星图与航线 | 2025“景德镇大奖”传承创新奖入围作品

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:传承创新奖

入围作品

“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：《对立平衡》

Contraposto

作者: Betsy Alwin

材质：陶瓷

贝琪·奥尔文（Betsy Alwin）是安德森牧场陶瓷与扩展媒体的艺术总监。她是一位从事陶瓷和混合媒介创作的雕塑家。她曾就读于斯科赫根绘画与雕塑学校，并拥有伊利诺伊州立大学的美术硕士学位。她的作品在国内外都有展出，包括伯克郡植物园（Mass MoCA）、华盛顿特区国家植物园、纽约AIR画廊、威斯康星州哈德逊的菲普斯中心、纽泽西州红砖的卢西达画廊，以及中国景德镇陶艺大道艺术画廊。公共委托作品包括日本东京小野田小学的雕塑、明尼苏达州绍弗的弗兰科尼亚雕塑公园以及圣安东尼的银木公园的雕塑。她获得了众多奖项，包括明尼苏达州艺术委员会颁发的2022年度个人艺术家支持资助，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。

Betsy Alwin is the Artistic Director of Ceramics and Expanded Media at Anderson Ranch. She is a sculptor working in ceramics and mixed media. She attended the Skowhegan School of Painting and Sculpture and holds an MFA from Illinois State University. Her work has been exhibited nationally and internationally, including the Berkshire Botanical Gardens (Mass MoCA), the National Botanic Gardens in Washington D.C., AIR Gallery, New York, The Phipps Center, Hudson WI, Gallerie Lucida in Red Brick, NJ, and The Ceramic Art Avenue Art Gallery, Jingdezhen, China. Public commissions include sculptures at the Onoden Elementary School in Tokyo, Japan, Franconia Sculpture Park in Shafer, MN, and Silverwood Park in St. Anthony, MN. She is the recipient of numerous awards including a 2022 Artist Individual Support Grant from the Minnesota State Arts Board and is a 2025 Aspen Museum Artist Fellow. Alwin is represented by Rubine Red Gallery in Palm Springs, CA.

《对立平衡》是一件采用注浆成型、手工塑形与手工雕刻工艺制成的瓷质壁饰。这件作品的创作始于我在工作室对一位活体男性模特进行的翻模。先用石膏翻出其形态，再将其与蕾丝元素相结合；之后另制模具用于注浆成型，我还在模具内部做了悬挂装置的处理。

这件雕塑的创作灵感源自我对人体局部的探索——我常借人体局部来同时传达脆弱、力量与美感。我想象中，一个由蕾丝纹样构成的男性背部，正逐渐融入墙面。背部作为人体的脆弱部位，象征着盲点、弱点，或是一种回避的姿态 。

Contraposto is a slip-cast, hand-built, and hand-carved porcelain work for the wall. The process for this work began with a cast from a live male model in my studio. The form was cast in plaster and combined with lace. Another mold was made for slip casting, and I worked inside the mold to create an apparatus for hanging.

The idea for this sculpture stems from my work with parts of the human body that I use to convey fragility, strength, and beauty at once. I imagined the back of a man, formed from lace pattern, receding into the wall. The back, a vulnerable part of the body, symbolizes the blind spot, the weakness, or a turning away. For me, this work represents the human condition. We are resilient yet fallible.

作品：《从卡兰奇到高岭》

From Calanchi to Gaoling

作者: 包伟、胡嘉慧

材质：法恩扎红陶土，景德镇瓷土，匣钵土，风化木

包伟，青年陶艺家，1995年出生于广西，景德镇陶瓷大学博士在读。国际陶艺学会（IAC）会员，中国工艺美术学会教育工作委员会会员，广西美术家协会会员。从事陶瓷艺术创作十余年，他的创作关注着传统文化在当代语境中的转化，通过泥土与其他材料语言的结合，反映文化之间的相互关系以及对自然哲学的思考。作品获第62届意大利法恩扎国际陶艺双年展法恩扎奖、首届“瓷的精神”景德镇国际陶艺双年展新锐奖，入选第13届全国美术作品展、2019亚洲当代陶艺展、第3届中国当代陶艺大展等。曾在意大利法恩扎、中国上海、景德镇等地举办个展及联展。作品被法恩扎国际陶瓷博物馆、中国工艺美术大师博物馆、景德镇陶瓷大学博物馆收藏。

胡嘉慧，青年陶艺家，1995年出生于江西九江，景德镇陶瓷大学在读博士，九江市美术家协陶瓷艺术委员会会员，作品获首届“景德镇大奖”主奖、“瓷的精神”景德镇国际陶艺双年展新锐奖，入选第3届中国当代陶艺大展、2019亚洲当代陶艺展等，作品被景德镇陶瓷大学博物馆、景德镇市美术馆收藏。

Bao Wei, a young ceramic artist, was born in Guangxi in 1995 and is currently pursuing a PhD at Jingdezhen Ceramic University. He is a member of the International Academy of Ceramics (IAC), the Education Working Committee of the China Arts and Crafts Association, and the Guangxi Artists Association. Engaged in ceramic art creation for over a decade, his work focuses on the transformation of traditional culture in contemporary contexts. By combining the language of clay with other materials, he reflects the interrelations between cultures and contemplates natural philosophy. His works have won the Faenza Prize at the 62nd International Ceramics Biennale in Faenza, the New Talent Award at the first "Spirit of Porcelain" Jingdezhen International Ceramic Biennale, and have been selected for the 13th National Art Exhibition, the 2019 Asia Contemporary Ceramic Art Exhibition, and the 3rd China Contemporary Ceramic Art Exhibition. He has held solo and joint exhibitions in Faenza, Italy, Shanghai, China, and Jingdezhen. His works are collected by the International Museum of Ceramics in Faenza, the Museum of Masterpieces of Chinese Arts and Crafts, and the Museum of Jingdezhen Ceramic University.

Hu Jiahui, a young ceramic artist, was born in 1995 in Jiujiang, Jiangxi. She is currently a doctoral student at Jingdezhen Ceramic University and a member of the Ceramic Art Committee of the Jiujiang Artists Association. Her works have won the main prize of the first 'Jingdezhen Grand Prize' and the New Talent Award at the 'Spirit of Porcelain' Jingdezhen International Ceramic Biennale. She has been selected for the 3rd China Contemporary Ceramic Art Exhibition and the 2019 Asia Contemporary Ceramic Art Exhibition, among others. Her works are collected by the Museum of Jingdezhen Ceramic University and the Jingdezhen Art Museum.

