星图与航线 | 2025“景德镇大奖”新锐创作奖入围作品

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:新锐创作奖

入围作品

“Jingdezhen Prize” Shortlisted Works

Recipients of the Emerging Creation Award

新锐创作奖聚焦陶瓷艺术当代创新实践，旨在全球范围内发掘兼具先锋实验精神与未来艺术价值的青年创作力量，推动传统陶瓷工艺向未来艺术形态的创造性转化。

作品：《以爱之名》

In the Name of Love

作者: 白月

材质：绞胎瓷

在山西怀仁，“90后”胶胎瓷艺术家白月凭借深厚的专业理论功底与丰富的创作实践，被授予“山西省陶瓷艺术大师”称号，是业内绞胎瓷制作技艺重要传承人与革新者，在创作、教学、行业推广三个维度推动着胶胎瓷的当代发展。 白月，1992年生，怀仁市陶瓷艺术家，朔州陶瓷职业技术学院陶设教研室主任，山西省陶瓷艺术大师，山西省美术家协会会员，朔州市美术协会理事。 2023年被授予怀仁市白月名匠工作室领衔人称号。

In Huairen, Shanxi Province, Bai Yue, a "post-90s" porcelain artist specializing in jiao-tai porcelain, has been awarded the title of "Ceramic Art Master of Shanxi Province" for her profound professional theoretical foundation and extensive creative practice. She is an important inheritor and innovator of the jiao-tai porcelain production technique in the industry, promoting the contemporary development of jiao-tai porcelain in three dimensions: creation, teaching, and industry promotion. Bai Yue, born in 1992, is a ceramic artist in Huairen City, director of the Ceramic Design Teaching and Research Office at Shuozhou Ceramic Vocational and Technical College, a Ceramic Art Master of Shanxi Province, a member of the Shanxi Provincial Artists Association, and a director of the Shuozhou Art Association. In 2023, she was awarded the title of leader of the Huairen Bai Yue Master Studio.

作品《以爱之名》来源于对人类情感的思考以及对自由与束缚的探索。通过脆弱的陶瓷材料阐述了人类内心的脆弱和对自由的渴望。陶瓷材料本身具有一定的坚韧性，但同时也很容易受到外界影响而破碎，我利用这种特性来诠释人们内心的脆弱性，以及由于爱而产生的束缚感。捆绑的形式不仅仅是对外部的限制，也反映了内心的困扰和挣扎。在束缚中寻找自由，在脆弱中展现坚韧。

The work "In the Name of Love" emerges from a contemplation of human emotions and an exploration of freedom and bondage. Through the fragile nature of ceramic, it articulates both the inner vulnerability of humanity and the universal yearning for freedom. The ceramic material itself embodies a duality: it possesses resilience, yet can be easily broken under external pressure. I use this characteristic to reflect the fragility of the human psyche and the sense of constraint that love can impose.

The binding forms in the work are not merely external restrictions; they also symbolize inner turmoil and struggle, seeking freedom within limitation. Through this tension, the piece demonstrates resilience expressed through fragility, highlighting the delicate balance between vulnerability and strength.

