星图与航线 | “景德镇大奖”创意设计奖入围作品介绍

 

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:创意设计奖

入围作品

“Jingdezhen Prize” Shortlisted Works

Recipients of the Creative Design Award

A. 文创设计方向：面向全球设计师与品牌机构，征集以陶瓷为载体、兼具文化叙事与市场传播力的文创产品。作品需挖掘传统符号与当代审美的融合，通过批量化生产与市场化运作，推动陶瓷从艺术创作向文化消费品转化，强化其生活场景渗透与品牌价值。

B. 工业设计方向：聚焦日用陶瓷的功能创新与可持续设计，以 “人、器物、生活” 协同为核心，提升产品使用体验与工业化生产适配度。作品需兼顾耐用性、舒适性与现代美学，打造具备市场竞争力的量产日用陶瓷产品。

A. 文创设计方向：

Cultural and Creative Design Direction

作品：《晶格立方体》

Lattice Cube

作者: Eliza Au

材质：炻器，陶瓷，6号火锥

Eliza Au 是一位来自加拿大不列颠哥伦比亚省温哥华的艺术家。她获得了新斯科舍艺术与设计学院的美术学士学位，以及纽约州阿尔弗雷德大学陶瓷学院的艺术硕士学位。她曾参加的艺术家驻地项目包括格林威治之家陶瓷（纽约市）、当代工艺博物馆（俄勒冈州波特兰）和康宁玻璃博物馆（纽约州康宁）。她曾在加拿大、美国及国际多所机构任教，包括艾米莉·卡尔艺术与设计大学、阿尔伯塔艺术与设计学院、蒙茅斯学院、爱荷华大学以及中国北京的阿尔弗雷德-中央美术学院（Alfred-CAFA）项目。Au 目前是北德克萨斯大学陶瓷系助理教授。

Eliza Au is an artist from Vancouver, British Columbia, Canada. She holds a Bachelor of Fine Arts degree from the Nova Scotia College of Art and Design and a Master of Fine Arts degree from the Alfred University School of Ceramics in New York State. Her artist residency programs include the Greenwich House Ceramics (New York City), the Museum of Contemporary Craft (Portland, Oregon), and the Corning Museum of Glass (Corning, New York). She has taught at various institutions in Canada, the United States, and internationally, including Emily Carr University of Art and Design, Alberta College of Art and Design, Monmouth College, University of Iowa, and the Alfred-CAFA project in Beijing, China. Au is currently an assistant professor in the Ceramics Department at the University of North Texas.

我的创作旨在探究建筑中古今装饰纹样如何与“神圣空间”这一概念产生关联。借助计算机辅助设计（CAD）进行数字创作，这一方式影响着我的艺术创作与审视视角。我设计的图案与历史装饰纹样联系紧密，尤其与阿拉伯式花纹的图案母题渊源深厚。通过在黏土中呈现线框结构，结构与装饰变得密不可分。我饶有兴致地发现，这一母题在历史伊斯兰纹样与当代CAD线框结构之间架起了一座桥梁。极地网格与方形网格构成的底层结构，成为我创作图案的框架。设计与制作过程同步推进：先在CAD中绘制线条图，经3D打印后，最终用黏土进行翻模铸造。我希望通过石膏制模、黏土压模等工艺，将数字世界中的线框表面带入物理现实。

My creative work aims to explore how ancient and modern decorative patterns in architecture relate to the concept of "sacred space". Utilizing Computer-Aided Design (CAD) for digital creation has influenced my artistic approach and perspective. The patterns I design are closely related to historical decorative patterns, particularly the motif of Arabesque patterns, which has a profound connection. By presenting a wireframe structure in clay, the structure and decoration become inseparable. I am intrigued to find that this motif serves as a bridge between historical Islamic patterns and contemporary CAD wireframe structures. The underlying structure composed of polar grids and square grids forms the framework for my pattern design. The design and production processes proceed simultaneously: first, I draw line diagrams in CAD, which are then 3D printed, and finally, clay is used for mold casting. I hope to bring the wireframe surface from the digital world into physical reality through processes such as plaster molding and clay pressing.

作品：《印花划花餐具套组》

Stamp-and-Slip Tableware Set

作者: 蓝天

材质：瓷

蓝天，2007年本科毕业于中国美术学院陶瓷艺术系。2010年硕士毕业于中国美术学院陶瓷艺术系，毕业后一直从事日用陶瓷制作。现在主要制作宋代风格划花器皿。2017年4月，在上海碗艺廊举办个展“之间”。蓝天以泥土和釉料为材料，循古而新行，融入了工艺、技艺和思想等多重因素，将其转化为具有人文意义的物质载体。 在这些作品背后，蕴涵着艺术家对于理想中生活的不懈追求。

Lantian graduated from the Ceramic Art Department of China Academy of Art with a bachelor's degree in 2007 and a master's degree in 2010. Since graduation, he has been engaged in the production of daily-use ceramics. Currently, he mainly produces decorative porcelain vessels in the style of the Song Dynasty. In April 2017, he held a solo exhibition titled "Between" at Shanghai Bowl Art Gallery. Lantian uses clay and glaze as materials, following ancient traditions while incorporating modern elements such as craftsmanship, skill, and thought, transforming them into material carriers with humanistic significance. Behind these works lies the artist's unremitting pursuit of an ideal life.

