Theme: "Light Decoration" Chinese arts and crafts master Chen Yanglong works Liling Yang kiln exhibition seminar

Time: November 19, 2016 in the morning

Venue: Guozhong Ceramic Art Museum

Lv Pintian: Dear leaders and distinguished guests, good morning! Entrusted by the organizer, I will chair today's seminar. First of all, I would like to introduce the experts and scholars attending today's seminar:

President of the Chinese Academy of Arts and Director of the China Intangible Cultural Heritage Protection Center Series;

Zhang Shouzhi, former professor of Central Academy of Arts and Crafts;

Lv Xiaozhuang, former professor of Central Academy of Arts and Crafts;

Mr. Shang Gang, Professor, Academy of Fine Arts, Tsinghua University;

Luo Wei, executive deputy director of the China Intangible Cultural Heritage Protection Center;

Professor Qiu Gengyu, School of Fine Arts, Tsinghua University;

Li Zhengan, a professor at the Academy of Fine Arts, Tsinghua University;

Mr. Zheng Ning, Professor of Academy of Fine Arts, Tsinghua University;

Chen Anying, professor of Academy of Fine Arts, Tsinghua University;

Mr. Li Hong, Professor of Academy of Fine Arts, Tsinghua University;

Liu Hongchang, vice president of the Chinese National Academy of Arts;

Mr. Yang Zhihong, former Vice President of the Federation of Light Industry;

Secretary General Wang of the Ministry of Culture for Intangible Culture;

Huang Zhong, Professor, Beijing University of Chemical Technology;

Wang Huan, Associate Researcher of Chinese Academy of Arts and Handicraft Research Institute;

Jia Baolan, Chinese National Academy of Arts, Chinese Art Clock Handworked;

Wang Dongsheng, Professor, Institute of Design and Art, Beijing Institute of Technology;

Wang Legeng, Associate Professor, School of Design and Art, Beijing Institute of Technology;

Chen Cong, Assistant Researcher, Institute of Handicrafts, Chinese National Academy of Arts;

There are also many distinguished guests and scholars attending today's conference. Today, we gather here for the exhibition of the works of Mr. Chen Yanglong and Yang Long Kiln. As we all know, Mr. Chen Yanglong, an outstanding Chinese ceramic artist with both virtue and art, died at an early age. In his lifetime, Mr. Yang Long created a peak realm of Liling underglaze and raised it to a very high artistic level, creating a representative work. His artistic accomplishments, along with some of his core explorations in technology, have given the decorative arts and underglaze art of Liling a distinct modern China. This is recognized in the ceramic world.

As a master of Chinese arts and crafts and a national inheritor of intangible cultural heritage, Mr. Yang is a double honorary title. On the one hand, he has made unremitting efforts in his artistic creation, and on the other hand, he has also done a lot of work in the inheritance of intangible cultural heritage and trained a lot of students and apprentices.

Yanglong kiln was founded by Chen Yanglong himself. Based on the workshop mechanism of Yanglong kiln, there are a group of young people growing up, including Mr. Chen Yanglong's daughter, son, daughter-in-law and apprentice, which makes Chen Yanglong's art carried forward.

Today, our academic seminar is mainly about the artistic creation of Mr. Chen Yanglong and Yang Long Kiln. On the one hand, we can ask you to talk about Mr. Chen Yanglong's artistic creation achievements and his outstanding contribution to the cultivation of the spark in the inheritance of intangible cultural heritage. At the same time, we can also discuss the creation of these young students and young people, and we can also make suggestions with them in the future. We can be honest and open to see the advantages of their works and what they need to improve.

Just now at the opening ceremony, I think Mr. Zhang Shouzhi made a very clear evaluation of Mr. Chen Yanglong's art, which was very good, and also laid a very solid academic foundation for today's seminar.

Let me just say this briefly, and now I will mainly listen to your comments. I have a lot of respect for Mr. Zhang, because Mr. Zhang is very close to all the top players in China, and he always regards them as top players. The cooperation between Mr. Zhang and Mr. Chen Yanglong is very precious. Please welcome Mr. Zhang!

Zhang Shouzhi: I would like to add one more point. I would like to talk about something negative about the development of the traditional underglaze techniques in Liling.

Liling underglaze color history is not long, compared with Jingdezhen, the time is very short. It should be around the time before the war in the last century. If you want to push the underglaze color of Liling to Changsha Kiln in Hunan Province earlier, of course, there is such a connection in terms of regional culture, but there are not many direct links. Around the 1930s, when Liling porcelain industry began to receive foreign cultures, they investigated the production techniques of eastern Japan, and they had a masterpiece among the ceramics of eastern Japan from agriculture to modern society.

So at that time, some people from Liling went to Japan for investigation, and finally brought to Liling the production technology, the molding technology, and the stepped kiln. Central technology academy was established at the time, dean sent me to hunan raw materials, the workers, because Mr. ZhuDaNian is returned from the unfold porcelain, painting early in beiping art school of hangzhou branch, later in Beijing, the teacher in charge of Xu Wenhong teaching in sculpture, then through the introduction to Japan to learn ceramics, ceramic painting. He also studied ceramic art under the supervision of two Japanese, and later specialized in ceramic technology at the Institute of Painting in Japan.At that time, the only molding technology in the world is the traditional Chinese forehand entry, Japan is the backhand entry. Mr. Zhu Danian study in Japan, is Japan's backhand, but the backhand and forehand into the rotation and the direction of the revision, but Japan's backhand into it a bit, don't fix, just outside, in the billet is to rely on plate shape, shape of the final thickness of fix the outer contour, solve its single and double contraction problem of gravity, also has the advantage of this. Only Liling passed over the Japanese backhand. However, the production area of Liling is still in China, so there are two parts in the shaping process of Liling, one is the backhand from Japan, the other is the forehand from Jingdezhen. Therefore, the influence of Jingdezhen on Liling and the craft of underglaze color also had a great deal of craft.