作品：《穹顶回响》

Dome Resonance

作者: 陈艺楠

材质：陶，釉下彩，高温金属，纤维

陈艺楠为工艺美术专业专任教师，教育背景深厚，2015 年本科毕业于湖北美术学院陶艺专业获学士学位，2018 年于该校雕塑系陶艺专业获文学硕士学位，2019 年又毕业于美国罗德岛设计学院陶艺系获艺术硕士学位。在艺术实践领域，她成果丰硕，曾举办两次个人展览：2022 年在武汉东湖杉美术馆举办 “天空美术馆 X 逃跑吧！蝴蝶” 陈艺楠个展，2021 年于武汉佑品空间呈现陈艺楠个展 “蝶变”。此外，她的作品频繁入选国内外重要展览并斩获多项奖项：2023 年，作品《生生》入围第三届 “中国白” 国际陶瓷艺术大奖赛，《源之五》入选第三届中国当代陶瓷艺术家作品三年展，《起源・交汇》参展 “从耀州窑出发”——2023 陕西当代陶瓷艺术作品交流展，《源 -Ⅴ》入选 2023 首届湖北省青年美术作品展览，《源 -Ⅳ》参展 “五行十方” 湖南陶瓷艺术作品展览，《破茧 break the cocoon》参展 “宽度”——2023 第二届武汉国际陶艺邀请展，《坠入》参展 “在地的实验”——2023 城市愿景当代艺术邀请展；2022 年，《源 - 3》入选 “聚合 —— 湖北美术学院手工艺作品展”，《源 - 2》获 “美美与共”——2022 “石湾杯” 青年陶瓷（艺术类）大赛优秀奖，《石壶之六》获 2022 年 “收藏好生活”—— 第四届 “千杯万盏” 柴烧茶盏文化收藏展二等奖，《源 - 1》参展 2022 中韩陶艺特别展，《破茧》参展 2022 亚洲当代陶艺展，《蝶道・共栖》《蝶化》《翼之形》《轨记 Ⅱ》参展 “折叠的诗行 ——2022 武汉女艺术家作品展”；2021 年，《翼之形 NO.2》入选第三届中国当代陶瓷艺术大展；2020 年，《盈・缺》入选 “2020 湖南（醴陵）国际陶瓷产业博览会” 第二届全国高校陶瓷作品邀请展；2019 年，《翼之形》获 “创意工美 —— 中国工艺美术创新作品大赛” 优秀奖且入选第十三届全国美术作品展，《The Silent Wings》参展 2019 亚洲当代陶艺展，《翼之形 3》入选第十三届湖北省美术作品展览，《沉默的翅膀》参展第六届湖北艺术节 ——2019 国际陶艺邀请展，《Settlers》参展美国普罗维登斯 Gelman 美术馆 “Chair Show”。在作品收藏方面，2016 年她的作品《石壶》被河南省博物馆收藏，同年创作的驻场陶瓷壁画也被第三十届利川陶瓷艺术节收藏。

