星图与航线 | 2025“景德镇大奖”传承创新奖获奖作品

星图与航线

陶溪川国际手工艺术美术馆开馆展

暨世界手工艺术“星图计划”启航展

Star Atlas & Voyage Routes Opening Exhibition of Taoxichuan International Craft Art Museum& Launch Exhibition of the World Craft Art Star Atlas Project

展期 | Duration

2025年10月17日——2026年4月16日

October 17, 2025-April 16, 2026

地点 | Venue

陶溪川国际手工艺术美术馆

Taoxichuan International Craft Art Museum

展览前言

Exhibition Foreword

“星图与航线 | Star Atlas & Voyage Routes”是由陶溪川文创街区与中国美术学院共建的“陶溪川国际手工艺术美术馆”（Taoxichuan International Craft Art Museum）的开馆首展，也是未来数年将持续发生的“世界手工艺术星图计划”（World Craft Art Star Atlas Project）的启航展。

展览汇聚了来自首届“景德镇大奖”（Jingdezhen Prize）入围艺术家的数十件/组精彩手工艺术作品，该奖项由世界手工艺理事会（WCC）、国际陶艺学会（IAC）与景德镇创意设计中心联合发起，共征集了来自全球六大洲55个国家及地区的投稿作品1325件，由19位专家学者组成甄选委员会，通过匿名评审遴选出41位入围者。

在这幅手工艺术的星图上，景德镇是一颗由泥与火锻造的恒星——它从上古冶陶的光焰中亮起，穿梭白瓷、影青瓷、青花瓷的流光，抵达古典器物美学的巅峰，也成为了全球手工艺术的灵感汇聚点。作为“世界手工艺术星图计划”的启航之站，本次展览从景德镇·陶溪川的土地上出发，尝试描绘星图上遥相呼应的光点，共同勾勒出人类手艺的轮廓——这便是“星图与航线 | Star Atlas & Voyage Routes”所期待探访的时空图景。

景德镇大奖:传承创新奖

获奖作品

“Jingdezhen Prize” Shortlisted Works

Inheritance and Innovation Award winning works

传承创新奖，聚焦 濒危技艺保护与当代转化，面向全球陶瓷艺人等从业者，需基于传统工艺（如中国青花、日本乐烧、欧洲珐琅彩等）。评选标准为： 技艺纯粹性、创新融合度、国际视野，表彰在技艺传承、人才培养、当代创新等方面有标杆贡献者。

作品：《鼎故革新系列》

Innovation Through Antiquity Series

作者: 熊开波

材质：陶土

熊开波（1977年—），陶瓷艺术家，清华大学博士，师从韩美林。现任中国美术学院手工艺术学院副院长（主持工作）、教授、博士生导师，兼任联合国教科文组织陶瓷学会会员、中国美术家协会陶瓷艺委会副主任，入选浙江文艺名家培养对象（第二批）。 1998年毕业于中国美术学院，2005年获该校硕士学位，2018年获清华大学博士学位。历任浙江理工大学艺术与设计学院教师、特聘教授。代表作品《古风系列》《方正系列》《华夏器韵》获第十四届浙江省美展金奖、第十二届全国美展优秀奖、第十届国际陶艺双年展优胜奖，《鼎兴中华》入选第十三届全国美展，《盛世鼎新》被选为国家会展中心元首会议厅陈设品。作品被中国美术馆、浙江美术馆、山东博物馆等收藏，出版《与泥同行》《华夏器韵》专著，发表《器之大道》等核心期刊论文。曾赴东京艺术大学、阿弗瑞德大学学术交流，获国家艺术基金会滚动重点资助项目。持资助，并将担任2025年阿斯本博物馆艺术家研究员。奥尔文由加利福尼亚州棕榈泉的Rubine Red画廊代理。