When we transfer workers, we will use two Japanese backhands specifically: During the development of Liling ceramics in the 1950s, due to the Japanese invasion of China, Liling eliminated all the Japanese backhands in terms of ethnic issues. Repair workers have become workers, the ladder kiln probably to Japan's Nagano can also see the Japanese kiln, which also have been eliminated. This is such a process.

Before liberation, the five colored glaze pigments and materials, we sighed the under-glaze color of Liling green and red. Shandong appeared red and green colors. When the Japanese invaded China and stole our tea leaves in Shandong, they took this pigment with them. So Japan accepted the modern craft, the modern craft ceramics of the East earlier than we did. The pigment works like this.

But after the founding of the new China, the underglaze color made a leap forward. The original extremely simple polychromatic metal oxide has been turned into synthetic pigments. Synthetic pigments in the Liling glaze institute has been around for almost 15 years, and it is mainly the soldiers who have been transferred to the institute and artists like Chen Yanglong who have been transferred to the institute. The innovation and creation in the selection of materials, basic industries and pigments resulted in the emergence of underglaze pigments with 1400 degrees of high temperature which were not found in Hunan, China and even Japan after liberation. The leap and maturity of the pigments is an achievement of the new China. In the original Liling, there were many Jiangxi artists engaged in underglaze coloring, including several old artists in the early stage of the research institute who were all handed down by Jiangxi people, and a number of apprentices were also trained, but basically they painted landscapes and flowers in Jiangxi. Jingdezhen also has a few.

Therefore, the real underglaze color of Liling matured and developed after the founding of New China in the 1960s and after the Cultural Revolution. Due to the appearance of the world's best earth raw materials in western hunan and the support and attention of the president to Hunan hometown, the first provincial-level directly managed research institute and provincial ceramic company was established, although it was in such a small place as Liling county, it was Hunan Liling that was the first to go to the state property. In such a situation, we are now very friendly, and Liling is basically a master's workshop, and the biggest porcelain factory is no longer engaged in white porcelain, but only porcelain with high-temperature glaze, which has become the main pillar of the industry in Liling. But the biggest pillar of Liling is the electric porcelain of the whole country and the whole world. Now the high-speed railway also has, the whole China, the world's largest electric porcelain base. Because they are not art ceramics, few people engaged in art and culture understand them. All these enterprises in Liling are state-owned, and they bring billions or tens of billions of dollars of tax to the state every year.

In the whole Liling producing area, the discovery of prisoners led to the emergence of many factories in various areas of Hunan Province. Therefore, when President Jiang Zemin was president of China during the reform and opening up, Hunan Guoguang Porcelain Factory exceeded Jingdezhen in China's export of ceramics. At that time, there was also the Ministry of Light Industry. As the representative of the report of China's light industry ceramics, Guoguang Porcelain Factory went to report. Therefore, the appearance of the ball earth and underglaze technology of Hunan Liling, and the meeting of the National Ten Great Hall of the People were designed by us with the co-writers of two classes. Since the quality of Liling white clay is like jade, the transparency of the whole world can not reach, National Day 15th anniversary, Liling replaced Jingdezhen. Jingdezhen is a traditional ceramic producing area, so we have to take care of it. What should we do? Liling picture, Liling formula, Jingdezhen and made a high white glaze, similar to the ball soil of Hunan, the last two together to supply the Great Hall of the people's porcelain, so it is the second generation of national porcelain.

The development of Liling ceramics has turned the whole province of Hunan into one of the seven producing areas in China. Before the liberation of China. Liling was a small county whose ceramics could not be ranked in the top class.

So, Liling underglaze color appears mature still with science and technology development view, above all material, craft, come back to add Wu Shouqi teacher, set up the party member of the first research company institute at that time, say what also should return Wu Shouqi's hometown to Liling please to impart the technology of underglaze color Liling.

Mr. Chen Yanglong is supposed to be the youngest craftsman in Hunan Liling Ceramics Research Institute, but because he is young and energetic, he basically has to do scientific research while they are making synthetic pigment. But because he had mastered the basics of pigments, he was very familiar with them. So finally he in art how to color glaze color 1400 degrees high temperature, it can be said that the ceramic color temperature, the higher the more volatile, a lot of color into two color, three color, but the secondary color, three color just in indoor ornamental art among the implicative, the most elegant, stimulation to the eye does not produce the material of beauty. So Chen Yanglong's craft can be said to be based on him, teaching his "Light Paint". Almost all the big porcelain factories in Liling have art history, including the research institute, so many artists have benefited from the "Light Paint".In traditional Chinese painting, there is basically no black line in the underglaze color of Liling, and there is no line in the leaves. Some flowers even have a very light line at the beginning, which is actually the outline of the line, and constantly fill in the color. It takes dozens of times for a leaf to divide water, so that the water can naturally absorb and flow, and finally a very moist natural feeling appears. And finally transparent and beautiful. Finally, after the temperature burning, the ink line evaporated, most of them belong to the ink painting of Chinese flowers, on this basis, also need some modern things, but definitely not like the Jingdezhen colorful Chen old line drawing, definitely not this style, so it is very elegant. The style of underglaze color is quietly elegant and implicit, and the texture like jade is just like this.

As I said earlier, the negative problem is that it is too close to Jingdezhen, especially during the reform and opening up. Jingdezhen is also everyone now painting fine brush, porcelain pastel painting, bone color is very few, and adhere to the market price of such things is relatively low, it is better to use the freehand technique of ceramic color ink. In recent years, Jingdezhen has a large market. Less than 200 years since Liling, the number of artists and workers engaged in this craft is less than one thousandth of that in Jingdezhen. So now the more vivid the color of Jingdezhen, Liling began to get some other raw materials, lower the firing temperature, back to show the underglaze color red, red, green, green is dazzling. This problem appeared, so active dragon artists in the appreciation level of our art institute of the ministry of culture, we should rely on our expert in the local citizens, artists, connoisseurs of ceramic culture, the ability, at this point, we all aspects to support the ministry of culture of the contribution which under the Liling glaze color have done considerable work.