餐具在中国五千年历史中，一直有着重要的地位。而在餐具中，陶瓷餐具一直占据着主导地位。我希望能在中国传统陶瓷餐具的工艺以及审美基础之上，做出符合现当下中国时代特色的当代餐具。这套餐具结合了印花、划花、青花、釉里红等传统工艺，通过对造型、装饰纹样，以及装饰技法的重组，特显其当代性。强调当代中国式审美，又贴近生活，强调实用性。

Tableware has always held an important position in China's 5,000-year history, with ceramic tableware consistently occupying a dominant role. I aspire to create contemporary tableware that embodies the characteristics of modern China, building upon the craftsmanship and aesthetic foundation of traditional Chinese ceramic tableware. This tableware incorporates traditional techniques such as printing, pattern drawing, blue and white porcelain, and underglaze red, and through the reorganization of shapes, decorative patterns, and decorative techniques, it highlights its contemporary nature. It emphasizes contemporary Chinese aesthetics, is close to life, and underscores practicality.

作品：《无题（“螺旋”系列）》

Untitled from the series Spiral

作者: Madhvi Subrahmanian

材质：石器陶瓷

Madhvi Subrahmanian印度艺术家，现居新加坡，曾在本地治里师从Ray Meeker，并在美国获得艺术硕士学位。她的作品收藏于多个收藏馆，包括印度孟买国内机场、日本信乐陶瓷雕塑公园和中国福乐博物馆。Madhvi举办过许多个展和群展，包括曼谷、雅加达、河南和新加坡的博物馆，最近她受邀展出装置作品《致未知颂》。她是国际陶瓷学院的当选会员，作品发表于多家书籍和国际期刊，并登上了《ART India》杂志封面。

Madhvi Subrahmanian is an Indian artist currently residing in Singapore. She studied under Ray Meeker in Pondicherry and obtained a Master's degree in Art from the United States. Her works are collected by various museums, including the domestic airport in Mumbai, India, the Shigaraki Ceramic Sculpture Park in Japan, and the Fule Museum in China. Madhvi has held numerous solo and group exhibitions, including at museums in Bangkok, Jakarta, Henan, and Singapore. Recently, she was invited to exhibit her installation work "Ode to the Unknown". She is an elected member of the International Academy of Ceramics, and her works have been published in various books and international journals, appearing on the cover of ART India magazine.

螺旋形态是我作为陶艺家创作过程中不可或缺的元素——从揉泥的螺旋手法，到层层盘筑形成体块，盘旋的形态贯穿始终。作品螺旋上升，手的痕迹留在表面。我反复回归这一形态，因其象征着成长与动力，就如蕨类植物的展开、海浪的升腾；螺旋纹于蜗牛壳上象征保护与包容；在风暴的中心，则代表着力量。螺旋既能保护，也能毁灭。

这种既被敬畏又被崇拜的螺旋图案，几乎出现在所有古代文化的艺术、建筑和哲学中，从欧洲的石器时代文化、埃及前王朝时期，到中国和秘鲁等国皆可见其踪迹。对我而言，螺旋的力量最生动地体现于印度史诗中阿尔朱那的“Chakravyuha”——一个连续旋转、成长且流动的螺旋阵形。重复的节奏是我创作的核心，我被能制造沉浸式体验的多重组合所吸引。本系列中每件“Spiral”装置由数百个手工制作的黑白色陶瓷锥体组成；白色锥体上均手绘螺旋纹。锥体尺寸不一，烧制至石器陶瓷温度。个别锥体并非完美，而是依据数学中的“锥形螺旋”（Concho-spiral）——即螺旋底座上的螺旋结构——进行创作。多个锥体紧密排列，形成一个动态的螺旋体，中心紧凑，逐渐向外松散展开。该系列旨在探讨不断生长与扩展的螺旋形态，尝试理解运动与成长的本质。

The spiral form is an indispensable element in my creative process as a ceramic artist - from the spiral technique of kneading clay to the layered construction of forms, the spiral shape runs through it all. The work spirals upwards, with the traces of the hand left on the surface. I repeatedly return to this form because it symbolizes growth and momentum, like the unfolding of ferns and the rising of waves; spiral patterns on snail shells symbolize protection and inclusiveness; at the center of a storm, it represents strength. The spiral can both protect and destroy.

This spiral pattern, revered and adored, appears in the art, architecture, and philosophy of almost all ancient cultures, from the Stone Age cultures of Europe and the Predynastic Period of Egypt to China and Peru. To me, the power of the spiral is most vividly embodied in Arjuna's "Chakravyuha" from the Indian epic, a spiral formation that continuously rotates, grows, and flows.

Repetitive rhythm is the core of my creation, and I am captivated by multiple combinations that can create immersive experiences. Each "Spiral" installation in this series consists of hundreds of handmade black and white ceramic cones; the white cones are all hand-painted with spiral patterns. The cones vary in size and are fired to the temperature of stoneware ceramics. Individual cones are not perfect, but are created based on the "Concho-spiral" in mathematics - the spiral structure on the spiral base. Multiple cones are closely arranged to form a dynamic spiral body, with a compact center gradually expanding outward. This series aims to explore the spiral form that continuously grows and expands, attempting to understand the essence of movement and growth.