Chen Yinan is a full-time teacher specializing in arts and crafts, with a profound educational background. She graduated with a bachelor's degree in ceramic art from Hubei Institute of Fine Arts in 2015, obtained a master's degree in literature in ceramic art from the same school's sculpture department in 2018, and further graduated with a master's degree in art from the ceramic art department of Rhode Island School of Design in 2019. In the field of artistic practice, she has achieved fruitful results, having held two solo exhibitions: "Sky Art Museum X Escape! Butterfly" in 2022 at the East Lake Shanshan Art Museum in Wuhan, and "Butterfly Metamorphosis" in 2021 at Youpin Space in Wuhan. Furthermore, her works have frequently been selected for important exhibitions both domestically and internationally, garnering numerous awards: in 2023, "Shengsheng" was shortlisted for the 3rd "China White" International Ceramic Art Competition, "Yuan Zhi Wu" was selected for the 3rd Triennial Exhibition of Works by Contemporary Chinese Ceramic Artists, "Origin and Convergence" participated in "Starting from Yaozhou Kiln" - 2023 Shaanxi Contemporary Ceramic Art Exchange Exhibition, "Yuan - V" was selected for the 2023 First Hubei Provincial Youth Art Exhibition, "Yuan - IV" participated in "Five Elements and Ten Directions" Hunan Ceramic Art Exhibition, "Break the Cocoon" participated in "Width" - 2023 Second Wuhan International Ceramic Art Invitational Exhibition, and "Falling In" participated in "Local Experiment" - 2023 Urban Vision Contemporary Art Invitational Exhibition; in 2022, "Yuan - 3" was selected for "Aggregation - Handicraft Works Exhibition of Hubei Institute of Fine Arts", "Yuan - 2" won the Excellence Award in the "Beauty Sharing" - 2022 "Shiwan Cup" Youth Ceramic (Art) Competition, "Shi Hu Zhi Liu" won the second prize in the 2022 "Collecting Good Life" - Fourth "Thousands of Cups and Lamps" Wood-fired Teapot Cultural Collection Exhibition, "Yuan - 1" participated in the 2022 Sino-Korean Ceramic Art Special Exhibition, "Break the Cocoon" participated in the 2022 Asian Contemporary Ceramic Art Exhibition, and "Butterfly Path - Coexistence", "Butterfly Metamorphosis", "Wing Form", and "Track Record II" participated in "Folding Poetry - 2022 Wuhan Female Artists Exhibition"; in 2021, "Wing Form NO.2" was selected for the 3rd Chinese Contemporary Ceramic Art Exhibition; In 2020, "Surplus and Deficiency" was selected for the "2020 Hunan (Liling) International Ceramic Industry Expo" Second National Collegiate Ceramic Works Invitation Exhibition. In 2019, "Shape of the Wing" won the Excellence Award in the "Creative Industrial Art - China Industrial Art Innovation Works Competition" and was selected for the 13th National Art Works Exhibition. "The Silent Wings" participated in the 2019 Asian Contemporary Ceramic Art Exhibition. "Shape of the Wing 3" was selected for the 13th Hubei Provincial Art Works Exhibition. "The Silent Wings" participated in the 6th Hubei Art Festival - 2019 International Ceramic Art Invitation Exhibition. "Settlers" participated in the "Chair Show" at the Gelman Art Museum in Providence, USA. In terms of work collection, her work "Stone Pot" was collected by the Henan Provincial Museum in 2016, and the ceramic mural created during her residency in the same year was also collected by the 30th Icheon Ceramic Art Festival.

作品灵感源自新疆传统圆拱顶建筑，装饰以琴码与彩色弦丝，象征民族弦乐器的律动，顶部造型取自馕戳，寓意文化与日常的交织。建筑、音乐与美食的三重意象交织，呈现新疆多元而独特的地域文化记忆与生活美学。

The work draws inspiration from Xinjiang's traditional arched dome architecture, incorporating decorative bridges and colorful strings that evoke the rhythms of local ethnic stringed instruments. The top form is inspired by naan bread stamps, symbolizing the seamless interweaving of culture and daily life. Through this triple imagery of architecture, music, and cuisine, the piece conveys the pluralistic cultural memory and distinctive living aesthetics of the Xinjiang region.

作品：《彩色卢托弗洛罗斯：蓝红揭示姿态》

Polychrome Loutrophoros Gesture of Revealing in Blue and Red

作者: Ebony Russell

材质：陶瓷，釉料

埃博尼·拉塞尔是一位澳大利亚艺术家，采用非传统的陶瓷雕塑制作方法。她独特的技法源于对性别美学、劳动力和传统工艺实践的兴趣，拉塞尔通过将瓷器层层叠加，逐步塑造出违背重力的形态。挑战传统的装饰器皿制作工艺;在她的作品中，装饰成为结构，两者之间的界限被抹去。拉塞尔的作品探讨了曾经被限定为女性化、因此微不足道的文化和艺术实践的既定认知，歌颂了纯洁的装饰性、放荡的美学与政治;表面、过度与愉悦——带着愉悦。

埃博尼·拉塞尔于2003年在莫纳什大学获得应用艺术学士（荣誉）学位，2019年毕业于悉尼国家艺术学院，获得美术硕士学位。拉塞尔获得了许多奖项，包括2018年的弗朗茨国际新星奖和2022年的梅鲁加尔女性艺术奖。最近在2023年，拉塞尔获得了伦敦国际青年大师梅利斯大陶艺奖的高度表彰奖。