But the market has a lot of influence. What's going on here? Liling underglaze color is not painting, find Jingdezhen people to paint. I even bought the painting of a fine brushwork artist and put my name on it and it became my own work. Recently, there has been a phenomenon that people in Jingdezhen are allowed to do the work without painting or doing the work. People in Jingdezhen are allowed to buy the work from Chaozhou. When the work is finished by people in Jingdezhen, it is my studio's work. This is not an exaggeration.

In the case of market adjustment, we still need to have high-quality works. We here the market pressure each other price, reduce costs, these small factories pressure big factories, including Tangshan and many other places have such a situation. China is still responsible for 60% of the world's population, but China now has too much ceramic. The most famous pottery from Wedgwood in the UK is now sold all over the world and it is now the best selling pottery in the mainland. We are now two types of foreign trade, exclusive operating UK Wedgwood in Beijing for over 100 years of operating customers, who are buying? Mainland China, still the mainland market, still the Chinese have money. Therefore, the demand of Chinese people in the market now is still high quality, high grade and high cultural content.

Why is there such a high standard of attendance at an event like today's? It is very rare to invite these people to the meeting, but we know that we should be concerned about what to protect and promote in Chinese ceramic culture. I think at this point, we have to do the work.

Zheng zhi, the general manager of Beijing ocean group, invests 40 to 60 million yuan every year to hold such exhibitions for public welfare, but he doesn't charge us a small fee. If any enterprise or individual increases the burden, all the profits from the products entering the market will be given to the author, and the museum will not receive any commission. What is the purpose? It calls on the domestic financial community and the world's financial community to invest in the cultural industry in China. Recently about four provinces set up art pottery, the Ministry of Foreign Affairs, the Central Propaganda Department began to support this matter, will send some personnel to participate in this ceramic activities. We will strive to combine contemporary Chinese ceramics with our museum in a positive way, so that the Chinese ceramic culture can be righted and its positive energy can play a greater role. In fact, there is no market for those products. The factory with 300 employees has to reduce its staff to 150, which is impossible to reduce to 50. Chinese also go to foreign countries to compete for famous brands. Market adjustment period not only we have encountered, the world has encountered, and in the information age, production mode of homogenization, social demand is personalized things, small batch, multiple batches of things, semi-manual, semi-mechanical to come back, full automation has no market. We see many European companies designer when reorganizing ceramic production, now back to China's current manual, and the mechanical age, just we have not enter China to full automation era, so how to better as active dragon such a company, the studio of exhibition, Chinese ceramics to market-oriented direction in the future. The lifestyle of social people determines the market and products. So I think even the design industry, the whole world is facing new problems, and they are starting to transform. Many design companies have begun not only to design products, but also to organize personalized products, to operate customers, to find large factories to process. So the design of thickening, scientific research is still the next development direction of ceramics.

Lv Pintian: just now Mr. Zhang has made a clear review of the development of ceramics. Mr. Zhang just talked about the gradual promotion of folk development, changing the Jingdezhen lower temperature from the original Liling to the elegant ceramics created by Mr. Chen Yanglong, this is a great rise in personality, so he called for attention to. In addition, he also talked about a very important point, the current trend is anti-homogenization, originally China has been in the pursuit of automatic production, mechanized production, automatic, so the products are the same toward homogenization. Now the tide of the world is reversing, in the future we must build up confidence in handmade ceramics, we do not give up, very good.

Shang Gang: The first time I saw Mr. Chen's exhibition, I thought it was very good. I think it is the best ceramic exhibition I have seen in recent years. Modern ceramics exhibition will see more, generally painting freehand, painted especially thick, actually is not doing ceramics is in the painting, with ceramics do not have a relationship is not good. Ceramics some paintings are painting products, most of the painting is very vulgar. Yang Long kiln's works are not like this. They are elegant and beautiful.

But I still have a little regret that the decoration of art can be divided into two categories: painting nature and pattern nature. Now there are more and more paintings and decorations on ceramics. The ancient ceramics we focus on are all decorative patterns. How good is the Jianguo porcelain designed by Mr. Du? Mr. Chen also made some in the early years, of course, there are now, but in the exhibition hall to see less. If Mr. Chen Li can develop the pattern decoration again, I think Yang Long kiln, Mr. Chen's career will certainly be more bright.

Lv Pintian: Mr. Shang commented that this was the best exhibition ever seen, and expressed a little hope that we would be able to have a fuller decoration in the future, not only in painting, but also in pattern. Actually design sex adornment also is unique charm. Now I'd like to invite President Yang to say a few words.

杨自鹏：大家好！他们告诉我陈扬龙老师的展览在这里举行，我说一定要来。出于几点考虑：

Yang Zipeng: Hello everyone! They told me that Chen Yanglong's exhibition was held here, and I said I must come. For several reasons:

First, I did not expect that Master Yang Long would go back when he was young. Here I would like to express my condolences to Master Chen Yang Long. At the same time, I want to see what his children are like now. I agree with Mr. Shang very much. This is a very high-level exhibition among the exhibitions held by the National Middle School Art Museum in recent years, and it is very distinctive. Among them, there are not only Yang Long's works, especially to see your several very good works, I am very happy. I believe there will be more harvest and better promotion after this exhibition.

Two, rare so good material, so good shape, including bottles, bowls and other. I asked a staff member how much it weighed, and he said it weighed two kilograms. I thought it was wrong, it must be lighter than that. Stick to your path based on good materials and don't be influenced by what I just said.

As for Yang Long personally, I think he has several characteristics besides virtue and art:

I really love ceramics. From his participation to the present development, the first motivation is love, including love of culture, love of art, love of life.

(2) Perseverance. In such a difficult situation, he led his children and disciples to persist in such a cause. Of course, he got such care and support from old friends like Mr. Zhang Shouzhi. But with Yang Long teacher's own insistence is inseparable. I have known many masters in Jingdezhen and Liling, and I admire him very much, but some of them have a good understanding, knowledge and inheritance of him, and some of them have not.

Hopefully after this activity, we will be able to summarize some comparisons between the underglaze road and other roads in Liling. At the same time, we must pay attention to the advantages of good raw materials, traditional billet, glaze and kiln, and carry forward these characteristics. Thank you very much!