作品：《鹦鹉螺》

NAUTILUS

作者: Miles Younkin

材质：石器陶瓷，钢材

Miles Younkin 是一位活跃于美国纽约布鲁克林的当代陶瓷艺术家与雕塑家，他以大型手工陶瓷雕塑和装置艺术为核心创作领域，毕业于罗德岛设计学院（RISD）并获得陶瓷艺术硕士学位。他的艺术风格以粗犷的质感、充满力量感的造型和原始的手工痕迹为标志，打破了传统陶瓷的精致感，在创作中注重 “过程性”，强调泥土在烧制、塑形中的自然反应，常将实验性的烧制技术与即兴创作结合，让作品呈现出独特的肌理与不可复制的偶然效果；他大胆混合陶土、釉料与其他媒介，挑战陶瓷材料的物理极限，作品尺寸跨度极大，从掌心大小的器物到数米高的装置都有涉及。其创作理念多围绕身体、记忆与工业环境的关系展开，通过陶瓷厚重与脆弱并存的特性隐喻现代社会中个体的生存状态，同时他常以特定场域为创作起点，让雕塑与建筑空间产生互动，引导观众重新感知日常环境的物质性，并坚持全手工制作，每件作品都保留着手指按压、工具刮擦的原始痕迹，传递出强烈的人文温度。他的作品曾在纽约、柏林、东京等多地的当代艺术空间展出，包括纽约的 Jack Hanley Gallery、柏林的 KOW Gallery 等，并被多家私人收藏机构纳入馆藏，同时他也长期在艺术院校担任客座讲师，分享陶瓷雕塑的实验性创作方法，推动当代陶瓷艺术的跨界探索。

Miles Younkin is a contemporary ceramic artist and sculptor active in Brooklyn, New York, USA. His core creative field revolves around large-scale handmade ceramic sculptures and installation art. He graduated from the Rhode Island School of Design (RISD) with a Master's degree in ceramic art. His artistic style is marked by rough texture, powerful forms, and primitive handmade marks, breaking away from the delicacy of traditional ceramics. He emphasizes the "process" in his creation, focusing on the natural reactions of clay during firing and shaping. He often combines experimental firing techniques with improvisation, allowing his works to exhibit unique textures and unrepeatable accidental effects. He boldly mixes clay, glaze, and other media, challenging the physical limits of ceramic materials. His works span a wide range of sizes, from objects the size of a palm to installations several meters tall. His creative concepts often revolve around the relationship between the body, memory, and industrial environment, metaphorically representing the living conditions of individuals in modern society through the coexistence of ceramic heaviness and fragility. He often starts with specific locations as the starting point for his creation, allowing sculptures to interact with architectural spaces, guiding the audience to re-perceive the materiality of daily environments. He insists on fully handmade production, with each piece retaining the original marks of finger pressure and tool scraping, conveying a strong humanistic warmth. His works have been exhibited in contemporary art spaces in New York, Berlin, Tokyo, and other places, including Jack Hanley Gallery in New York and KOW Gallery in Berlin, and have been included in the collections of several private institutions. He has also been a guest lecturer in art schools for a long time, sharing experimental creative methods of ceramic sculpture and promoting cross-disciplinary exploration of contemporary ceramic art.

我用废弃物制作石膏模具，将陶土压入其中，并通过切割、坠落、拍打、撕裂或将多个部件组合成更大的单元，来对复制品进行再塑，使其不再与原始物品相似。随后，我使用能赋予风化效果的釉彩，以及低温烧制、干燥粗糙的釉彩，以凸显物体的表面质感，并强调其材质上的转化——从短暂的垃圾到持久的艺术。这件作品大约由十块模制的陶土片组合而成，最初的原型来自纽约布鲁克林弗拉特布什街头的一块纸板垃圾。

I create plaster molds from discarded materials, press clay into them, and then reshape the replicas through cutting, dropping, patting, tearing, or combining multiple parts into larger units, so that they no longer resemble the original objects. Subsequently, I use glazes that impart a weathered effect, as well as low-temperature firing and drying rough glazes, to highlight the surface texture of the objects and emphasize the transformation of their materials - from transient garbage to enduring art. This work is composed of approximately ten molded clay pieces, with the original prototype derived from a piece of cardboard garbage found on the streets of Flatbush, Brooklyn, New York.

作品：《“印月”玲珑餐具》

Moonlit Lattice (Linglong Tableware)

作者: 王永喜

材质：陶瓷，综合材料

王永喜是景德镇本土陶瓷设计师、新中式器物创作者，同时担任景德镇市喜物文化创意有限公司、景德镇人间有蔚陶瓷有限公司创始人与核心设计师，深耕陶瓷设计与工艺创新领域，以 “做有温度的现代器物” 为创作核心，致力于将中国传统文化与当代审美、实用功能深度融合。他的创作聚焦餐具、茶具、文创衍生品等日用陶瓷领域，擅长从自然景观与文化地标中汲取灵感，结合景德镇传统制瓷工艺（如玲珑瓷、高温烧制）进行现代转译，作品兼具美学性与实用性。代表作品包括 **《印月玲珑餐具》（以西湖三潭印月为灵感，融合玲珑瓷工艺，获 2024 年度第二十届深圳创意十二月当代陶瓷创意设计二等奖）、《如影便携茶具》**（以黄鹤楼 IP 为核心，设计扁壶身、双边梳齿出水等功能细节，获黄鹤楼首届官方 IP 衍生品陶瓷创意设计奖项）等，多次在全国性陶瓷设计大赛中斩获荣誉。创作上，他偏爱极简新中式风格，注重造型语言与文化内涵的表达，摒弃繁复装饰，通过线条、形态传递东方美学意境；工艺上坚守景德镇 1300℃高温烧制标准，兼顾手工质感与现代生产精度，让传统陶瓷技艺适配当代生活场景。其作品既承载地域文化记忆，又符合现代审美与使用需求，广泛应用于文创、家居等领域，推动景德镇陶瓷从传统工艺向现代设计、实用美学转型。