作品创作于意大利法恩扎，以拉坯裁切后排列的方式，形成流动的造型。作品的左半部分使用当地的红陶土，并采用了17世纪意大利仿效中国瓷的方法施以白色化妆土，留出的部分陶土的橙红色是意大利建筑陶瓦的象征。作品的右半部分采用的是景德镇的高岭土，并加入了中式建筑中常见的土木材料。整个作品采用了水流的形态，象征海上丝绸之路中东西方文明在陶瓷文化上的交汇，水是流动的，文明亦是如此。

卡兰奇与高岭分别是法恩扎的陶土矿山与景德镇瓷土矿山之名，两个名字在东西半球的不同时空语境相遇，叙述着东西方以陶瓷艺术为媒介的历史渊源。这正是文明之间交流互鉴的动人之处，通过一种技艺与两个文明对美的追求，把不同的工艺与感官联通在了一起。

This work was created in Faenza, Italy, using wheel-thrown and cut pieces arranged to form a flowing composition. The left half of the work uses local red clay and employs the 17th-century Italian method of imitating Chinese porcelain by applying white slip, with the exposed orange-red clay color symbolizing Italian architectural terra cotta tiles. The right half uses Gaoling clay from Jingdezhenand incorporates earth and wood materials common in Chinese architecture. The entire work takes the form of flowing water, symbolizing the convergence of Eastern and Western civilizations in ceramic culture along the Maritime Silk Road—water flows, and so does civilization.

Calanchi and Gaoling are respectively the names of clay mines in Faenza and porcelain clay mines in Jingdezhen. These two names meet across different temporal and spatial contexts of the Eastern and Western hemispheres, narrating the historical connections between East and West through ceramic art as a medium. This represents the moving aspect of exchange and mutual learning between civilizations—throughone craft and two civilizations' pursuit of beauty, different techniques and sensory experiences are connected together.

作品：《流》

Flow

作者: Cristine Bath

材质：炻器（白陶，彩陶）

克里斯汀·巴斯（Cristine Bath） 毕业于斯特拉斯堡大学视觉艺术专业，最初从事绘画、素描和拼贴创作。渐渐地，她渴望超越二维形式，与空间和体积更直接地互动，这促使她发现了泥土。这种新媒介为她提供了另一种形式的思考方式，同时也带来了丰富的触觉体验，带来即时的愉悦。 随后她在Guebwiller的欧洲陶瓷艺术学院获得了“陶艺创作者”技能证书。 自从开始实践以来，她一直致力于通过物质和动作探索自然中流动的节奏与能量，使自然的变化和生命维度变得可感知。 如今，她的创作方法已成为当代陶艺实践的一部分，尝试石器和瓷器的表现力。她不断完善技艺，创作出轻盈而精致的作品，与大地沉闷沉闷的本质形成鲜明对比，她的作品是受自然启发、有机、充满生命力、不断生长的独特装饰品。

Cristine Bath graduated from the University of Strasbourg with a degree in Visual Arts, initially engaged in painting, drawing, and collage. Gradually, she longed to move beyond two-dimensional forms and interact more directly with space and volume, which led her to discover clay. This new medium provided her with another way of thinking while offering rich tactile experiences and immediate pleasure. She subsequently earned a 'Ceramic Creator' certification from the European Academy of Ceramic Arts in Guebwiller. Since beginning her practice, she has been dedicated to exploring the rhythms and energies flowing through nature via materials and actions, making the changes in nature and dimensions of life perceptible. Today, her creative approach is an integral part of contemporary ceramic practice, experimenting with the expressiveness of stoneware and porcelain. She continually hones her skills to create light and delicate works that stand in sharp contrast to the dense, muted essence of the earth. Her pieces are inspired by nature, organic, vibrant, and ever-growing, unique decorative works full of life.

这件由白色与彩色炻器泥条压塑而成的作品，是艺术家对自然界运动与生长主题的研究成果。通过重复而精密的层叠工艺，创作者与时间建立起冥想式的对话关系，这种缓慢的创作过程最终孕育出充满动感的形态。

作品始于快速草图，在直觉、胆识与最终和谐感的反复推敲中，寻得那种赋予形体微妙波动感的精妙平衡——这种波动传递着运动与生命力。光线在作品表面游走，不断揭示其多变的体量感。此处展现的细腻度与工艺掌控力，源自艺术家多年学习与实验的积淀。

This work, made from flattened coils of white stoneware and coloured stoneware, is the result of research into the theme of movement and growth in nature.

Through a repetitive and meticulous process of layering, the artist engages in a meditative relationship with time. This slow creative process gives rise to moving forms.

This work, which began with a quick sketch, is a back-and-forth between intuition, boldness, and the search for final harmony, in order to find that delicate balance that gives the form a slight vibrating wave that conveys movement and vitality. Light acts to reveal the volume in its changing aspect. Here, finesse and technical mastery are the result of many years of learning and experimentation.

作品：《布鲁姆的甘瑟姆角，装置 2025》

Gantheaume Point, Broome, Installation 2025

作者: Pippin Louise Drysdale

材质：陶瓷

作为一位备受赞誉的国际艺术家和澳大利亚工艺大师，皮平·德赖斯代尔的陶艺生涯跨越了30年。她对工艺的热情与对风景的热爱相融合，这种热爱跨越了大洲，近年来更专注于澳大利亚生动的沙漠景观。她的作品唤起了一种永恒且令人屏息的空间感，展现出精美瓷器皿中的空间感，叙述着澳大利亚独特景观中令人陶醉的色彩广阔。 她在弗里曼特尔的工作室工作，周围摆满了她试验和实验的目录——一排排各种颜色和大小的精美陶器，但这些陶器未能通过她几乎不可能完成的质量测试——皮平·德赖斯代尔继续从一位无国界艺术家的视角审视她的创作实践。她每一个动作中都蕴含着福斯塔夫式的精神，始终以最高强度展现，从她那充满房间甚至观众席的爆笑，到她奢华的慷慨，当然还有她对工作的全心投入。 分析、审查和修订的过程持续进行，直到她确信自己捕捉到了每一部新作品的个性。景观是永恒的诱惑，是工作的催化剂，是每一个新开发的连接点和锚点。她的作品雄心勃勃。它穿梭于多处风景，描述她的艺术实践以及她与所记录场所的互动。通过对澳大利亚这些独特地区植物和地形的持续探索，以及致力于参与塑造这些地区文化、社会和政治议程的承诺，她愿意迎接每一个新的创意挑战。

As a highly acclaimed international artist and master of Australian craftsmanship, Pipilēn Driesdale's ceramic career spans three decades. Her passion for craftsmanship merges with her love for landscapes, a passion that transcends continents and has recently focused on the vibrant desert scenery of Australia. Her works evoke an eternal and breathtaking sense of space, showcasing the spatial depth within exquisite porcelain vessels and narrating the intoxicating hues of Australia's unique landscapes.