    Lv Pintian: thank you, President Yang. Just now I said that the material is good, the shape is good, the decoration is good, which is rare. And Mr. Chen Yanglong loves the ceramic technology, and has been sticking to it.

Qiu Gengyu: The teachers in our department, Mr. Li Zheng 'an and Mr. Zheng Ning, have been running around Liling all the time. Ms. Zheng is also from Hunan and is very familiar with the city, so they have also made underglaze items.

About this exhibition, I think first of all, the title of this exhibition is very good, very appropriate and very in place."Thin application of light color" seems to be a technique of underglaze color, but I think it is more like a style or aesthetic taste. High temperature under the glaze multicolored history is not long, but it claims to be the system, the face. In particular, the techniques and forms of "thin shi light color" later formed the unique look and style of Liling underglaze, which I think is inseparable from the contributions made by Mr. Chen Yanglong, and should be a great contribution. As a decorative method of ceramics, Mr. Chen Yanglong's technique of "applying light color thinly" seems to come from the form of traditional Chinese painting, but he did not simply transplant this kind of fine brush painting to it, and well combined with the characteristics of the material.

In the selection of themes, for example, there are a lot of peony themes, which is not only popular theme, but also difficult to express a theme. For example, there was a pair of peonies in the G20 Hangzhou venue this year, which has been widely criticized in the art circle since its appearance. Same subject matter some people can be painted to let everybody scold, but we see the same subject matter on ceramic today appears very pure and fresh, decorous, have grade and temperament very much.It shows that the author is as calm as water and calm as a cucumber.

The form and shape of the decoration are also particularly good. The modeling of this batch of works in the exhibition feels very Zhou Zheng and stable. Later, it was found that there are many teachers Zhang and Yang's modeling itself. Original ceramic painting is very exquisite decoration on porcelain and ceramics itself vessels combination of practice and decoration, the decoration if combination is not good, it's easy to become painting simple transplant, but we are here to see some pictures of some full, some painting of hydrophobic, full does not appear, the hydrophobic don't seem to be simple, I think all is a combination of and decoration has a certain relationship. I think it's a great piece of work.

Li Zhengan: Because we are from a college, let's talk about the color under glaze. The underglaze color can produce a development, there are various reasons. The reason why the underglaze five colors became so popular was that Mr. Xiong Xiling, the first premier of the Republic of China, went to Japan for investigation and invested in Liling with some government funding to set up two public welfare projects: the porcelain institute and the porcelain company, which received such support. Mr. Chen Yanglong as the first generation of underglaze multicolored painting, Mr. Chen Yanglong benefited from the great support of New China after the liberation of the underglaze multicolored, so that the underglaze multicolored with relatively simple artificial materials, into a series of colors. Series of colors can be very mixed, just like the 26 letter can be deployed out of the kaleidonized Chinese language or wonderful porcelain.

In addition to the production of a large number of artificial raw materials in the fifties, but also benefited from such as Mr. Zhang, Mr. Yang often to the factory training, factory personnel continue to go to the school to study. Our teachers and students have been in contact with Chen Yanglong since the 1980s. When Chen Yanglong's work came out, he would call our teachers or students to his studio to see what I could improve in this work, or what we could cooperate with him in. Including his composition of the idea is absolutely different from the ordinary artists, he pays attention to artistic conception, technology, pay attention to "light color". According to us, there is no need to pay attention to the color of the picture tone. So in the Chinese language, it becomes simple and elegant.

Of course, from the level of art to analyze the formation of the effect is not quietly elegant, by the deployment of color. I think one of his most important things is that he volatilized the ink lines he sketched at the beginning after firing. In the whole process, he created a very unique and elegant art style by connecting good colors and white veins.

This artistic style has not only influenced the direction of the ceramic industry in Liling, Hanguang Ceramics

    Mr. Chen Yanglong took the team to support Liling Glaze at its initial stage. Therefore, Mr. Chen Yanglong's contribution is not only in Liling Kiln, but also in many aspects. The relationship between the art schools and the production, learning and research, including the strong support of the government, and the artists in Chen yanglong production area, under the insinuations of the art schools, have formed such a unique artistic atmosphere. I think there is great potential for the development of our white porcelain field in the future.

Lv: just now, Mr. Li talked about a particularly important question. It turns out that Chen Yanglong's artistic achievements were closely related to the relationship between the universities and producing regions at that time. I also pay tribute to the teachers of the Academy of Fine Arts of Tsinghua University. A number of the original craft teachers of the School of Fine Arts of Tsinghua University have been deeply involved in China's porcelain area for a long time and have established a very close relationship with the craftsmen in China's porcelain area. So that a master like Chen Yanglong can grow up in such interactive communication and reach a very high level. Just now, Mr. Li also talked about one kind. He noticed that Chen Yanglong's "light color" is elegant, and the white line of the vein can be unified and distinguish the sense of hierarchy at the same time. Because after the light, it is easy to miscellaneous, there is no sense of hierarchy. So his use of the white line is a secret weapon.

Zheng Ning: Many of the speakers are teachers from our college. Many of them share similar views. Because I contact with active dragon teacher very much, it very much, go to Liling from active dragon teacher to Chen's generation, from the usual contact found they insist, is the first characteristic of active dragon in very difficult circumstances, has been insisted that his creation thinking, not subject to market changes or other art forms, he has been sticking to it. Now these images are very elegant.

But he himself in the process of creation, I went to his house, filled with pencil drawings, all black and white, changed and changed, this gave us a very deep impression. At that time, his home was not particularly spacious, and there were bottles everywhere, which was similar to Mr. Zhu Danian. Some time ago, the National Exhibition exhibited Mr. Zhu's paintings, which had a good foundation with many heavy colors.

I saw him at his house, and he was very insistent, and he was thinking of nothing more than the underglaze color. This is his insistence.

I also want to talk about Chen Li, because I talked with her a while ago, she respected her father very much and loved what his father was doing. When her father went away, she felt a sense of responsibility, a sense of inheritance. Therefore, no matter how hard she worked, she felt that this must be her responsibility. Therefore, what I saw in her paintings fully reflected her ability to learn from her father not only skills, but also responsibilities, and a kind of striving spirit to continue this thing to herself. I deeply feel that teachers like Chen should be very satisfied with such offspring. Thank you very much!

