The state that Teacher Ning Gang showed us is very exciting. It is inseparable from Mr. Ning Gang’s personal artistic accomplishment and his comprehensive foundation of Chinese and Western art. His works are both in shape and color. very good. At the same time, he attaches great importance to tradition and folk art, creating these moving works today. Through these works, it is amazing to see the rich potential of ceramic art itself, as well as the potential infinite possibilities. In the past, we always regarded ceramic art as a kind of arts and crafts, as if compared with traditional paintings, oil paintings, and Chinese paintings, we always felt that it was so inferior. This is actually a kind of prejudice. I think this batch of works by Teacher Ning Gang breaks this boundary. Ceramic art can be on the same level as oil painting art and traditional Chinese painting art, so I think Professor Ning Gang’s exploration and innovation over the years have greatly enhanced the status of ceramic art. Let ordinary people and experts see that ceramic art itself has such noble quality. 

Deng Fuxing

Former Director of Fine Arts Research Institute of China Academy of Art

Ning Gang perfectly combines the art of painting with the unique craftsmanship and materials of ceramics, showing the unique texture, bright colors, strange changes and mysterious feelings of ceramic language, which makes people feel shocked. On the one hand, these works of his have inherited the traditional context and have deep cultural heritage; on the other hand, he has displayed very distinctive characteristics of the times and his own artistic personality. It can be said that he has created a new modern style. Ceramic aesthetic type.

The establishment of Ning Gang Art Museum is a pioneering event for local cultural construction, and it is also a prosperous era in culture and art education. 

Zhou Guozhen

Famous ceramic artist, professor of Jingdezhen Ceramic University

Ning Gang has not forgotten his major as the principal, and his works are very creative and have the value of traditional art, which I admire very much. What he pursues is likeness and dissimilarity. He is neither very realistic nor very abstract. Chinese plastic art pursues likeness and dissimilarity. He has realized the concepts of traditional plastic art. His painting style has changed again and again, and has developed on the basis of the original. 

Lu Pintian

Executive Vice President of China National Academy of Arts, Deputy Director of Theoretical Committee of China Artists Association, Chief Editor of "Art Observation"

In recent years, Mr. Ning Gang has made great achievements in ceramic art creation. I think his ceramics can particularly represent the development of contemporary Chinese ceramic art and are the epitome and representative of the prosperity of Chinese ceramic art. He is rooted in a profound tradition. Jingdezhen’s finest traditional craftsmanship has been inherited in his ceramic creations. At the same time, he combines this traditional craftsmanship, technique, technique, material and French style well. I think four "sex" can be used to summarize his achievements in ceramic art creation. One is his pioneering nature, which broadens the field of expression of ceramic art; the second is his exploratory nature. On the basis of inheriting the tradition, he has made a lot of innovations and techniques for ceramic materials, crafts and decorative expressions. Hard work. The third is that his artistic appearance presents a kind of "comprehensiveness". He has integrated many decorative materials, decorative methods and other artistic elements to create a feature that reflects the spirit of the times and also reflects his personal aesthetic feelings. The fourth is his "exquisiteness." Ning Gang’s works are very exquisite. Every piece of his work has a precise grasp of the artistic elements, and handles all kinds of contradictory relationships well, bringing diversity and unification Sexuality is handled very well, such as the contingency of the glaze color and the inevitability of decoration, the natural craftsmanship and the skillful artificial treatment, which reflect his respect and compliance with the laws of ceramic art. 

Li Yanzu

Changjiang Scholar, Professor of Academy of Fine Arts, Tsinghua University

President Ning Gang takes root in his life and is diligent in creation. It is worth learning from every artist. No artist can succeed without hard work. Today's academic forum is not just an academic forum for Ninggang's art, it fully embodies an ideological forum for the inheritance and innovation of Chinese ceramics. The uniqueness of its artistic language is highly recognizable. If every artist can have such a symbolic label belonging to their own, Chinese culture will be almost easy to reach the world. His artistic creation is closely connected with the revitalization of the country’s national culture, and is synchronized with health, progress, happiness, happiness, and Chinese society. He has an artistic mindset that spans China and the West and through the kiln mouth. In fact, he can only grow on the genes of Chinese excellent culture Chinese art, with both individuality and tolerance, is the world and the future. 

Hu Jie

Executive Dean, School of Design, Shanghai Jiao Tong University

This time I came to the Ning Gang Art Museum, not in vain. It not only broadened my horizons, but also made me realize that ceramic art has unlimited space. The historical significance of the establishment of the Ning Gang Art Museum in Shanghai lies in the integration of Shanghai style culture and Chinese and Western culture. This will inevitably produce new milestones in ceramic art and promote the development of ceramic art to a new level. 

Qian Weipeng

Curator of Shanghai Tianwu Museum, executive vice chairman of China Ceramic Masters Union, famous collector appraisal expert

Artistic value determines its economic value, and artistic repetition equals zero. When I arrived at the Ninggang Art Museum today, I felt a strong visual impact. At a glance at the thousand-year-old Chinese style, it can be said that the momentum is magnificent, watching what it exhibits, and knowing what it supports. From the works of Professor Ning Gang, we have seen the mixture of ancient Chinese traditions and excellent Western culture. When we talked about ceramics in the Qing and Ming dynasties, we said that "there must be pictures, there must be auspiciousness", that is very superficial. Ning Gang’s art has surpassed the highest stage of the auspicious philosophy. For example, the interpretation of life and death. The birds at the entrance of the exhibition hall are among the withered reeds and lotuses, which actually symbolize the power of new life. Ning Gang’s art is mixed. Shanghai is a good window for the classic culture of many kiln mouths. The ceramic art produced in Jingdezhen needs a good window to display and spread. The Ning Gang Ceramic Art Museum has settled in Shanghai and promises to be completely public, with excellent and broad mind.

Zhou Shaohua

Deputy Director, Cultural Relics Conservation and Appraisal Research Center, Zhejiang University

Judging whether a piece of ceramic art is valuable includes three aspects: history, science, and artistic value. And these three dimensions have been concentrated in the works of Mr. Ning Gang. His works have a distinctive personality, the color is bright red, and the themes are mostly auspicious meanings such as auspiciousness, harmony, peace, harmony, freedom, happiness, world peace and a world community with a shared future. They are full of positive energy, and this is exactly what we are today. The main theme of society makes every work exudes the unique flavor of this era. The historical value of such works is self-evident. Mr. Ning Gang’s original "Ning-style Doucai", its craftsmanship originated from the Yongle and Chenghua periods of the Ming Dynasty and the multicolored and doucai, but its artistic level, scientific and technological level, has far exceeded the Ming Dynasty. He applied the scientific principle of the high-temperature color glaze change of Jun kiln in Song Dynasty. The technique of "one color in the kiln, and a variety of colors out of the kiln" is achieved by using high-temperature color glaze with rich color development in the form of splashing glaze. Among them, there are the wisdom of the Song people, the skills of the jade craftsmen of the Ming Dynasty, and the colors of the Qing Dynasty court. This is an integration and innovation of traditional technologies, and is a technological innovation that no one had thought about, let alone done. Through the blending of splash ink and fine brushwork, his works form colorful textures and patterns, natural in form, rich and changeable, with a strong sense of the times, demonstrating a unique artistic value.

If we can still appreciate porcelain and meet friends as we do today, then maybe the works of many famous artists in modern and contemporary times are rare in the world, but the "Ning-style Doucai" ceramic artwork must be a "national treasure" cultural relics 500 years later , Treasures that people are scrambling to collect! Believe me, this will surely become my "golden jade"!