She works in her studio in Fremantle, surrounded by a catalog of her experiments and trials—rows of exquisite pottery in various colors and sizes, yet these pieces failed her nearly impossible quality test. Pipin Driesdale continues to examine her creative practice from the perspective of a borderless artist. Every movement of hers embodies a Falstaffian spirit, always at its highest intensity, from her uproarious laughter that fills the room and even the audience seats, to her extravagant generosity, and of course, her wholehearted dedication to her work.

The process of analysis, review, and revision continues until she is confident that she has captured the essence of each new work. Landscapes are eternal temptations, catalysts for work, and every newly developed connection point and anchor. Her work is ambitious. It traverses multiple landscapes, describing her artistic practice and her interaction with the places she documents. Through ongoing exploration of the flora and terrain of these unique regions in Australia, along with a commitment to participating in shaping their cultural, social, and political agendas, she is willing to embrace every new creative challenge

《布鲁姆的甘瑟姆角，装置 2025》是一件交织多重叙事的艺术作品，根植于布罗姆的历史。它从纯净的沙滩、古老的恐龙足迹、壮观的红色风丹崖以及珍珠产业汲取灵感。在上个世纪，土著、华人、马来人、日本人、欧洲人和菲律宾人文化在此交汇，使布罗姆成为世界珍珠之都。该装置由十四件尺寸各异的瓷器器皿与瓷球组成，散发着宁静的自信，平衡了微妙与戏剧性的元素，捕捉了布罗姆海岸线红色悬崖、靛蓝海洋和湛蓝海草之美。

皮平·德赖斯代尔（Pippin Drysdale）的瓷器作品以色彩为核心——或柔和微妙，或对比鲜明。受转瞬即逝的记忆片段启发，并以情感与直觉为引导，她的色彩与表面通过复杂且高超的工艺过程呈现。每件器皿的小底座赋予其惊艳的轻盈与浮力感。她的结构看似完美无瑕，细线缠绕于形体之上，采用复杂技法，通过抗蚀介质和刀片刻划细窄线条，再填充彩色釉料。

混合瓷土是塑造她简练优雅形态（无论是敞口器皿还是封闭瓷球）的核心。然而，烧制过程中有相当比例的作品会损毁。当瓷土、釉料与烧制完美结合时，三维形态与装饰融合成一种崇高的和谐。作品表面如丝般细腻，唤起情感的色彩带来持久的视觉魅力。德赖斯代尔表示：“作为艺术家，我从不愿停留在安全区。挑战，即便带有几分忐忑，也推动并强化了我的艺术实践。”

德赖斯代尔与她的轮制匠人沃里克·帕拉马蒂尔（Warrick Palamateer）保持了40年的密切合作关系。创作过程复杂，涉及旋削、滚压、压缩、打磨和海绵擦拭，随后进行素烧和上釉。釉料需经过精细研磨、通过200毫米筛网过滤，并在应用于新作品前进行试烧。她大胆而全面的色调大胆模仿澳大利亚广阔空间中光与影的交织。深邃的强烈色彩与外部细腻的线条纹理相平衡，每件作品在高度、周长和色调上各异，以抽象而简练的方式完美描述主题。

在致敬澳大利亚土著文化的同时，德赖斯代尔形成了独具个人特色的艺术语言，展现出对氛围的敏锐感知、对色彩的深刻理解以及对工艺的真正掌握。《布鲁姆的甘瑟姆角，装置 2025》邀请观者思考未来，关注持续的采矿和渔业扩张对环境及原住民文化遗产的影响，呼吁保护这些脆弱的资产。面对岁月的流逝，皮平·德赖斯代尔勇敢迎接新挑战，巩固了她作为艺术家的崇高地位。

‘Gantheaume Point, Broome Installation 2025' is an artwork of overlapping stories. With roots in Broome's history, it draws inspiration from the pristine beaches, ancient dinosaur footprints, the dramatic pindan cliffs and the pearling industry, where Aboriginal, Chinese, Malay, Japanese, European and Filipino cultures combined to create the pearling capital of the world in the last century.

The installation comprises fourteen porcelain vessels and marbles, of varying dimensions, that radiate a quiet assurance, a play of the subtle and the dramatic that encapsulate the beauty of the red cliffs, indigo ocean and azure sea grasses of the Broome coastline. Drysdale's porcelain artworks are all about colour, whether subtle and soft orvibrant with contrast. Inspired by fleeting moments of memory, with a vision that is emotional and intuitive, the resulting colours and surfaces are produced in a complex, highly crafted process. The small bases give each vessel a sense of incredible lightnessand buoyancy. Her structures appear divinely perfect, the fine lines winding around the forms entailing an elaborate technique that uses a resist medium and blades to incise narrow lines which she then fills with coloured glazes. A mix of porcelains is central to throwing her simple, refined forms either as vessels or closed forms (marbles). Nevertheless, a significant percent of the output is lost in the firing. But when porcelain, glaze and firing combine to heal perfectly, the three-dimensional forms and decoration merge into a unity of sublime harmony. The results are surfaces that feel as fine as silk, whilst the evocative colours give the artworks a liveliness that exerts a persistent visual fascination. "As an artist," says Drysdale, "I have never wanted to be in the safe zone. Challenges, even when tinged with trepidation, have facilitated and strengthened my artistic practice." Drysdale shares a close collaborative relationship with her thrower, Warrick Palmateer, and the pair have worked successfully together for 40 years. The process of creating form is complex; multiple steps involve turning, rolling, compressing, sanding and sponging, before bisque firing and glazing. Glazes are extensively milled, sieved through 200 mm screens and test fired prior to use on new artworks. She has developed a comprehensive and daring palette that boldly emulates the intense play of light and shadow in the wide spaces of Australia. Deep voids of intense colour balance with the tracery of lines on the exterior, the individual components of the group varying by height, circumference and tone to perfectly describe the subject in economically abstract terms.