Wang Yongxi is a local ceramic designer and creator of new Chinese-style objects in Jingdezhen. He also serves as the founder and core designer of Jingdezhen Xiwu Cultural Creative Co., Ltd. and Jingdezhen Renjian Youwei Ceramics Co., Ltd. He has deep expertise in ceramic design and craft innovation, with the core creative principle of "making modern objects with warmth." He is committed to deeply integrating Chinese traditional culture with contemporary aesthetics and practical functions. His creations focus on daily-use ceramics such as tableware, tea sets, and cultural and creative derivatives. He excels at drawing inspiration from natural landscapes and cultural landmarks, and combines it with traditional Jingdezhen porcelain craftsmanship (such as exquisite porcelain and high-temperature firing) for modern reinterpretation. His works are both aesthetically pleasing and practical. Representative works include **"Moon-Imprinted Exquisite Tableware" (inspired by the Three Pools Imprinting the Moon in West Lake, incorporating exquisite porcelain craftsmanship, and won the second prize in the 20th Shenzhen Creative December Contemporary Ceramic Creative Design in 2024), and "Shadow-Like Portable Tea Set" (centered around the Yellow Crane Tower IP, featuring a flat pot body, double-sided comb-like water spout, and other functional details, and won the first official IP derivative ceramic creative design award for the Yellow Crane Tower)**. He has repeatedly won honors in national ceramic design competitions. In terms of creation, he prefers a minimalist new Chinese style, focusing on the expression of form language and cultural connotation, abandoning complex decoration, and conveying oriental aesthetic concepts through lines and shapes. Technologically, he adheres to Jingdezhen's high-temperature firing standard of 1300℃, balancing handmade texture and modern production precision, making traditional ceramic techniques suitable for contemporary living scenarios. His works not only carry regional cultural memories but also meet modern aesthetic and practical needs, widely used in cultural and creative industries, home furnishing, and other fields, promoting the transformation of Jingdezhen ceramics from traditional craftsmanship to modern design and practical aesthetics.

灵感溯源千年西湖胜景“三潭印月”，设计师王永喜将石塔的东方建筑美学凝练于日用瓷艺餐具，以景德镇传承六百年的非遗玲珑瓷技为骨，独创性转译石塔孔洞结构——每件器皿需经1380℃三次煅烧，由匠人手工镂刻玲珑眼，复现月光穿塔成影的诗意瞬间。当灯光穿透孔阵，桌面便漾开粼粼光斑，恰似湖中月影摇曳。独特的叠放设计，使整件作品以三潭印月的石塔造型示人，通过景德镇的玲珑瓷为展示媒介，喻示两座文化名称的千年对话。让建筑力学之美融于日常餐桌“印月”这套作品以瓷为媒，让西湖的月光与景德镇的窑火，在每一次的举箸间温柔相映。

Inspired by the millennia-old scenic beauty of West Lake's "Three Pools Mirroring the Moon", designer Wang Yongxi condensed the oriental architectural aesthetics of the stone pagoda into daily porcelain tableware. Using the six-hundred-year-old Jingdezhen intangible cultural heritage exquisite porcelain technique as the framework, he creatively reinterpreted the structure of the stone pagoda's holes - each piece of tableware undergoes three calcinations at 1380℃, with craftsmen manually carving exquisite eyes to recreate the poetic moment of moonlight shining through the pagoda and casting shadows. When light penetrates the hole array, the tabletop ripples with sparkling light spots, resembling the swaying moonlight in the lake.

The unique stacked design presents the entire piece in the shape of a stone pagoda with three pools reflecting the moon, using Jingdezhen's exquisite porcelain as a display medium to symbolize the millennium dialogue between two cultural names. The beauty of architectural mechanics is integrated into the daily dining table. This set of "Moon Reflection" works uses porcelain as a medium, allowing the moonlight of West Lake and the kiln fire of Jingdezhen to gently reflect each other with every chopstick lift.

B. 工业设计方向：

Industrial Design Direction

作品：《物质的阴影》

Shades of Matter

作者: Claire Clément

材质：陶瓷（创作过程中使用的材料：纸，木材，石膏，锤子，各类工具）

Claire Clément 是一位法国当代视觉艺术家，以摄影、装置与影像为主要创作媒介，长期聚焦森林、雾境等自然意象，擅长用极简诗意的镜头捕捉人与自然的疏离与共生，作品常以朦胧雾林为背景，融入背影或侧影的人物形象，弱化个体身份、强化环境与情绪的交融，代表作《Brouillard dans la Forêt》（森林雾境）系列更是将雾林的静谧与神秘推向极致，传递出 “自然是对话者” 的创作理念，其作品在欧洲多国当代艺术空间展出并被私人机构收藏。

Claire Clément is a contemporary French visual artist who primarily works with photography, installations, and videos. She has long been fascinated by natural imagery such as forests and foggy landscapes, and excels at capturing the alienation and coexistence between humans and nature through her minimalist and poetic lens. Her works often feature hazy, foggy forests as the backdrop, incorporating silhouettes or profiles of human figures to blur individual identities and emphasize the fusion of environment and emotion. Her representative work, the "Brouillard dans la Forêt" (Forest in Fog) series, takes the tranquility and mystery of foggy forests to the extreme, conveying her creative philosophy that "nature is a conversational partner." Her works have been exhibited in contemporary art spaces across Europe and collected by private institutions.