主要展览包括2024年威尼斯Homo Faber、2024年纽约哈莱姆Claire Oliver画廊的《摇摇欲坠》、伦敦2023年青年大师艺术奖、悉尼2023年《1001件非凡物品：动力博物馆》、2023年洛杉矶Gavlak画廊的Think Pinker、2022年西班牙Yusto Giner画廊的SABOTAJE ESTEìTICO、2022年旧金山现代伊甸画廊的Halcyon Days、2022年《Clay Dynasty》： 动力博物馆 2022。

Ebony Russell is an Australian artist who uses non-traditional ceramic sculpture production methods. Her unique techniques stem from her interest in gender aesthetics, labor, and traditional craft practices. Russell gradually shapes forms that defy gravity by layering porcelain. Challenge traditional decorative vessel making techniques; In her works, decoration becomes structure, and the boundary between the two is erased. Russell's works explore established perceptions of cultural and artistic practices that were once limited to femininity and therefore insignificant, praising pure decorative, licentious aesthetics and politics; Surface, excess, and pleasure - with pleasure.

Ebony Russell obtained a Bachelor of Applied Arts (Honours) degree from Monash University in 2003 and a Master of Fine Arts degree from the National Academy of Arts Sydney in 2019. Russell has won many awards, including the 2018 Franz International Rising Star Award and the 2022 Meruga Women's Art Award. Recently in 2023, Russell received a high recognition award from the London International Young Master Melis Grand Ceramics Award.

The main exhibitions include Homo Faber in Venice in 2024, Claire Oliver Gallery in Harlem, New York in 2024, Young Master Art Award in London in 2023, 1001 Extraordinary Objects: Museum of Power in Sydney in 2023, Think Pinker at Gavlak Gallery in Los Angeles in 2023, SABOTAJE ESTE ì TICO at Yusto Giner Gallery in Spain in 2022, Halcyon Days at Modern Eden Gallery in San Francisco in 2022, and Clay Dynasty: Museum of Power in 2022.

我的陶瓷雕塑 以抽象的形式探索女性身体的表现，将鲜艳的手工工艺与深刻的观念性主题相结合。我采用色彩鲜明的瓷泥，通过复杂的挤花技法（灵感源于蛋糕装饰和家居手工艺）进行创作，从而提升了那些传统上被低估且与女性相关的装饰性艺术形式。这种极具劳动密集度的创作方式，旨在突显女性历史中所蕴含的脆弱与坚韧。作品表面的纹理象征着力量、关怀与复杂性的多重层次，同时也传达出在压力下可能崩解的紧张感。我的灵感来源包括古代陶瓷传统，尤其是古希腊的婚礼水罐（loutrophoros）和公元前400至300年间意大利卡诺萨（Canosa）地区的殡葬瓮。这些作为叙事、神话建构与文化认同载体的器物，为我的当代表现主义实践赋予了深厚的文化与政治内涵。在我看来，陶瓷容器不仅仅是形式上的“容器”，更是承载记忆与历史的“身体”。我的创作实践也回应了当今全球女性权利的斗争，借由形式、材质与技法体现出美与张力之间的微妙平衡。我的作品评论了在政治与社会动荡中性别平等成果的持续脆弱性，强调女权主义并非终点，而是一场持续演进中的实践。通过这一层层堆叠而成的陶瓷形式，我邀请观者反思女性在历史中的被崇敬与被抹除，促使人们重新审视关于身体自主、法律权利与社会文化认同的未竟之争。这件雕塑作品是由我亲手处理的瓷土制成。我先将陶土块分解为泥浆，并反复精炼至适合使用裱花袋和装饰嘴挤出的稠度。接着，我运用陶艺专用的色料对瓷泥进行着色，并通过一系列测试以获得理想的色彩组合。在确定颜色并准备好所需数量后，我开始缓慢地建构作品，每一层都需在前一层略微干结后才能继续添加，以确保结构稳定且不会坍塌。由于材料质地类似奶油霜，在创作过程中我无法直接接触或包覆作品，因此必须在精确控制的节奏中工作，整个过程通常需历时数周乃至数月。作品完成后，我会将其小心搬入窑中，进行一次高温烧制。由于我工作室的窑炉尺寸有限，这件作品分为三部分完成，总制作周期约为三个月。我虽以基本草图和尺寸规划为基础，但在创作过程中，色彩的布局与结构的发展始终保留着即兴与自然演变的空间。