Whilst honouring the culture of the Australian Aborigines, Drysdale has developed her ownunmistakable language that is uniquely personal. She displays an acute sensitivity to mood, a divine understanding of colour and a true mastery of her craft. 'Gantheaume Point, Broome Installation 2025' simultaneously invites the viewer to consider the future, the impacts of continued mining and fishing expansion on the environment and the cultural heritage of the First Nations peoples, and to ensure the preservation of these fragile assets. Undaunted by the passing decades,Pippin Drysdale meets new challenges head on, ensuring her continued venerable status.

作品：《葫芦》

ISELWA (Calabash)

作者: Madoda Fani

材质：抛光烟熏陶

法尼1975年出生，在开普敦古古莱图镇长大，并在西武伊莱学院学习平面设计。

Fani认为南非传统陶艺大师的传承是其开创性影响。他曾师从莫莱莱科阿·西蒙·马西洛和尼克·西索莱学习烟熏技术，而著名的祖鲁啤酒壶制造家族成员贾布·纳拉则教他用石头抛光粘土。

虽然采用传统技法，法尼曲线优美、盘绕的雕塑和手工雕刻装饰却完全不同。他创作于大型作品，构建有机形状的形态，光滑的表面点缀着复杂重复的图案，赋予其比例感。他曾广泛与南方行会合作展出作品，包括与楚马·马韦尼,伊当加蒂2017年，以及2021年的个人演讲，iQweqwe（意为“地壳”），他的花纹切口变成了一块包罗万象的“皮肤”，灵感来自昆虫外骨骼。

Fani 2024年的个展，Madoda：让我们知道，赞美名人标志着艺术家在形式和观念上的转折点。这组作品重新想象了无处不在的陶土家居物品，解构了黑人男性气质的简化陈词滥调，以精湛的技巧和对工艺的关注重新塑造，呈现出雄心勃勃、雕塑化的造型。Fani是2024年印度洋工艺三年展的特邀艺术家，并在西澳大利亚邦伯里地区艺术画廊举办了个展。这组名为《Imbokodo》的作品灵感来源于Nguni语，意为“岩石”或“石头”，常被用来隐喻坚韧女性。通过他的艺术表达，Fani赞美女性的多面本质，这一点从五个以五位女性名字命名的烟熏船只中可见一斑。他即将出版的作品《Dumalitshona》将于2025年11月在开普敦南部协会展出，作品汲取了本土知识体系和他自身的内省实践。

在他的职业生涯中，法尼涉足了陶土座椅、木质家具和青铜雕塑。他曾参加阿根廷（2009年）、法国（2013年）、奥地利（2023年）和墨西哥（2023年）的住院医师项目，并教授过暑期工作坊。干草堆山工艺学校美国缅因州（2023年）。他的作品曾被刊登在粘土形态由奥利维亚·巴雷尔编辑（Art Formes，2023年）以及乔·泰勒的《手工陶瓷》（The Crowood Press，2021年）。

Fani 是2022年洛威基金会工艺奖并于2016年南非陶瓷展获得一等奖。他的作品收藏于北卡罗来纳州夏洛特的费城艺术博物馆和铸币厂博物馆，以及LOEWE基金会、普林斯顿大学艺术博物馆、豪尔赫·M·佩雷斯和巴伐利亚公爵弗朗茨殿下的收藏。

Fanie was born in 1975, grew up in the town of Kogelberg in Cape Town, and studied graphic design at the Westville High School.

Fani believes that the legacy of South African traditional pottery masters is his groundbreaking influence. He learned the smoking technique from Moralekoa Simon Malilo and Nick Sisole, while Jabu Nala, a renowned member of the Zulu beer pot-making family, taught him to polish clay with stones.

Although employing traditional techniques, Fani's sculptures with their elegant, coiling curves and hand-carved decorations are entirely distinct. He created large-scale works, constructing organic forms with smooth surfaces adorned by intricate, repeating patterns that evoke a sense of proportion. His pieces have been widely exhibited in collaborations with Southern guilds, including solo exhibitions in 2017 and 2021 with Chuma Mavene and Idangati. In *iQweqwe* (meaning "earth crust"), his engraved motifs transform into an all-encompassing "skin," inspired by the exoskeletons of insects.

Fani's solo exhibition in 2024, *Madoda: Let Us Know*, celebrates the praise of celebrities as a pivotal moment in the artist's formal and conceptual evolution. This series reimagines ubiquitous clay household objects, deconstructing the simplistic clichés of Black masculinity and reshaping them with masterful technique and craftsmanship into ambitious, sculptural forms. Fani was a featured artist at the 2024 Indian Ocean Craft Triennial and held a solo exhibition at the Barrowlands Regional Art Gallery in Western Australia. Titled *Imbokodo*, this body of work draws inspiration from the Nguni word meaning "rock" or "stone," often used metaphorically to represent resilient women. Through his artistic expression, Fani celebrates the multifaceted nature of women, as seen in five smoke-stained vessels named after five women. His upcoming work *Dumalitshona*, set to debut at the Southern Guild in Cape Town in November 2025, draws from indigenous knowledge systems and his own introspective practice.

Throughout his career, Fanny has worked with terracotta seating, wooden furniture, and bronze sculptures. He has participated in residency programs in Argentina (2009), France (2013), Austria (2023), and Mexico (2023), and has taught summer workshops at the Haystack Mountain School of Crafts in Maine, USA (2023). His works have been featured in *Clay Forms*, edited by Olivia Barre (Art Formes, 2023), and *Handbuilt Ceramics* by Joe Taylor (The Crowood Press, 2021).

Fani won the LOEWE Foundation Craft Prize in 2022 and received the first prize at the South African Ceramics Exhibition in 2016. His works are collected by the Philadelphia Museum of Art and the Mint Museum in Charlotte, North Carolina, as well as the LOEWE Foundation, the Princeton University Art Museum, the collection of Jorge M. Pérez, and the collection of His Serene Highness Prince Franz of Bavaria.