Lv: Mr. Zheng talked about one point, and Mr. Chen Yanglong has been very persistent. We all have a certain consensus. He's really stuck to his creative path, unmoved by profit. And the painting style has been insisting, so reached such a state. In addition, he also praised and affirmed Chen Li, who could not only inherit his father's skills, but also take responsibility. We all know that. Now please Chen Anying teacher to speak.

Chen Anying: In our general impression, the infiltration of traditional crafts is in the ancient times, but Liling underglaze is a unique skill, especially after the founding of the new China based on an innovative research produced exquisite. Does Mr. Zhang Shouzhi have an accurate explanation on this? And I think the most important point is that Mr. Zhang can also look at the present and the future. He only said a new pattern of the revitalization of traditional crafts.

Many of us here are seniors, who are particularly concerned about whether such a new classic of The Times can be well inherited, and they are very concerned about Mr. Chen Li.

In the fall of 2015, Mr. Chen Li joined the Non-hereditary Inheritance Research and Study Program of the Ministry of Culture and studied in the class of Tsinghua Academy of Fine Arts for one and a half months. So far, this class has been held for five periods, and there have been more than 100 non-hereditary inheritors of the young generation from all over the country who have come to study in Tsinghua Academy of Fine Arts. Among the more than 100 people, I personally think Mr. Chen Li is the one with the most craftsman spirit, the lowest level, but the young inheritor who is closest to future masters. As a platform like us, we hope to provide our support for the growth and development of inheritors in an technological and academic way.

We also noticed that among the younger generation inheritance, do of very outstanding, but their parents have production areas, the interaction between the inheritance of their innovative thinking are based on the research basis, so the teacher Chen can stand out from the more than 100 teachers to become an outstanding representative, I think there is a profound historical basis. Therefore, I would like to express my congratulations to Mr. Chen Li and my respect to all the senior teachers.

LV: In my opinion, the Intangible Cultural Heritage Training Course should carry forward the tradition that a large number of old men respected at that time. It was a kind of exchange, learning and mutual discussion. I think now we have to pay attention to the training of non-hereditary people, and I think the technical colleges will do very well. Do not finish the study of their original skills, traditional things are not very confident, destroy their confidence, this is a problem. Help them build a sense of cultural confidence that allows them to carry forward their cultural traditions and do better, rather than destroy them.

Zhang Shouzhi: The works of the Intangible Cultural Heritage Class of Tsinghua Beauty Office were exhibited in another room, and the Minister of Culture praised them after seeing them.

Li Hong: Just now, many teachers have made a good summary of Chen Yanglong and Chen Li's art. I would like to mention two points, because my participation in the art exhibition of Chen Yanglong's works today highlighted two points. It is true that I did not get in touch with Chen Yanglong very much, but I got in touch with him early. Eighty years on behalf of Lanzhou, Jinzhou porcelain, when Mr. Zhang led, at that time I calculate to stay a little longer time. Later, I had the opportunity to go to the research institute. Not long after we graduated, we had two teachers: Xu Zhenghui and Chen Yanglong. At that time, it was very convenient to communicate with Chen Yanglong. The first characteristic that impressed me most was that he was very hardworking. When I watched his studio, the drawings he put in the studio were piled up very high, because it was rare to see craftsmen working so hard in producing areas. They were all sketchworks with pencil marks, which was very shocking. I still talk to our students about it to this day. This is particularly impressive, in fact, more from his love for art. The second characteristic is that this person is very simple, communication is very convenient, there is no barrier. In 1995, he organized an exhibition in Singapore Liling Ceramic Research Institute. He was stopped by the customs twice. Why? Because he has been wearing a Mao suit, or light gray. It felt a bit out of place in the '90s.He did not care at all, the customs did not know what he was, nor backpack, just like that. So when we were in Singapore, we really hit it off, and I felt that he didn't have the great master's AIRS, and he didn't have some of the things that his place in society in terms of artistic achievement would indicate. People are very simple, very hard.

I have also seen some works of Chen Li and his team today. Chen Yanglong's dedication and hard work in art and his simple characteristics in life can be reflected in his works. I hope our team can inherit his advantages, plum blossom fragrance from the bitter cold. The reason why Chen Yanglong can make such achievements is directly related to his life experience, eagerness to learn, good at learning and love of art. If you look at his paintings, they are very simple. Not many of the colorful things we see today. I admire Chen Yanglong very much.

Zhang Shouzhi: The Hanguang porcelain of Shanghai Tourism Bureau is actually the result of Chen Yanglong and Huang Xiaolin's group of people coming to Shanghai after the reform and opening up. They are all from Hunan. In two or three years in Shanghai, Hanguang porcelain was developed.

    Lv pin tian: Mr. Li said that the plum blossom fragrance comes from the bitter cold. The only hard work and simplicity are indeed Mr. Chen Yanglong's important characteristics, which are very outstanding .Next, I'd like to invite Mr. Huang Zhong.

Huang Zhong: it is also a kind of fate. Thanks to professor Zhang's introduction, I got to know Chen Yanglong. Although we have been together for less than five years, we have left a deep impression on me. We have had several long talks. Once when I was a guest at my home, my wife said that he had never seen a master of Chinese arts and crafts as modest, simple and sincere as he was. I think this is a common understanding.

Strictly speaking, I only love ceramics, I told him that your peony painting is very characteristic, if some of the red and purple peony is called enchanting, your peony painting can be described as beautiful. Now Yanglong kiln teacher Chen Li and his students are the great features of the city peony. Mr. Yang Long is not only a master of ceramics but also a painter. In modern parlance, it is a crossover painter. I have seen many of his sketches, which are very good, and he is also an aesthetician.

Why is there a scene? Because after watching let a person quiet. Aesthetically speaking, like a small flower to see the big, through the philosophy of aesthetic technology reflected in his works. After seeing his works let a person for a long time to remember, I wrote some things to his works, time relationship, do not read. This time I wrote a poem about his art and the memory of Yang Long kiln.

