Recently, at the first Shanghai International Ceramics Art Fair held at the World Trade Center, a series of artistic and modern daily-use ceramic vessels were exhibited and welcomed by the viewers. Jiang Wei, director of the Ceramic Life Art Expo, said that for a long time, daily porcelain and art porcelain were separated from “water†and “oilâ€, and art porcelain was placed in art galleries and expositions. Even if they entered homes, they were embellishment; and it was closely related to people’s lives. With porcelain, one kind for decades. Life needs the United States, and the Expo is to promote the use of the function of the simple ceramics while placing beauty in it. This is an irresistible duty for ceramic artists.
In fact, the phenomena of art porcelain and ceramics for daily use can be seen everywhere. In the major shopping malls on Nanjing Road and Huaihai Road, artistic porcelain is varied. The daily porcelain still follows the pattern of the Ming Dynasty, and the millenium remains unchanged. Jiang Yu said that there are five major pottery producing areas in Guangdong: Chaozhou, Foshan, Zibo, Shandong, Tangshan, Hebei, and Jingdezhen, Jiangxi. Except for Foshan sanitary ware porcelain and Tangshan industrial porcelain, the rest of the three areas are mainly household utensils. The export volume accounts for 70% of the world's total, and the profit only accounts for 6%. The production of cups, plates, bowls, etc. is compared with the participation of artists and the design is more fashionable. The price difference is dozens of times, hundreds of times, and foreign brands use daily. The porcelain is also very different.
At the expo, those modern utensils with innovative patterns and novel shapes are mostly from the cutting edge of the ceramic industry, and they rarely see the masters of arts and crafts. The reason for this is that Jiang Xi believes that for a long time, the ceramics industry is carrying a heavy cultural burden, and the concept of pottery art accumulated from history has confined them to the manual art space, following the rules and decorative patterns of pottery and making repeated repetitions. Labor. If they are living, they are comfortable and stable, but in the "seats" of contemporary art, they have become undeniable absent. A group of young ceramic artists stepped out of the traditional pottery. However, their passion for creation only stays in the style of art and porcelain, or at the very least, they design some gift porcelain or banquet porcelain and never change to the daily porcelain used by the masses of people everyday. The reason is that the key is the value orientation. The price of art porcelain is far too high. A famous hand-painted cup needs thousands of dollars, and the price of a vase can be as high as tens of thousands of yuan, or even ten thousand yuan. Even a limited number of products made using the artist's paintings will cost a few hundred dollars. The design cost of daily-use porcelain is very thin, causing designers and artists to have no intention of participating. Jiang Yu said that artistic porcelain must be made to live, and that daily porcelain must be artistic, so that people can feel the “beauty†while using these utensils. This is a problem that ceramics is desperate to solve.
In fact, the phenomena of art porcelain and ceramics for daily use can be seen everywhere. In the major shopping malls on Nanjing Road and Huaihai Road, artistic porcelain is varied. The daily porcelain still follows the pattern of the Ming Dynasty, and the millenium remains unchanged. Jiang Yu said that there are five major pottery producing areas in Guangdong: Chaozhou, Foshan, Zibo, Shandong, Tangshan, Hebei, and Jingdezhen, Jiangxi. Except for Foshan sanitary ware porcelain and Tangshan industrial porcelain, the rest of the three areas are mainly household utensils. The export volume accounts for 70% of the world's total, and the profit only accounts for 6%. The production of cups, plates, bowls, etc. is compared with the participation of artists and the design is more fashionable. The price difference is dozens of times, hundreds of times, and foreign brands use daily. The porcelain is also very different.
At the expo, those modern utensils with innovative patterns and novel shapes are mostly from the cutting edge of the ceramic industry, and they rarely see the masters of arts and crafts. The reason for this is that Jiang Xi believes that for a long time, the ceramics industry is carrying a heavy cultural burden, and the concept of pottery art accumulated from history has confined them to the manual art space, following the rules and decorative patterns of pottery and making repeated repetitions. Labor. If they are living, they are comfortable and stable, but in the "seats" of contemporary art, they have become undeniable absent. A group of young ceramic artists stepped out of the traditional pottery. However, their passion for creation only stays in the style of art and porcelain, or at the very least, they design some gift porcelain or banquet porcelain and never change to the daily porcelain used by the masses of people everyday. The reason is that the key is the value orientation. The price of art porcelain is far too high. A famous hand-painted cup needs thousands of dollars, and the price of a vase can be as high as tens of thousands of yuan, or even ten thousand yuan. Even a limited number of products made using the artist's paintings will cost a few hundred dollars. The design cost of daily-use porcelain is very thin, causing designers and artists to have no intention of participating. Jiang Yu said that artistic porcelain must be made to live, and that daily porcelain must be artistic, so that people can feel the “beauty†while using these utensils. This is a problem that ceramics is desperate to solve.
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