“ISELWA”在科萨语中意为“葫芦”，其概念源于葫芦在实用与象征层面的双重角色——由干燥掏空的葫芦制成的容器。在传统的科萨乡村家庭中，ISELWA 常用于盛放谷物、水、鲜奶或发酵奶（amasi），其饱满的造型象征着滋养、保存与社区共享的精神。

艺术家采用古老的手工制陶技艺，将泥条逐层盘筑成形，再以宝石打磨表面，赋予器物细腻柔和的光泽。烧制环节中，他沿用传统的烟熏工艺，常以牛粪或报纸为燃料，在钢桶中焚烧，使每件雕塑呈现独一无二的质感与丰富的色调变化。

这件“ISELWA”承载着艺术家与其科萨血脉的联结，体现着本土知识体系的生命力与文化的延续性。作品既是对传统手工艺的致敬，也是对人手在每一道纹理与雕刻装饰中所展现的表现力的礼赞。

ISELWA, meaning "calabash" in isiXhosa, is conceptually rooted in the utilitarian and symbolic role of the calabash: a vessel made from a dried and hollowed-out gourd.

Traditionally used to store grain, water, fresh or fermented milk (amasi), the iselwa holds a central purpose in rural Xhosa households. Its voluptuous form is synonymous with nourishment, preservation, and the communal sharing of sustenance.

He has built the vessel using ancient hand-building techniques, coiling strips of clay in successive layers, then burnishing its surface with a gemstone to achieve a subtle sheen. Fani employs traditional smoke-firing methods, often utilising cow dung or newspaper which is burned in a steel drum. This technique lends each sculptural form a unique finish and rich tonal variation. His ISELWA honours the artist's Xhosa lineage, embodying indigenous knowledgesystems and their enduring cultural continuity. The work stands as a tribute to traditional craftsmanship, amplifying the expressive potential of the human hand in every ripple and carved embellishment.

作品：《越窑秘色莲瓣纹直颈瓶》

Yue Kiln Secret Color Lotus Petal Pattern Straight-Neck Vase

作者: 方成哲

材质：浙江瓷石，越窑青瓷秘色釉

方成哲， 号石屏山樵，1984年出生于浙江省建德市，越窑秘色釉实力派，陶瓷器皿设计师，助理工艺美术师，2007年7月中国美术学院陶瓷艺术系本科毕业，以复兴越窑秘色瓷美学为核心创作方向‌。 坚持使用传统草木灰配釉，器形多借鉴金银器的莲瓣、葵口等元素，融合中晚唐艺术气质 。 越窑盛名，始于唐代，因窑址集中于杭州湾南岸古越地而得名。

Fang Chengzhe, also known as Shipingshanqiao, was born in 1984 in Jiande City, Zhejiang Province. He is a skilled practitioner of Yue kiln secret color glaze, a ceramic vessel designer, and an assistant arts and crafts artist. He graduated from the Department of Ceramic Arts at China Academy of Art in July 2007, with his core creative focus on reviving the aesthetics of Yue kiln secret color ceramics. He insists on using traditional plant ash glazes, with vessel shapes often inspired by elements such as lotus petals and sunflower mouths from gold and silverware, blending the artistic temperament of the middle and late Tang Dynasty. The Yue kiln rose to fame during the Tang Dynasty, named after its kiln sites concentrated on the southern shore of Hangzhou Bay in ancient Yue.

中国古代瓷器的烧制技艺中有一种非常独特的装烧方法，晚唐五代时期的越窑将青瓷放置在细瓷质的匣钵中，匣钵的接口涂釉，釉温熔化之后匣钵的内部呈完全密闭状态，等冷却之后敲开匣钵，取出瓷器。这种费时费力的装烧方法是为了获取更加完美和莹润的青瓷釉面效果。

本作品经过很多次的烧制实验和釉药实验的经验总结而制作，基本达到了传统秘色瓷烧制的效果，还原了北宋时期就已经断代的秘色瓷密闭匣钵装烧工艺，也为现代越窑青瓷的创新和陶瓷材质的釉面艺术效果探索一条独特的技法。

Among the firing techniques of ancient Chinese ceramics, there exists a very unique loading and firing method. During the Late Tang and Five Dynasties period, Yue kilns placed celadon in fine porcelain saggers, with the saggar joints coated with glaze. After the glaze melted at firing temperature, the interior of the saggar became completely sealed.Once cooled, the saggar was broken open to retrieve the ceramics. This time-consuming and labor-intensive firing method was employed to achieve more perfect and lustrous celadon glaze effects.

This work was created through extensive firing experiments and glaze experimentation, essentially achieving the effects of traditional secret color porcelain firing. It restores the sealed saggar firing technique of secret color porcelain that had been discontinued since the Northern Song period, also exploring a unique technique for modern Yue kiln celadon innovation and ceramic material glaze surface artistic effects

作品：《白色容器》

White Vessel

作者: Daniel Henry Kelly

材质：陶瓷，金

丹·凯利出生于1953年10月17日。1973年至1974年，他在坎伯韦尔艺术与工艺学校(基础课程)学习，1974年至1977年在同一所学校攻读陶瓷专业荣誉学士学位。1977年至1979年，他在皇家艺术学院继续深造，攻读皇家艺术学院陶瓷专业硕士学位。丹·凯利的标志性风格在于其自由奔放的塑形手法，这种手法强化了形态的韵律感。他作品中突出的边缘和底部常常带有撕裂的痕迹，黏土的碎和创片被保留下来并经高温烧制硬化。在凯利的作品中，你确实能感受到粗与光滑并存的特质，这是他从导师科林·皮尔逊那里继承的风格。作品中存在的凹痕、折痕、刮痕和开口，都增强了器皿所蕴含的身体意象，这一点令他深深着迷。正如他喜爱黏土那种“湿润、黏软的团块”所具有的诱惑性一样，他所塑造的形态也极具感官吸引力。

Dan Kelly is born October 17, 1953. He was taught at the Camberwell school ofArts and Crafts (Foundation Course) in 1973-1974 and at the same school (B.A.Hons Ceramics) from 1974-1977. He continued the training at the Royal Collageof Art (M.A. RCA Ceramics) from 1977-1979.Dan Kelly's trademarks are a freedom of throwing that enhances the rhythms ofform. The accentuated rims and bases are often torn, the flecks and shavings ofclay left and fired hard. in Kelly's work you have, literally, to take the roughwith the smooth, qualities inherited from his tutor Colin Pearson. There areindentations, creases, slashing and openings, all adding to the bodilyimplications of the vessel that so fascinate him. Just as he enjoys theseductiveness of clay,“this wet, soggy mass", the shapes too can be highlysensual.