Quiet Fang really wonderful, art more firm work. Not indifferent place, colorful seventy workers. Stars with the dew, the heart like the wind.

Wang Huan: Compared with other teachers here, I don't have that much contact with Chen Yanglong. But among all the masters I know, the one who moves me the most is Master Chen Yanglong. Master Chen Yanglong lives a simple life and is a low-key person. I went to his house twice, and the first time he stayed for about a week, and he talked with me about a lot of things, from learning art to creating. There is a piece of grass outside his house, and he says this grass is the common grass, clover, which is not very attractive because it is very ordinary, but it is beautiful when you look at it from a different Angle. When you rearrange it and draw it in different shapes, it's very beautiful. Indeed, art comes from production and is higher than life. We all know this, and it is very simple to say that it is not easy to do. Master Chen Yanglong did it, and he did it very well. His works are all from life, and his works are all his own sketches, without plagiarism or copying. In today's chaotic ceramic market, there is traditional Chinese painting. At this time, Master Chen Yanglong's ceramic works are just like a clear stream, very fresh, refined and elegant, which has become a model of underglaze color in Liling and also can be said to be a model of ceramic art. Both traditional, has a profound traditional culture, but also has a distinct characteristics of The Times. We also know that the art works of an era must have the characteristics of an era, and must adapt to the needs of an era, whether it is daily use needs, market needs, museum needs, if your works really achieve elegance and delicacy, there will be no market, and will be passed on.

We have seen that Master Chen Yanglong's works have indeed achieved this, and his children and students are also following in his footsteps today. When Chen Li's works were collected by National Museum of China, Chen Li was the first one to call me, very excited. And every time a new work to send me new pictures, I also often give her pick what fault, although there are a lot of room to improve, to be improved, but I saw them in constant efforts, here I deeply wish they could make more and better works, wish the conference a complete success, thank you!

Lv Pintian: Wang Huan works very seriously and treats people sincerely. What she said just now is very true, and I agree with what she said very much. The freshness and elegance of Mr. Chen Yanglong's paintings come from life. He is very serious about sketching from life. As for how we go from the plateau to the peak today, I'm afraid this is a question that needs serious thinking. How can we keep art out of our daily lives, instead of being closed up behind closed doors all day long?So I think what Wang Huan just talked about is very important.

Below please the editor-in-chief of Chinese art space and time, the original editor-in-chief of reading magazine teacher Jia speaks.

Jia Baolan: I'm a layman. Chen Yanglong's works give people a special impression. Now in the flood of the commodity society, to see his works feel like a clear stream, very unique, comfortable, not impetuous, very subtle, elegant. There is something contrary to the current trend of thought, but it highlights his characteristics.

In the fourth issue of 2014, Wang wrote an article in our magazine about Chen Yanglong and his work. At that time this article response is very good, illustrated, after reading the feeling is particularly outstanding. I feel that Chen Yanglong's people and his works are consistent. Many of his paintings are orchids, orchids are not a very noble flowers, but he can draw a unique character, I think and his own low-key are consistent. People say that the word is the person, the painting is the person, the work and his whole person should be consistent. This is the feeling that stands out from reading his article.

In addition to the good reaction, the article had design. In order to highlight the texture of the works, the cover of his works adopts a local design method. So that magazine is also quite good, it is said that in the news bureau of the design award was nominated, we did not know, did not register online. Thank you Wang Huan for your support.

We used to have a column called Intangible Cultural Heritage, which introduced some Intangible Cultural Heritage works and the deeds of Intangible Cultural Heritage masters. Later, it was expanded to be called Local China, which not only introduced the Intangible Cultural Heritage, but also included some quintessence of Chinese culture, thus broadening its scope. All of you present are experts. I hope you can support our magazine more. Thank you!

Lv: Mr. Chen Yanglong is low-key, but his works are noble. You're right. What is great art? Great artists? That's it.Now let's invite Mr. Wang Dongsheng.

Wang Dongsheng: Let me tell you my feelings. It's my first time to attend this kind of seminar. Some teachers have said some opinions just now, and I agree with them very much, including Mr. Chen's works and the art in the system. Actually I am a layman, not a ceramic professional, say some layman, everyone laughed.

After seeing these works, I liked them very much and was very surprised. I particularly agreed with what Mr. Shang said just now. It was also the first time that I saw something similar to the ceramic process or a person's ceramic process outside, and it was the first time that I saw a painting of a relatively detailed type. It is the first time for a person or a system to make the style of ceramics so elegant, I have a deep feeling, like a clear flow, ceramics can achieve such a degree, I think it is very good.

In addition, this kind of works should be considered from both the perspectives of subject matter and technique, because I am not very familiar with Mr. Chen Yanglong, but I can see that some of these works are made by myself and created by myself, which I think is very rare. I repeatedly looked at the yellow flowers, I also asked the teacher how to draw the leaf stem on the surface of the leaf? Not only is the leaf stem, inside the very subtle mechanism effect, must be a kind of technology can achieve. It's amazing how subtle it can be. Technique and cultural creativity, are very rare.

I have also been to Liling for several times. I used to paint there and wasted a lot of ceramic materials, because I am engaged in ink painting. I am also the kind of person that teacher Shang Gang criticized as very rough, and my culture is very individualized and some things are very abstract. But I also have a personal thought when I see Mr. Chen's exhibition today. The discipline system of this era should be open to a large extent, in the field of ceramics, crafts, fine arts, painting, calligraphy, oil painting, decoration, theory, aesthetics, philosophy and so on. I think a lot of things are open. How will our Chinese ceramics develop? I think there's something to it.

First, the construction of national systems.

II. How to stimulate the works that truly represent this era on the market? What mechanism is used to stimulate them? In fact, these are all problems.