我被那些打破材料均质性的“不确定性”所吸引。无论是受自然还是人工、机械还是化学变量影响，材料的外观都会随之变化。观察这些不完美的状态让我产生了想要理解它们、并加以再现的欲望。这些变化的过程成为了一种新的塑形方式，一种发展形式语言的起点，引导我远离标准化与统一化的路径，去探索材料中那些微妙的差异与可能性。

我的创作实践围绕材料与表面展开。对我来说，让制作过程在最终成果中得以体现至关重要。我专注于材料如何反应、演化与变化。我设计出一套创意流程，用以探索物质的细微差异、随机性和隐秘的变化，从而发展出强烈而富有表现力的材料语言。我使用身边可获取的材料进行创作，如纸张、木材、石膏和纺织物。通过观察并强调这些材料本身的“不规则性”，我尝试探索并发展出一种精致、持久而富有表现力的材料感。从四月到七月，我在日本陶瓷历史悠久的产地——美浓、多治见地区进行创作。冲积粘土、缓缓起伏的丘陵与赤松林，共同孕育出这一地区的陶艺传统。在笠井雅司与大卫·格拉特利（David Glatli）的指导下，多治见定制瓷砖（Tajimi Custom Tiles）展现出其独特的制作理念：在陶瓷制作过程中，拥抱并尊重各类条件的多样性。不同于标准化的工业瓷砖生产方式，多治见定制瓷砖将湿度、温度和泥土成分等可变因素纳入美学思考。他们的半定制实验室与设计师合作机制，使其成为重新思考陶瓷生产方式的理想之地。在为期两个月的驻留期间，我主要在他们的工坊中专注于压制和模具工艺，创作出四个系列的陶瓷砖。我围绕四种制作工艺进行实验，每种工艺发展成一个系列，提出一种更缓慢、更细腻的陶瓷砖制作方式。每个系列都是一组构成性元素的集合，彼此之间形成和谐的视觉节奏与故事感，展示出在同一种工艺下所能呈现出的形状、体积与效果的变化。前三个系列的灵感源自纸张多样的质地，通过对纸张折叠、起皱、褶皱等工艺的系统性探索，将原本柔弱、短暂的纸转化为具有表现力、可持久保存的表面。这些砖主要以可模具化、工业化为目标进行设计。第四个系列则以小批量和独特作品的形式呈现，创作灵感来源于工作室中工匠们日常动作与使用工具时那些常被忽视的瞬间。我通过敲击、切割、压制、刻痕等动作，赋予泥土新的形式语言。所有的瓷砖与系列作品几乎是同时进行制作，因此它们之间自然而然地形成了一种对话与联系。我在多治见当地根据当时使用的材料选择并确定了颜色与釉面处理——包括略带黄色的日本石膏、我收集到的纸张颜色，以及工厂中带着灰尘痕迹的色调。陶土，这种细腻而敏感的材料，能“记住”每一个动作和每一个微妙的变化。通过烧制，它被转化为坚固耐用的陶瓷物件，保留了那些独一无二的质感。每一块瓷砖都揭示了过程、偶然与手势之间的细腻对话，呈现出我对材料细节的持续探索与回应。

I am captivated by the "uncertainties" that disrupt the homogeneity of materials. Whether influenced by natural or artificial, mechanical or chemical variables, the appearance of materials changes accordingly. Observing these imperfect states sparks a desire to understand and reproduce them. These changing processes become a new way of shaping, a starting point for developing a formal language, guiding me away from the path of standardization and uniformity, and exploring the subtle differences and possibilities within materials. My creative practice revolves around materials and surfaces. For me, it is crucial to allow the production process to be reflected in the final outcome. I focus on how materials react, evolve, and change. I have designed a creative process to explore the subtle differences, randomness, and hidden changes of matter, thereby developing a strong and expressive material language. I use materials readily available around me for creation, such as paper, wood, plaster, and textiles. By observing and emphasizing the "irregularity" of these materials themselves, I try to explore and develop a refined, durable, and expressive material feel. From April to July, I worked in the Mino and Tajimi regions, which have a long history of ceramic production in Japan. The alluvial clay, gently undulating hills, and red pine forests jointly nurture the ceramic tradition of this region. Under the guidance of Masashi Kasai and David Glatli, Tajimi Custom Tiles showcases its unique production philosophy: embracing and respecting the diversity of various conditions in the ceramic production process. Unlike standardized industrial tile production methods, Tajimi Custom Tiles incorporates variable factors such as humidity, temperature, and soil composition into aesthetic considerations. Their semi-custom laboratory and designer collaboration mechanism make it an ideal place to rethink ceramic production methods. During my two-month residency, I mainly focused on pressing and mold craftsmanship in their workshop, creating four series of ceramic tiles. I experimented around four production processes, each evolving into a series, proposing a slower and more delicate way of producing ceramic tiles. Each series is a collection of constitutive elements that form a harmonious visual rhythm and storytelling, showcasing the changes in shape, volume, and effect that can be presented under the same process. The inspiration for the first three series comes from the diverse textures of paper. Through systematic exploration of paper folding, wrinkling, and pleating techniques, the originally fragile and transient paper is transformed into an expressive and durable surface. These tiles are mainly designed with the goal of being moldable and industrializable. The fourth series is presented in the form of small batches and unique works, drawing inspiration from the often overlooked moments in the daily actions and tool usage of the artisans in the studio. Through actions such as hammering, cutting, pressing, and scoring, I endow the clay with a new formal language. All the tiles and series works are produced almost simultaneously, naturally forming a dialogue and connection between them. In the local area of Dojima, I selected and determined the colors and glaze treatments based on the materials used at the time - including slightly yellowish Japanese gypsum, paper colors I collected, and factory-produced shades with traces of dust. Pottery clay, this delicate and sensitive material, can "remember" every action and every subtle change. Through firing, it is transformed into a sturdy and durable ceramic object, retaining those unique textures. Each tile reveals a delicate dialogue between process, chance, and gesture, presenting my continuous exploration and response to material details.