这件作品被分成两部分塑造，在仍处于可塑状态时，其形态被加以改变，从而在两个位置形成了视觉焦点。之后，它被涂上了一层瓷浆，以获得一种中性的饰面，这样设计是为了能使用对比鲜明的材料在上面作画。经过斟酌，我决定采用一种非常直接且随性的方式来施用这种氧化物混合物。这种手法的灵感部分源自城市中随处可见的涂鸦，另一个灵感来源则是我对抽象绘画的研究。我希望通过这样的处理，能赋予作品一种富有动感的质感，呈现出强烈的对比和灵动的笔触。

我的拉坯作品深受城市环境的影响，这一环境在我的大部分人生中都是重要的灵感来源。人物形象一直以多种方式启发着我的创作，不仅体现在我们如何描述作品，也体现在作品之间的相互关系上——它们仿佛同一家族的成员。其他灵感来源还包括来自欧洲和远东的传统与历史陶器。拉坯成型的器物使我能够以一种自发而直觉的方式工作，保留新近拉坯成形时黏土柔软的特质，并在其上加入充满动感的痕迹与对比鲜明的细节。多年来，我不断精简造型，简化成品表面，主要采用单色调的创作方式。

The piece was thrown in two sections and, while still in a plastic state, the form was altered, creating a focal point in two places. It was then covered in a porcelain slip to give a neutral finish with the idea that it could be painted on with a contrasting material. After consideration, I decided to use a very direct and spontaneous approach to the application of the oxide mix. Some of the source for this derives from the graffiti which is in abundance in the city. Also, another element of inspiration came from my research of abstract painting. This, I hoped, would give a dynamic feel with strong contrast and active application.

My wheel-thrown pieces are particularly influenced by the city environment, which has been a significant source of inspiration for most of my life. The figure has consistently inspired my work in many ways—not only in how pieces are described, but also in how they relate to one another, like members of the same family. Other influences include traditional and historical pots from both Europe and the Far East.

The thrown vessel enables me to work in a spontaneous, intuitive manner, preserving the soft clay qualities of the freshly thrown form while adding dynamic marks and contrasting details. Over the years, I have pared down the forms and simplified the finished surfaces, with a focus on a predominantly monochrome palette.

作品：《夏日惊雷》

Summer Thunder

作者: 黄再云

材质：陶瓷

黄再云是一位成长于景德镇陶瓷生态、兼具本土传统工艺根基与国际当代艺术视野的陶瓷艺术家，其创作轨迹与专业背景呈现出 “从本土实践到跨文化表达” 的鲜明特质：

她出生于湖南，2002 年考入景德镇陶瓷大学陶艺专业，2006 年本科毕业后选择扎根景德镇 —— 这座以传统陶瓷工艺为底色的城市，成为她艺术生涯的起点。早期她并未急于确立风格，而是以 “学徒式” 的状态走访景德镇及周边窑口，深入学习手工拉坯、柴窑烧制等传统技法，这段经历让她的作品始终保留着黏土材质的原生质朴质感，也让她对 “陶瓷作为载体的社会属性” 有了最初的感知。

2013 年，黄再云在景德镇三宝国际陶艺村附近设立个人工作室，开始独立创作。此时她的作品已跳出单纯的 “实用器” 范畴，转向以陶瓷为媒介的观念表达，比如早期作品《无产阶级艺术家》，通过粗糙陶土与工业化材料的拼接，探讨手工创作者在现代生产体系中的身份张力。这一阶段她也频繁参与国内青年陶艺展，逐渐在景德镇的当代陶艺圈积累了关注度。

2019 年，黄再云获得比利时 PXL-MAD 艺术学院的录取资格，赴欧攻读陶瓷与绘画双硕士学位（2019-2023 年）。这段跨文化学习经历成为她创作的转折点：她开始将欧洲当代艺术的抽象语言、装置思维，与中国传统陶瓷的 “器型逻辑” 结合，作品形式从单一陶瓷拓展至玻璃、综合材料装置，甚至行为艺术 —— 比如在比利时驻留期间创作的《最后的拍卖》，以陶瓷碎片搭建临时 “拍卖场”，通过观众参与的互动形式，反思消费主义对传统工艺价值的解构。

硕士毕业后，黄再云回到景德镇，但创作视野已完全转向国际当代艺术语境：她既保留着景德镇陶艺家对 “材质温度” 的敏感（比如作品中常见的手工捏塑、柴烧自然落灰釉），又擅长用当代艺术的叙事手法，将陶瓷材质与社会、环境议题绑定 —— 本次参展的《夏日惊雷》，便以陶瓷的 “易碎性” 隐喻自然生态的脆弱，釉色中的爆裂纹理对应 “惊雷” 的视觉意象，是她近年 “以器喻境” 创作思路的典型体现。

如今，黄再云同时活跃于国内外艺术现场：她既是景德镇本土陶艺展的常客，也频繁参与欧洲、东南亚的艺术驻留与群展，作品被比利时安特卫普当代陶瓷中心等机构收藏，成为新一代 “景德镇系” 艺术家中国际化表达的代表之一。

Huang Zaiyun is a ceramic artist rooted in Jingdezhen’s ceramic ecosystem, blending a foundation in local traditional craftsmanship with a vision of international contemporary art. Her creative trajectory and professional background embody a distinct evolution: from local practice to cross-cultural expression.

Born in Hunan province, she enrolled in the Ceramic Art program at Jingdezhen Ceramic University in 2002. After graduating with her bachelor’s degree in 2006, she chose to settle in Jingdezhen—a city defined by its traditional ceramic heritage, which became the starting point of her artistic career. In her early years, rather than rushing to define her style, she adopted an “apprentice-like” approach: visiting kilns in and around Jingdezhen to study traditional techniques like hand-throwing and wood-firing. This experience left her works with the raw, earthy texture inherent to clay, while also giving her an initial understanding of ceramics as a carrier of social meaning.

