Theme: Humanity Beyond Diversity -- International Ceramic Art Exchange Documentation Exhibition

Time: July 29, 2015 afternoon

Venue: Guozhong Ceramic Art Museum

The contents are as follows:

Host Fang Lili:First I on behalf of the organizers welcome everybody presence, this activity is to cooperate with the United Nations educational, scientific and cultural organization in Beijing the 5th international BBS, by the United Nations educational, scientific and cultural organization international ceramic art institute and Beijing hosted in ceramic art museum, the theme is "humanity beyond multiple - the international ceramic art exhibition of communication of literature". The exhibition closely linked to the theme of "humanity multivariate", the theme of the UNESCO cultural BBS is humanity, I think is very important, in the era of globalization, the convenience of modern transportation, each country's culture is also begets symbiosis, network has been formed the world culture, communication and interaction with each other and common development. And exalt the UN flag of international ceramic art academy, through the exchange of ceramic art to strengthen the mutual understanding of different countries, to promote the world peace development for the purpose, put forward in the exhibition "is humanity multivariate" discussion topic, expression is the opposite and unity of multiculturalism, believe that through this exhibition and symposium will further promote the development of Chinese contemporary ceramic art. It will also further strengthen the relationship between China and the International Ceramic Society, so that the Chinese contemporary ceramic art will further integrate into the international ceramic family.

Now I would like to introduce to you all the guests attending this conference:

Mr. Zheng Zhi, Chairman of Beijing Sino Ocean Investment Group

Mr. Patrick Grande, Vice-Chairman, UNESCO NGO Liaison Committee

Ms. Wilma Vervode, President of the Argentine Ceramic Association

Mr. Yang Zipeng, former vice president of light industry federation

Mr. Robo Jian, President of China Collectors Association

Mr. Zhang Shouzhi, professor of Tsinghua Academy of Fine Arts

Ms. Lv Xiaozhuang, Professor of Tsinghua Academy of Fine Arts

Mr. Zhu Legeng, Dean, Professor and Doctoral Supervisor of the Creation Institute of Chinese National Academy of Arts

Mr. Ning Gang, vice president of Jingdezhen Ceramic Institute, doctoral supervisor, master of Chinese ceramic art

Mr. Lv pinchang, professor and director of the sculpture department of the central academy of fine arts, curator of the Chinese sculpture museum and member of the international pottery society

Mr. Liu Changquan, Secretary of the Working Committee of the Ministry of Culture

Professor Qin Dashu, School of Archaeology and Museology, Peking University

Mr. Liu Chuanming, a famous cultural scholar and art historian, the chief writer of CCTV's 100-episode large-scale documentary "The Master in One Hundreds of Years"

Mr. Huang Chunmao, Director of Ceramic Design Studio of Central Academy of Fine Arts and Member of International Ceramic Society

Mr. Zhou Guangzhen, director of the International Ceramic Society and visiting professor of Shanghai Academy of Visual Arts

Mr. Pei Huan, Deputy Secretary General of the Youth Entrepreneurship and Employment Foundation of the Central Committee of the Chinese Youth League

Mr. Xu Guangying, Guangzhou Autonomous Region Office in Beijing

Ms. Jiang Zhiying, Deputy Director of the Office of Jiangxi Provincial People's Government in Beijing

Mr. Xie Zhongbao, Secretary General of Jiangxi Chamber of Commerce in Beijing

Mr. Huang Fengxian, former vice president of Minzu University of China and president of Beijing Guangxi Cultural Promotion Association

Ms. Liu Yuanliang, Director of People's Daily Global People Magazine

Mr. Hou Wenquan, Deputy Secretary General of China Ceramic Industry Association

Mr. Zeng Yongjie, Vice President of China Guangxi Chamber of Commerce and President of Beijing Hongboguan

介绍完来宾以后，由国际陶艺学会理事中国区代表周光真先生代表陶艺学会讲话。

After introducing the guests, Mr. Zhou Guangzhen, director of IPA China, gave a speech on behalf of IPA.

Zhou Guangzhen: Distinguished leaders, teachers and friends, good afternoon! Thank you first of all, I want to do first, in such a short time we held this exhibition is a great honor for me, this exhibition is ultimately made by IAC (international ceramic art institute), scientific and cultural organization (UNESCO) liaison Patrick grand lady and Wilma, Walter wear chairman and jointly plan, mainly with the United Nations educational, scientific and cultural organization Beijing BBS, the BBS is a hotel again. The two days will be held on the 27th and 28th. When we decided to hold such an exhibition, to IAC members all over the world ceramic art culture of the six data, got the positive response of the members, the original purpose is data shows, at last, by Mr Huang Chunmao IAC members and the central academy of fine arts with the help of the ceramics museum of connection to the land, so we chose the site.

First of all, I'd like to thank Mr. Zheng and the veteran director Zhao Wenming at the Ceramic Museum of JJJC. In fact, I got in touch with him and today is 33 days. So, all of this has happened in 33 days for our museum. Sometimes I was in China, sometimes I was in Australia, sometimes I was in the United States. When I contacted him, I sent him WeChat and he answered me immediately within 5 minutes at any time. I was very surprised. So, we have a lot of heroes behind the scenes here, thank you very much!

As we know, holding such an exhibition requires a lot of human, financial and social resources, including friends from the ceramic culture circle, art circle or all walks of life. Thank you very much for coming!