作品：《流苏》

TASSEL

作者: 罗晟

材质：高温陶瓷

罗晟，景德镇人，深耕陶瓷设计与材料创新领域多年，现任景德镇赛德新材料科技有限公司（SDCC赛德艺术瓷材）联合创始人、设计总监。他曾南下深圳积累陶瓷陈设与家居配饰设计经验，2015年返乡创业，在三宝国际瓷谷创办当代陶艺画廊并策划多场展览。2020年联合创立赛德新材料后，聚焦建筑陶瓷与艺术瓷材研发，其设计的“流苏釉面陶瓷砖”获2025年EDIDA中国区最佳墙面装饰设计奖、入围2025 巴黎设计周中国创新馆（CCP) 展览、以“以硬塑软”的创意打破传统瓷砖刻板印象。他兼具艺术视野与产业思维，既推动陶瓷材料在空间装饰领域的跨界应用，也搭建产学研融合桥梁，助力景德镇陶瓷从传统手工艺向现代材料产业转型。

Luo Sheng, a native of Jingdezhen, has been deeply involved in the field of ceramic design and material innovation for many years. He currently serves as the co-founder and design director of Jingdezhen Saide New Material Technology Co., Ltd. (SDCC Saide Artistic Ceramic Materials). He once ventured south to Shenzhen to accumulate experience in ceramic display and home accessory design. In 2015, he returned home to start his own business, establishing a contemporary ceramic art gallery in the Sanbao International Ceramic Valley and curating multiple exhibitions. After co-founding Saide New Materials in 2020, he focused on the research and development of architectural ceramics and artistic ceramic materials. His design of "tassel glazed ceramic tiles" won the Best Wall Decoration Design Award in the EDIDA China region in 2025 and was shortlisted for the China Creative Pavilion (CCP) exhibition at Paris Design Week 2025, breaking the stereotype of traditional ceramic tiles with the creative concept of "using hardness to create softness". He possesses both an artistic vision and industrial thinking, promoting the cross-border application of ceramic materials in the field of spatial decoration, while also building a bridge for the integration of industry, academia, and research, helping Jingdezhen ceramics transition from traditional handicrafts to a modern material industry.

模仿布艺流苏的纵向线条，通过深浅不一的凹槽及凸起条纹呈现动态纹理，将“流苏”肌理融入陶瓷砖设计，以细腻的垂坠感、柔软的视觉触感打破传统瓷砖的坚硬印象，通过“以硬塑软”的反差感，为空间增添独特的视觉张力。“流苏”陶瓷墙面装饰模块系统，它不仅是一款原创产品，更是SDCC赛德艺术瓷材针对陶瓷装饰材料于不同场景应用而提出的系统解决方案。艺术化的陶瓷装饰材料在实际应用中会面临很多空间使用功能需求的问题，“流苏”陶瓷墙面装饰模块系统就是基于这些问题的解题思路，它代表了SDCC赛德艺术瓷材对陶瓷装饰材料的深度思考。我们希望更多的设计师参与到这个问题中来，共创更多奇思妙想的解决之道，让陶瓷装饰材料更好的融入我们的生活空间。

Imitating the vertical lines of fabric fringes, the design presents dynamic textures through varying depths of grooves and raised stripes, integrating the "fringe" texture into ceramic tile design. With its delicate draping feel and soft visual touch, it breaks the hard impression of traditional ceramic tiles. Through the contrast of "using hardness to create softness", it adds unique visual tension to the space.

The "Tassel" ceramic wall decoration module system is not only an original product, but also a systematic solution proposed by SDCC Art Ceramic Materials for the application of ceramic decoration materials in different scenarios. Artistic ceramic decoration materials face many problems related to spatial usage and functional requirements in practical applications. The "Tassel" ceramic wall decoration module system is based on the solution to these problems, representing SDCC Art Ceramic Materials' deep thinking on ceramic decoration materials. We hope more designers will participate in this issue and create more ingenious solutions, so that ceramic decoration materials can better integrate into our living spaces.