Xiong Kaibo (1977-), ceramic artist, Ph.D. from Tsinghua University, studied under Han Meilin. The current Vice Dean (in charge of work), Professor, and Doctoral Supervisor of the School of Handicraft Art at the China Academy of Art. He also serves as a member of the UNESCO Ceramic Society and the Deputy Director of the Ceramic Art Committee of the China Artists Association. He has been selected as a training target for Zhejiang literary and artistic masters (second batch). Graduated from China Academy of Art in 1998, obtained a master's degree from the university in 2005, and a doctoral degree from Tsinghua University in 2018. Served as a teacher and distinguished professor at the School of Art and Design, Zhejiang University of Technology. The representative works "Ancient Style Series", "Fangzheng Series", and "Huaxia Qi Yun" won the Gold Award at the 14th Zhejiang Provincial Art Exhibition, the Excellence Award at the 12th National Art Exhibition, and the Excellence Award at the 10th International Ceramic Art Biennial Exhibition. "Ding Xing Zhong Hua" was selected for the 13th National Art Exhibition, and "Sheng Shi Ding Xin" was selected as a display item in the Presidential Conference Hall of the National Convention and Exhibition Center. The works have been collected by the National Art Museum of China, Zhejiang Art Museum, Shandong Museum, etc., and have published monographs such as "Walking with Mud" and "The Charm of Chinese Instruments", as well as core journal articles such as "The Avenue of Instruments". I have participated in academic exchanges at Tokyo University of the Arts and Alfred University, and have been awarded a rolling key funding project by the National Arts Foundation.

我一直喜好上古时期的陶器和青铜器艺术，因此，怀着向传统陶器和青铜器学习和致敬之心，吸收和借鉴传统陶器和青铜器的形和韵，尝试着表现自己对青铜器和原始陶器的感受和认识。创作坚持“传承中超越，造物有境界”的理念，运用融合创新的方法探索，尝试不同材料融合运用、不同成型方法综合运用、传统工艺和现代技术结合运用等创作方法。创作过程中学习传统文化艺术，体察其精神（含蓄、质朴、自然而不雕琢、静穆的美感），让作品生“根”，在把握古代陶瓷艺术的发展脉络和领悟古代陶瓷文化精神的基础上推陈出新，创作具有传统器物精神又富有现代气息，弘扬华夏民族器物文化，拓展现代陶瓷艺术的美学内涵。

I have always had a fondness for pottery and bronze art from ancient times. Therefore, with a desire to learn from and pay tribute to traditional pottery and bronze ware, I have absorbed and borrowed the forms and rhymes of traditional pottery and bronze ware, and attempted to express my feelings and understanding of bronze ware and primitive pottery. The creation adheres to the concept of "surpassing in inheritance, creating with boundaries", and explores the use of fusion and innovation methods. It attempts to integrate different materials, comprehensively use different molding methods, and combine traditional craftsmanship and modern technology in creative methods. In the process of creation, we learn traditional culture and art, appreciate their spirit (implicit, simple, natural without carving, serene beauty), give our works a "root", grasp the development of ancient ceramic art and understand the spirit of ancient ceramic culture, and innovate on the basis of creating works that have both traditional artifact spirit and modern atmosphere, promote the artifact culture of the Chinese nation, and expand the aesthetic connotation of modern ceramic art.

作品：《微白瓷》

Faint White Porcelain

作者: Seri Yu

材质：白瓷，炻器（韩国河东陶土），石榴石

Seri Yu（1994 年生）是一位扎根首尔的新锐陶瓷艺术家，毕业于首尔国立大学，先后取得工艺学学士学位（2019）与陶瓷艺术硕士学位（2024）。她深耕传统工艺的当代转化，以绞胎工艺为核心创作语言，通过瓷泥与陶泥的材质对比，在拉坯过程中自然呈现静谧灵动的纹理，作品常让人联想到暮色天空、雾中山脊等自然意象。其创作兼具技艺纯粹性与创新视野，曾获韩国美丽陶瓷大赛银奖、益山韩国工艺大赛特别奖等荣誉，作品入选慕尼黑 Talente 2024 等国际展览。凭借建筑感的弧线结构与跨文化的材料探索，她的作品被韩国陶瓷基金会、韩国工艺文化协会等权威机构收藏，成为韩国当代陶瓷领域备受关注的新生力量。

Yu Seri (born in 1994) is a rising ceramic artist rooted in Seoul. He graduated from Seoul National University with a Bachelor's degree in Craft (2019) and a Master's degree in Ceramic Art (2024). She deeply cultivates the contemporary transformation of traditional craftsmanship, using the twisted tire technique as the core creative language. By comparing the materials of porcelain clay and pottery clay, she naturally presents a quiet and dynamic texture during the casting process. Her works often evoke natural imagery such as twilight skies and misty ridges. His creations combine technical purity and innovative vision, and have won honors such as the Silver Award in the Korean Beautiful Ceramics Competition and the Special Award in the Yishan Korean Craft Competition. His works have been selected for international exhibitions such as Talente 2024 in Munich. With its architectural curved structure and cross-cultural material exploration, her works have been collected by authoritative institutions such as the Korea Ceramic Foundation and the Korea Craft Culture Association, becoming a highly regarded new force in the field of contemporary ceramics in Korea.