I think we all know the two, there is a personal comparison between China and Japan in this respect, why Japan can have so many heavyweight masters, why they can do so well? Especially in the area of craftsmanship, I think Japan is better than China, and its works are much better and better. Because I have some interest in this aspect, also has the habit of reading, because the Japanese in their respective fields no country layer, the mechanism of how to calm and soothe the injured people after the war the mind, with his philosophy, such as the Zen, they use people with relatively philosophical ideas, healing, the creation of this aspect and motivate all fields at the same time, some methods in the rapid rise. In fact, rise is the rise of psychology. Confidence or a very important aspect to support the development of all industries and trades. If this mechanism does not exist, I think many things will be difficult to move forward. Because human beings are nothing more than the correspondence between people and things, but the mechanism in the middle is very, very important. Without this mechanism, people and things cannot connect. Personal opinion.

For China, how to promote the various aspects of China now, I think ceramics also involves such a problem.

In addition, for a field, the big system, the big mechanism to the small, including to the inside of Yang Long Kiln also involved in such a problem. For example, the concept of the Chen family, how to promote the development of Yang Dragon Kiln, actually involves many aspects. How it was opened during the ceremony.

In addition, how to carefully consider the development on the basis of the previous work you have done, I think it is not only technical, but also needs the promotion and construction of ideas and ideas. Lots of ideas.

Say a little personal idea, thank you!

Lv: Chen Yanglong's technology was used to talk about the experience of Japan. Today we need to pay attention to the experience of Japan and learn something from it for the development of today's economy. Very enlightening, next please Wang Legeng teacher.

Wang Legeng: It's a great pleasure to be here. Several of you are my teachers in Tsinghua University. It was only after listening to the introduction of my teachers that I learned about Master Chen's art and character. In the ceramic so many people, let the underglaze color Liling can be presented with such a quietly elegant, elegant appearance, I think it is very difficult. I agree with both Mr. Shang Gang's opinion and Mr. Wang Dongsheng's. I think ceramics have their own limitations, and it is precisely because of these limitations that they have their characteristics. However, ceramics measure the means of artists. So when Master Chen Yanglong started to innovate, it was precisely because of the artistic form of Chinese fine brushwork that he was influenced by it. Now we have so many artistic forms and people's aesthetic needs are so diverse. I think it is very important to carry forward the underglaze color of Liling, but there is also a lot of room for innovation.

I just got to know Chen li some time ago. I hope I can learn from him in the future. I hope we can cooperate, thank you!

    Lv pin-tian: because of time, I can't invite you to speak now. Finally, I would like to invite dean Lian to make a concluding speech.

Some time ago, I took my children to the courtyard to attend and learned about the general situation. I know this is a small scale, but high grade with academic, professional art seminar. So I came here after the World Internet Conference.

First, I was deeply inspired by your speech just now, which was very accurate. I was also moved by it, and it was also a learning process. I took a rough look at the exhibits. They are the most exquisite ceramic art works I have seen in these years. The quantity is not large, but the grade is beyond the reach of many works.

Second, what you have just talked about is the same as mine. Let me expand a little bit. In my opinion, Chen Yanglong's artistic life and art works series probably have the following characteristics:

(a) these works conveys is China's most outstanding traditional culture, active dragon is the people of hunan, the Hunan school sent a lot of literati, the earliest form of mind to learn, we learn that he later taught Cheng, taught Cheng and Zhu Xi, Zhu Xi and Zhang Zai, Zhang Zai's authority, of an era, and then passed on to us. This psychology of his is a pulse. What is Zhou Dunyi's study of Hunan? Talk about the meaning, the heart nature, talk about the Chinese freehand culture and thought. He said that the lotus rose from the silt without being stained. His works were all of Zhou Dunyi's, talking about the lotus, people, things and ideas. It is the artistic embodiment of Zhou Dunyi's Neo-Confucianism. Zhou Dunyi has many other ideas, such as his philosophy of disharmony with fame and wealth and his philosophy of pure and elegant self-cultivation, not thinking of fame. I just asked Chen Yanglong whether he didn't make any money. They said that a life devoted to work, not money, not fame, not profit, was the essence of Huxiang's learning.

(2) Zhou Dunyi had another thought which was the thought of the sages, the great sages were statesmen, and the most sages, who was the most sages? To the sincere person, truly practice the sincere state is the most holy. Chen Yanglong's sincerity and respect for art, his honesty in his artistic creation and his responsible attitude towards the audience are all the inheritances of this school. Therefore, I think Chen Yanglong really shows and embodies the traditional Chinese art culture through the way of art, or specifically embodies the theory of Huxiang School which has been deposited for more than one thousand years. This is worthy of our full recognition.

(3) Mr. Chen Yanglong's works have handled several relationships:

1. Properly handle the relationship between academic and practical aspects. I just asked Mr. Chen if he was an academic. He said no, he read it from school, but you can see that his works are highly professional, academic, literati and scholar. Therefore, he pays attention to academic taste and pattern in the process of artistic creation and practice, and pays attention to his artistic practice at the same time. This is also a very important aspect of the mutual school. Because Wang Chuanshan was an auxiliary materialist in early China, he paid attention to practice. I think it's a good relationship.

2. It deals with the things of inheritance and innovation, and pays more attention to inheritance. It's not random innovation. From this point of view, the very traditional literati ink painting since the Song Dynasty is to cultivate one's own mind, very elegant and full of Zen, very quiet and mature psychology. The picture is very perfect, in the traditional Chinese culture, the freehand culture, the theory of mind, the theory of Neo-Confucianism, the inheritance of loyalty.

In fact, when I look at Chen Yanglong's life, especially after the Cultural Revolution and the reform and opening up, the reform and opening up can be completely internationalized. With his skills, he can learn from the West, or echo Western-centrism, or take the road of marketization a little earlier. No matter how chaotic the society is, how many temptations there are, how many impulses there are, he still manages to stay on his own. He has not changed the roots of traditional Chinese culture. I think this is the most important thing. On this basis, he innovated, for example, "light color applied to thin", the method of using fine brush light color on thin tire, including line painting, I thought of pad dyeing, batik, first up, after opening the covered place is white, after painting off the wax, the color has. It's an innovation in technique, and it's an innovation in porcelain, and it's fired at 1400 degrees, which is kind of interesting.