My ceramic sculptures offer an abstract exploration of the female form, combining vibrant craftsmanship with a powerful conceptual message. Utilizing brightly colored porcelain slip applied through intricate piping techniques—reminiscent of cake decorating and domestic crafts—I elevate traditionally undervalued decorative arts historically associated with women. This labor-intensive approach highlights both the vulnerability and resilience embedded within women's histories. The surface textures symbolize layers of strength, care, and complexity, while also conveying the tension of potential unraveling under pressure.

Drawing inspiration from ancient ceramic traditions, particularly Greek loutrophoros water carriers and funerary urns from Canosa (400–300 BCE), my work references objects that serve as vessels of storytelling, myth-making, and cultural identity. These influences inform my contemporary feminist perspective, positioning the vessel as a site of cultural memory and political significance. My practice engages with current global struggles for women's rights, using form, material, and technique to embody the delicate balance between beauty and tension. The work comments on the ongoing fragility of progress in gender equality amid political and social upheaval, emphasizing that feminism remains an active, evolving pursuit. Through these layered ceramic forms, I invite reflection on the historical reverence and erasure of women, challenging viewers to reconsider the ongoing fight for bodily autonomy, legal rights, and socio-cultural recognition. The sculpture is made from hand-processed porcelain. I begin by breaking down clay blocks into a slurry, refining it to a consistency suitable for piping through a confectioner's bag and decorative tips. Potter's stains are used to color the porcelain, with a series of tests to achieve the desired palette. Once the colors are finalized, I slowly build the form layer by layer—over days, weeks, and sometimes months. Because of the soft, icing-like consistency of the material, I cannot touch or wrap the work as it is being made. Instead, I work in timed intervals, adding each new layer as the previous one sets just enough to support it, ensuring proper adhesion without risking collapse.

The completed work is carefully lifted into the kiln and fired once to high stoneware temperature. This piece was created in three parts to accommodate the size limitations of the kiln in my home studio. The total making time was approximately three months. I work from basic sketches and measurements, planning colors in advance to maintain control over the final composition.

作品：《重复ー叶ー》

Repetition - leaf-

作者: 山本 真実江

材质：陶土

山本 真実江于1992年出生在京都县。 2017年，他在京都市立艺术大学美术研究生院完成了工艺硕士学位，主修陶艺。 2016年，他曾在法国国立高等装饰艺术学院留学。 他基于照片、素描和木刻版画，创作作品将空气和时间在风景中流动等无形事物刻画成陶瓷作品。 近年来，他还参与了一系列以“连续性”为主题的作品。 他的重要个展包括《声音与存在》（京都高岛屋S.C.工艺美术沙龙，2024年）和《风景画》（京都当代画廊普鲁斯拼贴画廊，2021年）。 他的主要群展包括“美的预感2025——移位”（高岛屋、东京、京都、名古屋、大阪）。

Maki Yamamoto was born in Kyoto Prefecture in 1992. In 2017, he completed his Master's degree in Crafts at the Graduate School of Fine Arts, Kyoto City University, specializing in ceramic art. In 2016, he studied at the École Nationale Supérieure des Arts Décoratifs in France. Based on photographs, sketches, and woodblock prints, he creates works that depict intangible things such as air and time flowing through landscapes in ceramic art. In recent years, he has also participated in a series of works themed around "continuity". His notable solo exhibitions include "Sound and Existence" (Kyoto Takashimaya S.C. Crafts and Arts Salon, 2024) and "Landscape Painting" (Kyoto Contemporary Gallery, Prus Collage Gallery, 2021). His major group exhibitions include "Aesthetic Premonition 2025 - Shift" (Takashimaya, Tokyo, Kyoto, Nagoya, Osaka).