In 2013, Huang established her personal studio near Sanbao International Ceramic Village in Jingdezhen, beginning independent creation. By this stage, her works had moved beyond mere “functional vessels” to conceptual expression using ceramics as a medium. For example, her early piece Proletarian Artist—which combines rough clay with industrial materials—explores the identity tensions faced by manual creators within modern production systems. During this period, she also participated frequently in domestic youth ceramic exhibitions, gradually gaining recognition in Jingdezhen’s contemporary ceramic art circle.

In 2019, Huang was admitted to PXL-MAD School of Arts in Belgium, where she pursued a dual master’s degree in Ceramics and Painting (2019–2023). This cross-cultural academic experience became a turning point in her practice: she began merging the abstract language and installation thinking of European contemporary art with the “form logic” of traditional Chinese ceramics. Her work expanded from ceramics alone to include glass, mixed-media installations, and even performance art. For instance, The Last Auction—created during her residency in Belgium—uses ceramic shards to build a temporary “auction house”; through audience participation, the work reflects on how consumerism deconstructs the value of traditional craftsmanship.

After completing her master’s degree, Huang returned to Jingdezhen, but her creative perspective had fully shifted to the context of international contemporary art. She retains the Jingdezhen ceramic artist’s sensitivity to “material warmth” (evident in techniques like hand-pinching and wood-fired natural ash glazes in her works), while also using contemporary artistic narratives to tie ceramic materials to social and environmental themes. Her exhibited piece Summer Thunder is a prime example of her recent “vessel-as-metaphor-for-environment” approach: the fragility of ceramics symbolizes the vulnerability of natural ecosystems, and the crackle glaze texture mirrors the visual imagery of “thunder.”

Today, Huang is active in both domestic and international art scenes: she is a regular participant in local ceramic exhibitions in Jingdezhen, and also frequently joins art residencies and group shows in Europe and Southeast Asia. Her works are collected by institutions such as the Contemporary Ceramic Centre of Antwerp (Belgium), making her one of the representative “Jingdezhen-school” artists of the new generation, known for their international expression.

在景德镇和作坊师傅的学习是我在学校外学习的大课题。在景德镇作坊跟随老师傅学习，不仅是技术的提升，也是对材料敏感度的培养：如何让钴料在泥坯上呼吸，如何让笔触承载时间的重量。在荷兰代尔夫特的驻留创作也让我确信，中国的传统可以再历史也可以在当代的艺术语境里产生新的对话。器皿创作是我的另一条实践路径。景德镇瓷土的在制作和烧成的不可控是我在技术的跟进和情感上的一个追随，我观察瓷土在制作和烧制过程中的碎裂和不可控性，这些“缺陷”恰恰构成了最动人的材料诗学，也暗示着当代社会中破碎与愈合的永恒命题。

Learning from craftsmen in Jingdezhen workshops is a major off-campus learning task for me. Learning from senior craftsmen in Jingdezhen workshops not only improves my skill but also cultivates my sensitivity to materials, such as how to make the glaze breathe on the clay blank and how to let the brushstrokes carry the weight of time. My residence and creation in Delft, the Netherlands, also convinced me that Chinese traditions can generate new dialogues in both historical and contemporary artistic contexts.

Ceramic vessel creation is another practical path for me. The uncontrollability in the production and firing of Jingdezhen ceramic clay is both a technical pursuit and an emotional follow for me. I observe the fragmentation and uncontrollability of ceramic clay during production and firing, and these "defects" precisely constitute the most moving material poetics, also hinting at the eternal proposition of fragmentation and healing in contemporary society.

作品：《黑胎青器系列》

Black Body Celadon Series

作者: 汤忠仁

材质：龙泉青瓷

汤忠仁是龙泉青瓷烧制技艺非遗传承人，也是当代龙泉青瓷领域的核心创作者之一：他深耕龙泉青瓷工艺数十年，系统掌握胎土配制、拉坯成型、黑胎开片釉烧制等传统技艺，尤其擅长复原宋代哥窑风格的 “紫口铁足” 黑胎青瓷；其创作以《黑胎青瓷系列》为代表，既保留龙泉青瓷 “青釉如玉” 的古典质感，又通过器型简化、釉色层次创新实现传统工艺的当代转化，作品常参展景德镇国际陶瓷博览会等行业展会，部分被青瓷文化机构收藏，同时他也参与非遗技艺推广，是龙泉青瓷 “传统与现代融合” 的典型实践者。

Tang Zhongren is an intangible cultural heritage inheritor of Longquan celadon firing techniques, and one of the core creators in the contemporary Longquan celadon field. He has dedicated decades to Longquan celadon craftsmanship, mastering traditional techniques such as clay blending, wheel-throwing, and firing of black-body crackle glazes—particularly excelling in reviving the "purple mouth and iron foot" style of black-body celadon (in the tradition of the Song Dynasty Ge Kiln). His creations, represented by the Black Body Celadon Series, retain the classical "jade-like celadon glaze" texture of traditional Longquan celadon while realizing the contemporary transformation of traditional craftsmanship through simplified vessel shapes and innovative glaze layers. His works are frequently exhibited at industry events like the Jingdezhen International Ceramic Exposition, with some collected by celadon cultural institutions. Additionally, he participates in the promotion of intangible cultural heritage techniques, making him a typical practitioner of "integration of tradition and modernity" in Longquan celadon.

黑胎青器系列，是作者在研习宋代龙泉要黑胎青瓷的基础上所创作的系列作品。多年的研究使作者完成了对古代龙泉窑黑胎青瓷造型语言的全面梳理，并通过部分器物的复刻逐渐掌握了黑胎青瓷的造型语言及成型方式等相关信息。并在此后逐渐形成了建立在传统材料语言基础上的当代化设计及创作。大体围绕“复古-变古-探索未来”的创作实践方式。

其中又因黑胎青瓷产生的历史背景的研究，也逐步了解到黑胎青瓷艺术风格的来源基础。于是作者心中也逐渐形成一个“宋代的陶工如果生活在当代，他会怎样设计制作黑胎青瓷？”的疑问及想法，以此为视角试图将古代的非物质文化与当代社会作一个有效的链接。系列作品中含二十品造型，将黑胎青瓷的造型语言作了一个系统的整理，并进行了部分的当代化演变。也有源自青铜器的觚与尊的造型。