作品：《「一二三」口袋旅行茶具 》

"One Two Three" Pocket Travel Tea Set

作者: 罗骁

材质：陶瓷，铝合金，环保生物基科技皮革

罗骁是景德镇新生代陶瓷艺术家、“象上” 陶瓷品牌创始人，江西南昌人，16 岁（2003 年）只身赴景德镇，拜陶瓷大师郭文连为师，被称为 “景德镇最后的学徒”，深耕陶瓷行业二十余年，专注于高温颜色釉与生活器皿设计，以 “人做一半，天做一半” 的窑变美学，打造兼具东方意境与现代实用的日用陶瓷。他的创作以简约、贴近生活、善用色彩为核心，擅长将高温颜色釉的变幻肌理与日常器物结合，作品涵盖茶具、餐具、创意摆件等，釉色如烟雨山水、云雾晕染，每一件因窑变而独一无二，既保留景德镇传统制瓷工艺的严谨，又融入当代审美与生活场景，代表作包括T 系列马克杯（打磨 5 年，纯手工窑变，成为现象级国货陶瓷单品）、“雨眠” 系列马克杯（以宋瓷 “雨过天青” 为灵感，釉色如江南水墨）、二两、葫芦灯等创意生活陶瓷，广受市场与藏家认可。工艺上，他坚守1300℃以上高温烧制，深耕颜色釉配方与窑变控制，历经千万次实验形成 “罗骁特色” 釉色；理念上，主张 “做有温度的现代器物”，让陶瓷艺术回归日常，推动景德镇传统工艺向现代生活美学转型。其作品多次入选设计展、文创赛事，品牌 “象上” 已成为景德镇新生代陶瓷设计的代表，作品被名人、企业选用，更通过电商与跨界合作，让东方窑变美学走进更多人的生活空间。

Luo Xiao is a new generation ceramic artist from Jingdezhen and the founder of the "Xiangshang" ceramic brand. Born in Nanchang, Jiangxi, he arrived in Jingdezhen alone at the age of 16 (in 2003) and became a disciple of ceramic master Guo Wenlian, earning him the title of "Jingdezhen's last apprentice". With over two decades of experience in the ceramic industry, he specializes in high-temperature color glaze and the design of daily utensils. His aesthetic, rooted in the concept of "man makes half, nature makes half", aims to create daily-use ceramics that embody both Eastern aesthetics and modern practicality. His creations, centered around simplicity, closeness to life, and effective use of color, excel in combining the ever-changing textures of high-temperature color glaze with everyday objects. His works encompass tea sets, tableware, creative ornaments, and more. The glaze colors, reminiscent of misty landscapes and cloudy hues, are unique due to kiln variations, preserving the rigor of Jingdezhen's traditional porcelain craftsmanship while incorporating contemporary aesthetics and lifestyle scenarios. Representative works include the T series mugs (polished for 5 years, purely handmade with kiln variations, becoming a phenomenal domestic ceramic product), the "Yumian" series mugs (inspired by the "sky-blue after rain" of Song porcelain, with glaze colors reminiscent of Jiangnan ink painting), and creative living ceramics such as Er Liang and Hulu Deng, widely recognized by the market and collectors. Technically, he adheres to high-temperature firing above 1300℃ and has deeply researched color glaze formulas and kiln variation control, forming the "Luo Xiao signature" glaze colors through tens of millions of experiments. Conceptually, he advocates for "making modern objects with warmth", bringing ceramic art back to everyday life and promoting the transformation of Jingdezhen's traditional craftsmanship towards modern lifestyle aesthetics. His works have been selected for design exhibitions and cultural and creative competitions multiple times. The brand "Xiangshang" has become a representative of new generation ceramic design in Jingdezhen, with works being chosen by celebrities and enterprises. Through e-commerce and cross-industry collaborations, he has brought Eastern kiln variation aesthetics into more people's living spaces.

「一二三」口袋旅行茶具，以极简之美重构现代饮茶方式。甫一展开，便是此刻；甫一使用，便是专注与平静。少一点复杂，多一些轻盈，把注意力还给真正重要的事。在日常里“一二三”常常是动作的起点，它内含一个“集中心神、聚焦当下”的仪式感，简化选择，释放精力，专注当下。用简单朴素的数序命名，也是生活节奏提醒器，表达当代生活的减法哲学。盖沿自研双向出水结构，左右手友好，断水利落。三件套设计，极致嵌套工艺，严密贴合。收纳后仅掌心大小，可轻松装入口袋，化身移动茶室。胎体采用肤感哑光色泥，触感如婴儿皮肤般细腻温润。茶席选用环保生物基科技皮革，一面防滑，一面吸水。缩减为长方条形的极致尺度，方寸间，增添灵动气韵。

The "123" pocket tea set redefines modern tea drinking with its minimalist beauty. Once unfolded, it captures the present moment; once used, it brings focus and calm. With less complexity and more lightness, it returns attention to what truly matters. In daily life, "123" often marks the starting point of an action, embodying a ritual of centering the mind and focusing on the present. It simplifies choices, releases energy, and focuses on the moment. Named after the simple and plain numerical sequence, it also serves as a reminder of the pace of life, expressing the philosophy of simplicity in contemporary living. The lid features a self-developed dual-directional water discharge structure, friendly to both hands, and ensures a clean break. The three-piece design, with ultimate nesting craftsmanship, fits tightly together. When stored, it is only the size of a palm, easily fitting into a pocket, transforming into a mobile tea room. The body is made of skin-touch matte clay, with a delicate and moist feel like baby skin. The tea mat is made of environmentally friendly bio-based leather, with one side being anti-slip and the other being water-absorbent. Reduced to an extreme scale of rectangular strips, it adds a lively charm within a small space.