《微白瓷》系列通过细腻的白瓷土与粗犷的炻器土的对比，展现了对天然材料本质色彩与特性的探索。白瓷土颗粒细腻致密，呈现清澈透亮的质感；而产自韩国河东的烙器土因含杂质与粗颗粒，形成质朴的肌理。两种材质在作品中形成鲜明边界，色彩与纹理在此交织出丰富的视觉韵律。氧化烧成后，河东陶土呈现的微妙棕调与白瓷的象牙色形成温暖柔和的对话，却在交界处迸发张力。

在克制简约的造型中，两种陶土相互缠绕交融，时而营造岌岌可危的脆弱场景，时而唤起优雅静谧的意象。作品表面隐约令人联想到暮色天空、雾霭山脊与海浪退却的痕迹。创作过程遵循“有意为之的偶然性”理念——拉坯时陶土的交织与扭曲既受控于创作者，又臣服于物理偶然。这种不可预测性正是练上手捻技法的魅力所在，最终作品成为意图与机遇相遇的产物。不同于传统练上陶瓷繁复的绞纹或沉积层状图案，该系列通过精心控制的陶土布局，让铁质颗粒在河东陶土中形成自由轨迹，如同将彗尾划过宇宙的物理痕迹铭刻于陶土表面。每件作品都是陶土与创作者能量交互的瞬间记录，既现代重构了传统技法，又构建出独特的当代陶艺语言。

The "Micro White Porcelain" series explores the essential colors and characteristics of natural materials through the contrast between delicate white porcelain clay and rough stoneware clay. The white porcelain clay particles are delicate and dense, presenting a clear and transparent texture; The clay used for making pottery from Hedong, South Korea, has a simple texture due to its impurities and coarse particles. The two materials form a distinct boundary in the work, where colors and textures interweave to create a rich visual rhythm. After oxidation and firing, the subtle brown tone of Hedong clay and the ivory color of white porcelain form a warm and gentle dialogue, but tension bursts at the junction.

In the restrained and minimalist design, the two types of clay intertwine and blend together, sometimes creating precarious and fragile scenes, and sometimes evoking elegant and tranquil imagery. The surface of the work vaguely evokes the twilight sky, misty ridges, and traces of receding waves. The creative process follows the concept of "intentional contingency" - the interweaving and distortion of clay during casting are both controlled by the creator and subject to physical contingency. This unpredictability is precisely the charm of practicing hand twisting techniques, and ultimately the work becomes a product of the encounter of intention and opportunity.

Unlike the traditional intricate patterns of twisted patterns or sedimentary layers in ceramics, this series uses carefully controlled clay layout to allow iron particles to form free trajectories in the Hedong clay, as if the physical traces of comet tails crossing the universe are engraved on the surface of the clay. Each work is a momentary record of the interaction between clay and the creator's energy, which not only reconstructs traditional techniques in modern times, but also constructs a unique contemporary ceramic language.

关于展览

Regarding the Exhibition

手工艺术，可回向今日我们所谈论之“艺术”的源初母体——获得直立行走能力，从而被解放了双手的人类，开始蹒跚懵懂地用手与身外的世界周遭打起了各种交道：抟土为器或造像，结绳为网或记事，刳木为舟、剡木为矢，聚石成塔、冶石成金……人类的文明、信仰、知识，就这么点点滴滴地建立了起来；而伴随着生活的器具所建立的，正是生活本身。

这是技/艺（techne, τέχνη）未分之时。日积月累，在地球之上的栖居和纷扰中，由手工而生的器具，见证了“满天星斗”式的文明萌生；又在漫长的岁月流转中，伴随着人类的迁徙、生产、交易，形成了一条条流动的手工艺术的航线，最终化身为我们在当代的手工艺术世界中，得以管窥、展望的一幅浩瀚星图。

现场同时展出“世界手工艺术星图计划”中的“亚洲工艺思想”特别单元，由来自中国美术学院的研究者、艺术家师生共同完成，并以此作为序章，联通向毗邻而即将开馆的“陶溪川国际手工艺术图书馆”（Taoxichuan International Craft Art Library），这一世界上最大规模的手工艺术主题图书馆，它的首批15000册藏书将在不久之后向所有到访者开放，各条人类历史上的手工艺术“航线”也将呈现于其中——“航线”与“星图”彼此牵引，成就一艘手与心的航船，让我们共同登上它的思想之甲板，借由手艺之罗盘，眺望、探索、共同制作未来的文化星图。