3. He manages the relationship between artistry and technicality.You from his whole fetal quality, shape, so thin, so even, so jade, there must be a high technical content. Including a very time-consuming and labor-intensive painting, the success rate is probably only 50%.If you want to according to his artistic standards, burned out together, may paint a painting half a month or a few months on the bad, how to ensure that the painting can be burned as much as possible? Technology is very important here. But what I said is the focus of the artistic, he in order to pay attention to his artistic taste, grade, pattern, so he pursues the ultimate in art. This is another very important aspect of how I look.

Objectively, it is highly consistent with the strategy of the central government. What we are talking about now is the structural reform of the supply side. The supply side is the product side, and artistic products are also a very important part of the reform of the supply side. Because now there is too much art, too much fine porcelain, but not enough good porcelain, not enough fine porcelain, not enough fine porcelain, not enough top-end porcelain. So we go abroad to enjoy the Japanese, go to Europe to buy European things. It is not that we worship foreign things, but that China has too few good things of its own. Therefore, the supply-side reform is to supply the market with the highest level and the highest grade of art products. Teacher Chen Yanglong did not know what the central government later mentioned, but it coincided with the trend of the development of The Times and the law of the changes of The Times, which was his exquisite point. With what to win the modern high-end market, for the supply side reform to explain, explain? Take his art, take his superb art.

4. He manages the relationship between generality and individuality. His personality is very convergent, and he does not want to be too personal, too small and too subjective through a work. His aesthetic sense is highly public aesthetic sense, so there are more common things, which is also his reverse thinking. We say that we need personalized development and differentiated development, which leads to four differences and makes others highly recognizable. Of course, this is a kind of aesthetic tendency now, but the real mass aesthetic is a foundation, inheritance, and a consensus of the society and the masses.

This kind of stuff is mass-market food, why? Because he caters to the public standard of beauty. I once wrote an article about the popular aesthetic of calligraphy, which was later republished on xinhuanet.com. I really hate self-innovation without roots in calligraphy. I think they're holding it.

Of course, he also has his own personality, such as his meticulous carving, his own inheritance of traditional culture, personal cultivation contained in this very complete.

Thirdly, I strongly agree with Mr. Zhang's opinion that the cultural industry is a niche integrated market with fragmented market segments and diversified market demands. I have a metaphor. Cultural industry may be a pomegranate-shaped industry. The total plate is very large, but after opening it, each of them is different. Therefore, the audience of the cultural industry must be transformed into a niche market, a directional market and a customized market through market segmentation. Then set the small saint for the great saint to form a cultural industry. It is anti-human to build something to force people to consume, to ignore or despise people's differences in age, knowledge, regional distribution, ethnic group and occupation, and to force people to consume culture in such a simple way. However, this is exactly what we are doing now. How many copies are required by big enterprises and how many copies are followed by everyone? How can we create a rich and colorful culture in our country that draws on what we need, brings out the best in each other, and brings out the best in each other's own way? Can't do.

I quite agree with what Mr. Zhang said just now. I believe that people like Chen Yanglong, who already has such a look and system, should be extracted from the academic field and promoted as an independent phenomenon. You don't want to change it into something else. You should spend money. You should make policies. As for which market these products are facing, we can study this. This is probably the literati market, the middle and high-end market, now the middle and high-end, but no good things, received are fake still feel happy. So this is important. That's my opinion.

IV. As the Chinese National Academy of Arts, we support the creation, display and trading of such personalized and high-end cultural and artistic activities academically or through various occasions. I think we should have a very important art in the chaotic cultural market, or to quote an ideological phrase: "pluralism neutral dominance."Diversified art ideas, diversified art products and diversified art markets, I still want to say that the fish and dragons are mixed. In the pluralistic neutral dominant, what is the dominant? We should establish the leading of artistic standards, the mainstream of mainstream culture, the dominant of aesthetic orientation and the dominant of value. What exactly is a good thing? What exactly is high-level art? By participating in such activities, we can publicize such products and people, and tell the society which is good and which is bad. This is the social responsibility that the art research institute should bear.

I am also very pleased to see that Chen Li got her father's real biography, if not to tell you that this is someone else's work, very remarkable. So it's already the ranks of the masters. So you should not only promote Chen Yang long, but also promote Chen Li vigorously. Don't wait, thank you!

Lv Pinchang: thank you even dean talked about his intentions, from Hunan dates back to the study of active Mr. Dragon art roots, think he is the embodiment of the Confucian spirit fully, in many ways of neo-confucianism, including segmentation of halcyon, zen, character, and this to write it in the future, I think even the dean to speak very good, in terms of cultural roots.

In addition, it points out that Chen Yanglong has established several relationships: 1. The relationship between professional and academic.2. The relationship between tradition and innovation.3. The relationship between technology and art.4. The relationship between generality and individuality. Each one has some in-depth analysis, which I think sums it up very well. I am afraid that artists like Chen Yanglong, who are targeted, individual and can be said to have specific directivity, will become the trend in the development of our cultural industry and art in the future, and will be more targeted in the future. In addition, even the dean of the college on behalf of the leaders of a state, the Academy of Arts has been supporting the cause of arts and crafts in recent years, do a lot of things. Specifically, even dean, of course, we are in the future to make oriented, artistic standards, mainstream culture, value orientation, aesthetic orientation of the leading, where we're going to such tumultuous times, even be dominated by the director with a diversified era, the work we will continue to do it, and will continue to focus on the excellent arts and crafts area. Chen Yanglong is such a low-key, artistic excellence.

Today, we all speak very well. Next, please ask Mr. Zhao to speak to you.

Mr. Zhao: the discussion is very successful, here on behalf of Mr. Zheng Zhi, the chairman of Sino Ocean Investment Group and China Ceramic Art Museum, thank all the leaders for your presence, thank the experts for their comments, especially thank President Lian for what he said just now, we will be the base of China National Academy of Arts in the future. You have any exhibition, activities to us, we are willing to undertake. We are willing to do a good service. In addition, the National Ceramic Art Museum is also the home of all people who love ceramics in China. We are willing to provide good service and build this platform. Thank you!