本作品是以连续性为主题的系列创作之一，灵感源于日常生活中“树叶翩然飘落的动态”能否以曲线造型来表现的构想。首先，向外延展的曲线如叶片形态般交叠组合，下方叶片的雕刻则与曲线错位，并通过随机施色来强化视觉上的动态连续性。装饰手法借鉴了木版画技法——在凹凸雕刻上涂抹彩色化妆土，使表层与胎体重叠交织，呈现出视觉纵深感与时光流逝的韵味。此外，壶的造型并非作为器物，而是被视作支撑整体结构的“柱体”。通过抑制纵深的平面化构成来强调正面性，探索着绘画性造型的可能性。

This work belongs to a series exploring continuity, inspired by the question of whether the dynamic motion of leaves gracefully falling in daily life can be expressed through curved forms. Outward-extending curves overlap and combine like leaf forms, while carved leaves beneath are offset from the curves, with subtle random coloring applied to reinforce a sense of visual rhythm and continuity.

The decorative technique draws on woodblock printing methods: colored slip is applied to relief carvings, allowing the surface layer and clay body to interweave, creating depth and evoking the flow of time. The vessel itself is conceived not as a functional object but as a columnar structure, supporting the overall composition. By emphasizing frontality through flattened compositions that suppress spatial depth, the work explores the possibilities of a painterly sculptural form, where form, surface, and time coexist in visual dialogue.

作品：《通道》

Passage

作者: 童心笛 & 沈婷

材质：陶瓷，高温颜色釉

童心笛&沈婷艺术家组合，分别毕业于芝加哥艺术学院的纯艺术专业和中国美术学院的陶瓷艺术设计专业。童心笛&沈婷在创作中，通过自制的机械和电脑编程精确控制陶瓷创作，实现对陶瓷制作过程中变量的精确控制，以求达到模拟大自然造物的最终目的。他们曾分别在杭州眠云居举办过“釉惑”和“弥尘”两次个展，伦敦Ting-Ying Gallery的“Artefact”群展，并在同年8月的第十二届中国当代青年陶艺家作品双年展上展示。童心笛&沈婷还参与了2023年2月在中国美术学院民艺博物馆举办的“信使与国工”中国陶瓷绘画特展，以及2023年10月在北京三远当代艺术的“技术新感知”当代手工艺实验展。2021年，其作品《蓝绿幕布》被英国维多利亚和阿尔伯特美术馆收藏。

The artist duo Tong Xindi & Shen Ting graduated from the School of the Art Institute of Chicago with a degree in Fine Arts and from the China Academy of Art with a major in Ceramic Art Design, respectively. In their creative practice, they employ self-built machinery and computer programming to achieve precise control over ceramic production, aiming to simulate the natural creation process. They have held two solo exhibitions—"Enamel Enchantment" and "Dustless"—at Mianyunju in Hangzhou, participated in the group exhibition "Artefact" at London's Ting-Ying Gallery, and showcased their work at the 12th China Contemporary Young Ceramic Artists Biennial in August of the same year. Additionally, Tong Xindi & Shen Ting took part in the "Messengers and State Crafts" special exhibition of Chinese ceramic painting at the Folk Art Museum of the China Academy of Art in February 2023, as well as the "New Sensibilities in Technology" contemporary craft experimental exhibition at San Yuan Contemporary Art in Beijing in October 2023. In 2021, their work *Blue-Green Curtain* was acquired by the Victoria and Albert Museum in the UK.

