy of Art and Design, he emphasized the study and research of modern decoration and design, which further broadened his artistic thinking. At the same time, in the modern art movement, especially after the "Eighth Five-Year" New Wave Art Movement, modern ceramic art has developed vigorously. As a modern young ceramic artist, Chen Liehan also created a large amount of existing modern culture with great enthusiasm. Thinking and innovative modern ceramic works. In other words, due to the influence of the times, Chen Liehan has both opportunities and enthusiasm to fully intervene in the creation of modern ceramic painting, modern ceramic decoration, and modern ceramic art. Moreover, because of his work in China Crafts (Group), he has the opportunity to travel all over China's major kilns, comprehensively inspect and study the cultural nature and artistic characteristics of China's major kilns, and have done a lot of artistic creation. The richness and versatility of this kind of artistic creation constitute a major feature of Chen Liehan's ceramic art, which is unattainable by many artists engaged in a single ceramic art creation. When we open the collection of Chen Liehan's works, we can see that there are not only vigorous brushwork ceramic paintings, but also concise and general modern ceramic decorations; we can also see modern ceramic works combining imagery and abstraction. You can see the modern blue and white porcelain plates of Jingdezhen kiln, as well as the traditional ceramic works of Jun kiln, Longquan kiln, Yaozhou kiln and so on. You can see both the blue and white and ancient colors with rigorous brushwork, as well as the broad and vigorous winter plum and iron branches. You can see not only the smooth cutting of the knife, but also the dignified clay sticks... The comprehensiveness of the ceramic art creation form, the coverage of the creation kiln system, the diversity of creation techniques, and the richness of creation concepts enable Chen Liehan to be free and comfortable in ceramic art creation.
The blue and white "Picking Lotus Picture" quiver is a work of modern aesthetic value. This work is based on his experience of life in his hometown of "White Lotus" in Guangchang, Jiangxi. Using modern decorative deformation techniques, the vivid life scenes of women "early coming out" picking lotus, the rich scenes of "picking" in lotus ponds, and the joy of "returning with a full load" are displayed on the quiver in three layers. The brushwork is exquisite, highly decorative, and the blue and white "water separation" is strong. The organic combination of Chinese traditional blue and white art and modern expression forms can be called a representative work of modern blue and white art porcelain. And this simple, general, and delicate decorative style not only constitutes a major feature of Chen Liehan's ceramic art creation, but also makes him one of the few pioneering artists in the field of modern Chinese ceramic decoration art. .
However, Chen Liehan's exploration of modern Chinese ceramic art does not stop there. He has also done in-depth research and artistic expression of art ceramics from other kilns in China. The "Blue Sky and Red Swallows" by Jun Kiln vividly expresses the charm and charm of Chinese art "between likeness and dislikeness" through the change of glaze color. Longquan Kiln's "Fenqing Carved Flowers and Summer Lotus", with a gentle glaze, puts an elegant and hazy veil on the general and refined pattern, which is looming...... It has high aesthetic value. His ceramic creations in Yaozhou kiln used smooth and extensive knife skills, with one swipe like running clouds and flowing water, blending the rustic and quaint artistic features of Yaozhou porcelain with modern decorative art. It is both traditional and modern. For this reason, Chen Liehan's ceramic art creations of major kilns in China not only carried forward the traditional characteristics of major kilns, but also injected the spirit of the times and aesthetic requirements. These traditional ceramic art forms gave new vitality and showed the style of the times.
What deserves our attention is that Chen Liehan's modern pottery creation has also formed his own unique face. Its characteristic is that on the basis of decorative modeling, it organically combines the artistic techniques of modern three-dimensional composition, modern image modeling, and abstract modeling; at the same time, it can closely link vessel modeling with image modeling and abstract modeling. Therefore, his pottery works have not only inner spiritual connotations, but also novel and unique forms of expression. For example, his pottery works "Three Pillars Group Construction", "Style", "Lovers"...all fully demonstrated the style and cultural pursuit of Chen Liehan's modern ceramic art creation.
In short, due to the favorable conditions of Comrade Chen Liehan, he can observe the full picture of Chinese ceramic art in all directions, will not fall into the perspective of one region or one faction, can broaden his vision, be determined to innovate, and achieve fruitful results. On the occasion of the publication of "Chen Liehan Ceramic Works Collection", I am delighted to see his many achievements in ceramic art creation. Here, a comment on his works is a preface.

Professor of Jingdezhen Ceramic Institute