作品：《FU (福) 灯 FU 》

(Blessing) Lamp

作者: 冉祥飞

材质：陶瓷，电子元件

冉祥飞是 1987 年出生于湖南的新生代陶瓷设计师、策展人，毕业于江南大学工业设计专业研究生，2014 年定居景德镇并创立 “一样一生” 陶瓷工作室，同时担任 “若有光” 玲珑瓷品牌联合创始人、“DEMMMM” 品牌主理人，以工业设计思维重构传统陶瓷，获评 “中国家居行业年度手艺人”，跻身全球华人 80 后百位设计师之列。

核心创作理念：他始终秉持 “让陶瓷融入当下生活” 的核心主张，认为传统工艺需适配当代审美与需求，通过亲民定价让优质陶瓷材料和工艺走进寻常百姓家，践行 “一样东西用一辈子” 的品牌初心。创作中既注重东方诗意的表达，从故乡山水、月光等元素中汲取灵感，又强调产品的实用性与场景适配性，拒绝单纯的个人审美宣泄，以理性思维平衡市场需求与文化表达。

品牌矩阵与创作特色：“一样一生”：主打东方韵味日用瓷，以茶器为核心，产品命名与造型充满诗性，如满月壶、山雨碗、山水盘等，通过 5 种釉色表现山岚雾霭，刷银工艺让器物随使用氧化呈现独特质感，为独居人群设计的组合餐具兼具传统器形与现代功能。“若有光”：专注非遗玲珑瓷创新，突破传统 “玲珑眼” 2 厘米长度限制至 8 厘米，采用磨砂釉面等新工艺，推出极光餐具、二十四节气系列等，将透光工艺延伸至灯具、香薰器等品类，以 300-500 元主力定价让非遗走进日常。“DEMMMM”：面向年轻群体的叛逆风格品牌，以 800 毫升超大号水杯为标志产品，采用全釉底工艺，搭配可复用为花盆的循环材料包装，传递环保与个性表达。

成就与影响：他曾斩获德国红点至尊奖、iF 设计奖、金汐奖等多项国际设计大奖，作品《FU（福）灯》获景德镇创意设计奖，部分作品被荷兰国立博物馆、英国维多利亚与阿尔伯特博物馆（V&A）等机构收藏。作为策展人，他参与 “设计上海”“MADE IN JDZ” 等项目，推动景德镇陶瓷走向更广阔的国际舞台；其联合创作的《海错灯》将玲珑瓷与工业金属结合，亮相 UCCA 陶美术馆 “即兴游离：陶瓷新倾向” 展，展现陶瓷跨界创新的更多可能。

Ran Xiangfei is a new generation ceramic designer and curator born in Hunan in 1987. He graduated from Jiangnan University with a master's degree in industrial design. In 2014, he settled in Jingdezhen and founded the "Same Life" ceramic studio. He also serves as the co-founder of the "Ruo Guang" Linglong porcelain brand and the head of the "DEMMMM" brand, reconstructing traditional ceramics with industrial design thinking. He was awarded the "Annual Craftsman of China's Home Furnishing Industry" and ranked among the top 100 Chinese designers born in the 1980s worldwide.

Core creative philosophy: He always adheres to the core proposition of "integrating ceramics into current life", believing that traditional crafts need to adapt to contemporary aesthetics and needs. Through affordable pricing, he brings high-quality ceramic materials and crafts into ordinary people's homes, practicing the brand's original intention of "using the same thing for a lifetime". In creation, we not only focus on the expression of Eastern poetry, drawing inspiration from elements such as hometown landscapes and moonlight, but also emphasize the practicality and adaptability of the product to the scene, rejecting pure personal aesthetic expression and balancing market demand and cultural expression with rational thinking.

Brand Matrix and Creative Features: "Same Life": The main focus is on Oriental style daily-use porcelain, with tea utensils as the core. The product names and shapes are full of poetic elements, such as the Full Moon Pot, Mountain Rain Bowl, and Landscape Plate. Through five glaze colors, the mountain mist is expressed, and the silver brushing process allows the objects to oxidize and present a unique texture as they are used. The combination tableware designed for solitary people combines traditional shapes with modern functions. If there is light ": Focusing on the innovation of intangible cultural heritage Linglong porcelain, breaking through the traditional" Linglong eye "length limit of 2 centimeters to 8 centimeters, using new processes such as frosted glaze, launching Aurora tableware, 24 solar terms series, etc., extending the light transmission process to categories such as lamps and aromatherapy, with a main pricing of 300-500 yuan to bring intangible cultural heritage into daily life. DEMMMM ": a rebellious style brand aimed at young people, featuring an 800 milliliter oversized water cup as its signature product. It adopts a fully glazed bottom process and is packaged with reusable materials that can be used as flower pots, conveying environmental protection and personal expression.

Achievements and Influence: He has won multiple international design awards such as the Red Dot Supreme Award, iF Design Award, and Jinxi Award in Germany. His work "FU Lamp" won the Jingdezhen Creative Design Award, and some of his works have been collected by institutions such as the National Museum of the Netherlands and the Victoria and Albert Museum (V&A) in the UK. As a curator, he participated in projects such as "Design Shanghai" and "MADE IN JDZ" to promote Jingdezhen ceramics to a broader international stage; The joint creation of "Haicuo Lantern" combines Linglong porcelain with industrial metal and is showcased in the UCCA Ceramic Art Museum's "Improvisational Freedom: New Trends in Ceramics" exhibition, showcasing more possibilities for cross-border innovation in ceramics.

FU (福) 灯的设计灵感来源于“家”的温柔给在外奔波的人们带来的可柔软感受。流畅造型舒缓，简约而又不简单，摆在哪里都百搭美观。使用时三档调光，电池储电，搭配暖色玲珑间接暖色光源。在提升空间氛围的同时，也提升使用时的安全性。

The design inspiration for the FU (Fu) lamp stems from the gentle feeling of "home" brought to people who are constantly on the move. Its sleek shape is soothing, simple yet not simplistic, making it a versatile and beautiful addition to any space. It features three-level dimming, battery storage, and a warm, delicate indirect light source. While enhancing the atmosphere of the space, it also improves safety during use.

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。