此作品通过艺术家自制的釉料滴绘机械，把一个数学波形转译成物质图像，在瓷板表面以交错的釉线“编织”出一个通道般的画面，它既引导视觉，也像是通向内在的一种延展。在釉料“编织”的动作中，规律和错位、结构与流动彼此交织，像自然界里波与波的干涉、力与力的缠绕，是一种有规律但不完全可控的生成逻辑。

作品图像的基础来自一个特定频率的波，艺术家通过程序将它转化为可视，再把生成的路径输入装置，让釉线挤出在瓷板上。烧成后，这些线条熔融、融合，留下平滑又带细微变化的釉层。这个过程既体现了人对规律的计算与设计，也留下了材料和温度共同作用的痕迹。此作品既是一种技术实践，也是一种对秩序、物质与自然关系的探索。

This work translates a mathematical waveform into a material image through the artist's custom-made glaze dripping apparatus, "weaving" a passage-like pattern of interlaced glaze lines across the porcelain surface. It simultaneously guides the viewer's visual experience and evokes a sense of extension toward the inner self. In the act of glaze "weaving," regularity and displacement, structure and flow, intertwine—much like wave interference in nature or the entanglement of forces—a generative logic that is systematic yet not entirely controllable.

The imagery is based on a wave of a specific frequency, which the artist transforms into visual form through programming, then inputs into the apparatus to extrude glaze lines onto the porcelain. After firing, these lines melt and fuse, creating smooth layers with subtle variations. The process embodies both human calculation and design while preserving traces of the collaborative effects of material and temperature. The work functions as both a technical practice and an exploration of the relationships between order, matter, and nature.

作品：《六出瓷艺》

Hexagonal Porcelain Art

作者: 王登

材质：高温陶瓷，金属铜丝

王登，男，中国当代陶瓷艺术家，景德镇陶瓷大学青年教师。他在陶瓷雕塑领域持续探索，作品《别开生面》《轮回的记忆》等将传统模件化技艺与现代造型语言相结合，多次入选国家级展览。其创作先后亮相2019年“薪技艺”国际工艺美术展、2022年春季沙龙雕塑艺术网展等重要平台，2022年凭借《轮回的记忆》荣获景德镇国际陶艺双年展陶溪川新锐奖 [2-3] [5-6]。作为中国工艺美术新生代代表，王登通过作品展现了对“天人合一”哲学思想的当代诠释

Wang Deng, a male contemporary ceramic artist from China, is a young teacher at Jingdezhen Ceramic University. He has been continuously exploring in the field of ceramic sculpture. His works, such as "A New Perspective" and "Samsara Memory", combine traditional modular techniques with modern modeling language, and have been selected for national exhibitions multiple times. His creations have been showcased on important platforms such as the 2019 "New Craftsmanship" International Arts and Crafts Exhibition and the 2022 Spring Salon Sculpture Art Online Exhibition. In 2022, he won the Taoxichuan New Talent Award at the Jingdezhen International Ceramic Art Biennial for his work "Samsara Memory" [2-3] [5-6]. As a representative of the new generation of Chinese arts and crafts, Wang Deng demonstrates his contemporary interpretation of the philosophical concept of "unity of heaven and man" through his works

《六出瓷艺》是高温陶瓷与金属铜丝的融合，是传统与数字文明碰撞的乐章。当分子级数字化重组的陶瓷，带着传统工艺的深厚底蕴，与参数化建模生成的铜丝相遇，打破了二者之间存在已久的物理界限。

作品将古老东方“天圆地方”宇宙观进行现代化转译，化为一系列可编程几何模块。方形基座稳稳承载着大地秩序的象征意义，圆柱单元则灵动地隐喻着天体运行，二者相互连接，于微妙平衡中实现了传统随性拼接与工业精准契合，展现出传统与现代交融共生的独特魅力。

《六出瓷艺》绝非对传统的抛弃，而是借助数据化手段梳理复杂制作流程、通过模块化实现结构的拆解与重组、运用交互化赋予作品鲜活趣味，为古老陶瓷技艺注入能够突破时空局限的活力。

Hexagonal Porcelain Art fuses high-fired ceramic with copper wire, creating a dialogue between traditional craftsmanship and digital design. By digitally modeling ceramic at the molecular level—rooted in centuries-old techniques—and combining it with parametrically designed copper wire, the work transcends conventional material boundaries.