其中：孔子云：觚不觚，觚哉！觚哉！——《论语·雍也》说明“觚”在儒家思想中已经成为周代礼制中的一种象征符号。宋代崇尚礼制，宋徽宗时期开启了青铜器的收藏以及以陶瓷器复刻青铜礼器之风，并著录《宣和博古图》流传于世。《青瓷觚与尊》以现代的造型语言重新设计制作传统礼器，立足于当代并对古代“礼器”进行时代性的演绎及创作以作传承及创新的造型实验。其中“尊”又名《五星尊》则在此基础上将中国国旗中的“五角星”融入到中华传统礼器“尊”之造型中，将新时代的特征融入传统造型当中。同时，“尊”造型为上下敞口，象征着中国开放和包容的时代精神。作品的器型中部呈向“中”汇聚交融之态，与中国“结”异曲同工，寓意着和谐与团结。2023年入选亚运国礼项目并作为第十九届杭州亚运会“大国外交国礼”使用。

The Black Body Celadon Series is created based on the author's research into Song Dynasty Longquan kiln black body celadon. Years of study have enabled the author to complete a comprehensive analysis of the formal language of ancient Longquan kiln black body celadon, gradually mastering the morphological language and forming methods of black body celadon through replicating selected vessels. This subsequently led to the gradual formation of contemporary design and creation based on traditional material language, generally following the creative practice approach of "reviving antiquity—transforming antiquity—exploring the future."

Through research into the historical background of black body celadon production, the author has also gradually understood the foundational sources of black body celadon's artistic style. This has led to the formation of a question and concept: "If Song Dynasty potters lived in contemporary times, how would they design and create black body celadon?" From this perspective, the author attempts to create an effective link between ancient intangible culture and contemporary society.

The series includes twenty formal types, systematically organizing the morphological language of black body celadon with some contemporary evolution. It also features gu and zun forms derived from bronze vessels. Confucius said: "If a gu is not a gu, is it still a gu? Is it still a gu?" — Analects, Yong Ye, indicating that "gu" had become a symbolic sign of the Zhou Dynasty ritual system in Confucian thought. The Song Dynasty venerated ritual systems, and during Emperor Huizong's reign, the collection of bronze vessels and the practice of replicating bronze ritual vessels in ceramics began, documented in the Xuanhe Boguan Tu that has been passed down through history.

Celadon Gu and Zun redesigns and creates traditional ritual vessels using modern formal language, standing in the contemporary era while providing temporal interpretation and creation of ancient "ritual vessels" as formal experiments in inheritance and innovation. The "zun," also called Five-Star Zun, further integrates the "five-pointed star" from China's national flag into the traditional ritual vessel "zun" form, incorporating new era characteristics into traditional forms. Simultaneously, the "zun" form features open tops and bottoms, symbolizing China's open and inclusive spirit of the times. The central part of the vessel form shows a convergence toward the "center," sharing the same principle as the Chinese "knot,"symbolizing harmony and unity.

In 2023, it was selected for the Asian Games National Gift project and used as "Great Nation Diplomatic National Gift" for the 19th Hangzhou Asian Games.

作品：《梁器系列之：霓裳》

Liang Vessel Series: Rainbow Garments

作者: 吴昊

材质：龙泉弟窑泥，粉青釉

吴昊是专注于龙泉青瓷当代创新的青年陶瓷艺术家：他深耕龙泉传统工艺，以龙弟窑泥、粉青釉等原生材质为基底，通过《梁器系列》等作品实现传统青瓷的当代转型 —— 既保留粉青釉的温润质感，又以极简几何器型重构传统 “器” 的边界，跳出实用属性转向观念表达；其创作兼具工艺传承性与艺术实验性，常参展国内当代陶艺展，是龙泉青瓷领域 “传统材质现代表达” 的代表性青年创作者之一。

Wu Hao is a young ceramic artist focused on the contemporary innovation of Longquan celadon: He has delved deeply into Longquan’s traditional craftsmanship, using native materials such as Longdi kiln clay and fenqing glaze as his foundation. Through works like the Liang Vessel Series, he realizes the contemporary transformation of traditional celadon—preserving the gentle, 温润 texture of fenqing glaze while redefining the boundaries of traditional "vessels" with minimalist geometric forms, moving beyond functional purposes toward conceptual expression. His creations blend craft inheritance with artistic experimentation, and he frequently participates in domestic contemporary ceramic art exhibitions, emerging as a representative young creator in the Longquan celadon field for "modern expression of traditional materials."

当代龙泉青瓷，由于其泥料的收缩率的瓶颈，导致其造型表达的自由度受到很大约制。作者通过十余年对泥料特性的造型和烧成工艺反复琢磨试错，找到了一种可以让龙泉泥突破材料物理局限的自由表达技巧。将龙泉青瓷的温润与灵动，揉入造形肢体语言的叙事性表达，创作出浪漫奇想的当代青瓷叙事。在该作品中，提梁，作为器与人之间的桥梁，不仅承载着物理上的重量，更承载着情感述事。灵动自由的提梁构造，让青瓷仿佛一位翩翩的舞者。提梁，是她舞动的轨迹。在矜持与灵动之间自由切换。将作者对器物生命力和青瓷意趣的感受，赋予浪漫叙事性表达。体现了在坚守传统工艺精髓的同时，积极探索创新路径，推动传统工艺在当代社会中的传承与发展的责任担当。

Contemporary Longquan celadon faces constraints in its freedom of formal expression due to the bottleneck of its claymaterial's shrinkage rate.Through over a decade ofrepeated experimentation and refinement of clay characteristics,formingtechniques,and firing processes,the author has discovered a technique that allows Longquan clay to break through material physicallimitations for free expression.By incorporating the warmth and vitality of Longquan celadon into the narrativeexpression ofsculptural body language,the work creates romantic and imaginative contemporary celadon narratives.In this piece,the handleserves as a bridge between vessel and person, bearing not only physical weight but also emotional storytelling.The fluid and freeconstruction of the handle makes the celadon appear like a graceful dancer,with the handle as her dancing trajectory,freelyswitchingbetween restraint and vivacity.This imbues the author's perception of vessel vitality and celadon sensibility with romanticnarrative expression.It demonstrates the responsibility of upholding the essence of traditional craftsmanship while actively exploringinnovative paths,promoting the inheritance and development of traditional crafts in contemporary society.

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。