The piece reinterprets the Eastern cosmological concept of "heaven round, earth square" in a contemporary context, transforming it into a series of programmable geometric modules. The square base symbolizes the stability and order of the earth, while the cylindrical units dynamically evoke celestial movement. Interconnected, they achieve a delicate balance between the spontaneity of traditional assembly and the precision of industrial design, showcasing the unique harmony of tradition and modernity.

Rather than abandoning tradition, Hexagonal Porcelain Art leverages digital tools to streamline complex production processes, employs modular design for deconstruction and reconstruction, and introduces interactivity to enhance engagement. This approach revitalizes ancient ceramic techniques, allowing them to transcend temporal and spatial limitations while remaining deeply rooted in their cultural heritage.

作品：《Ⅱ（罗马数字二）》

作者: 郑天雨

材质：陶土

郑天雨 1996 年出生于浙江杭州，2011—2014 年就读于中国美术学院附中，2014—2018 年本科毕业于中国美术学院陶艺系，2020—2022 年赴日深造，于京都市立艺术大学陶艺系获硕士学位，师从陶艺家长谷川直人；期间还曾两度入驻日本滋贺县立陶艺之森开展驻场创作，分别为 2021 年 8—9 月与 2022 年 3—4 月。她的创作扎根自然与生命的本源，以探索 “隐秘的神性” 为核心脉络，试图引导观者在作品中感知有限与无限的共生、时间的玄妙质感，唤醒原初的信仰之心与人类共通的生命记忆。

Zheng Tianyu was born in Hangzhou, Zhejiang in 1996. She studied at the Affiliated High School of China Academy of Art from 2011 to 2014, graduated with a bachelor's degree from the Ceramics Department of China Academy of Art in 2018, and further studied in Japan from 2020 to 2022, obtaining a master's degree in Ceramics from Kyoto City University of Arts, under the supervision of ceramic artist Naoto Hasegawa. During this period, she also had two residencies at the Ceramic Forest in Shiga Prefecture, Japan, from August to September 2021 and March to April 2022. Her creations are rooted in nature and the origins of life, with exploring the "hidden divinity" as the core thread, aiming to guide viewers to perceive the coexistence of the finite and the infinite, the mysterious texture of time, and awaken the original heart of faith and the common life memory of humanity.

对各种宗教，及其内在原初的“形”一直抱有兴趣，也经常被光、木、石等自然物中潜藏着的神性所吸引。这也许是对于“未知、时间”的憧憬，也许是在平静的背后嗅到不可思议的预感，在有限中感知到无限，并设法与这种无限产生联系。在山寺禅修时，师父教了我一种观想方法：观看一截蜡烛的时候，把火焰想成山，蜡油想成海。在此之后我尝试着用这种方法进行观察和创作，常常把事物观想成极其宏大或极其微小的对象。我也时常把自己想象成一个原始人开始创作，通过发掘自己内在小宇宙与外在大宇宙的联系，试图唤起观看者的生命记忆。

I have long been drawn to various religions and their primordial "forms," often sensing the divinity hidden in natural objects such as light, wood, and stone. This fascination may reflect a longing for the unknown, for time, or a perception of extraordinary premonitions within tranquility—an attempt to discern the infinite within the finite and establish a connection with it.

During meditation at a mountain temple, a master taught me a visualization method: when observing a candle, imagine the flame as a mountain and the melting wax as the sea. Since then, I have applied this approach to both observation and creation, visualizing objects as either vast or minute, seeking to expand perception. I often imagine myself as a primitive being at the beginning of creation, aiming to awaken the viewer's latent life memory by exploring the connections between my inner microcosm and the external macrocosm.

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。