Today, the whole design team is Huang Chunmao, who is also our member and assistant, Xiao, a teacher from the Central Academy of Fine Arts. This team has made a great contribution to this exhibition. I would also like to express my special thanks to Ms. Fang Lili from China ×× Research Institute for hosting such a meeting, which is very difficult. There are also many old friends, Lv Pinchang sent the works here, and also brought the works of other friends.

IAC has been set up in Geneva in 62, actually it is still a newborn in China, our members representing the world's highest level of ceramic art, but in China we have a lot of good, actually very outstanding artists are not our member, we need to work together, also hope to get the domestic artists agree and support.

Mr. Patrick Grande was kidnapped by me. He had been given a one-day trip to Beijing and I was hoping he would come and see what we were doing in the international exchange of ceramic culture.

Let me introduce a little, 27, 28 in two days the United Nations educational, scientific and cultural organization and ngos liaison committee, non-material cultural heritage protection association, the United Nations educational, scientific and cultural organization culture fusion joint BBS, I have the honor to represent ceramic institute took part in this event, from more than 40 countries more than 200 people, including the domestic non genetic bearing one guest, Wang Wenzhang, head of China's Ministry of Culture and president of the China Ceramic Art Institute, also spoke. Mr. Hao Ping, President of the UNESCO General Assembly and Vice Minister of Education of China also addressed the meeting. This BBS theme is "cultural harmony, the international decade", have such projects, we are thinking, how to implement the educational, scientific and cultural organization in ceramic art international exchange activities this spirit and ideas, I think that we need from the big international ceramics culture areas to think about the future of China international ceramic culture and Chinese ceramics contribution to the world.

As early as in the Song Dynasty, Chinese ceramic art has laid the foundation for the world's ceramic craft. If we deeply explore, we will find that many ceramic crafts around the world are carrying the gene of the Song Dynasty ceramics. Up to now, many Chinese ceramic terms, ceramic materials, high-quality formulas, high-quality craft are still the example of international ceramics. Chinese ceramics technology has been in the world, but we still do not know, still be kept in the dark, this is the subject we are studying and discussing at present.

We have been saying that the Olympics originated in Greece, the Nobel Prize originated in Norway, the International Exposition originated in Britain, and the Academy Award for Motion Picture Arts originated in the United States. In today's world each big culture, from the sports culture in the field of science and technology, many major awards were dominated by western countries, China can in what stage can provide ceramic culture, long history of ceramic art, science and technology in the world in the field of ceramic culture status and its influence, no ceramic culture of any nation can, make an impact in the field of ceramic art and culture of China, Revitalize the glory and glory of Chinese ceramic art in the world.

12 o 'clock 42 points yesterday afternoon, I have a chance at the United Nations educational, scientific and cultural organization the international BBS do 3 minutes presentation, I introduced the Chinese ceramic society, point to celebrate and honor the United Nations educational, scientific and cultural organization international BBS in the rich ceramic culture festival of China, on July 28, I recommend that named "world ceramic culture day", when the 70th anniversary of the founding of the United Nations, On July 28, when the UNESCO Forum closes in Beijing, I believe it will become a historic moment. After this proposal was put forward, of course, it received warm applause, as well as a lot of care and strong response. After the event, I reported to the president of the International Ceramic Association and got their affirmation and praise. This proposal is still in the process of submission. I will report to you when it is officially released.

Thank you again for your support from the ceramic and cultural circles in China. Thank you!

Host Fang Lili:Thank Mr. Zhou Guangzhen speaking, he is the chief planner of this activity, also on behalf of the organizers, his greatest contribution, please come over, vice President of the United Nations educational, scientific and cultural organization, puts forward the 28th as a "world ceramic culture day", I think this is a very good promote, hope everybody in this room today efforts can become important cultural activities.

Now let's welcome Mr. Zheng Zhi, chairman of Beijing Ocean Investment Group, who is also the leader of one of the organizers of this conference and has made a great contribution to the conference. Please welcome!

Zheng Zhi: Honorable Chairman Patrick Grande, distinguished leaders, distinguished guests, distinguished friends from the media, ladies and gentlemen, good afternoon!

First of all, I'd like to welcome you all to the ancient Ping An Prefecture in Beijing, the capital of China, for the ceramic art exchange activity jointly organized by the UNESCO NGO Liaison Committee and the Ceramic Art Museum of China Middle School. First of all, on behalf of the organizers, I would like to express warm congratulations on the smooth holding of the conference, and express the most sincere welcome and heartfelt thanks to all the guests and leaders.

Ceramics is the treasure of world culture, but also China's art crystallization, is one of China's cultural envisage, countries around the world through the ceramic art exchange activities, and the ceramic culture, promote the vigorous development of the ceramic culture, promote international art academic interaction and communication, constantly promote the fusion and development of the world culture. In response to the theme of "cultural harmony" proposed by UNESCO, this international ceramic art exchange exhibition will discuss the humanistic values embodied in ceramic art on the basis of "multiculturalism".

In order to present the Chinese and foreign ceramic industry exchange and dialogue, the event is divided into ceramic art literature exhibition, exhibition and international academic exchanges to three parts, ceramic art exchange information provided by the world ceramic art association, to show the public the current ceramic art association in the world, show some ceramic artist's work, For example, Jack Kaufman, the chairman of the ceramic industry, Wen Hagby, the Japanese ceramist Mikio Koji, and the famous Chinese ceramist Mr. Zhu Legeng, Lv Pinchang and more than 20 other ceramic artists' works, some of which have had a profound impact on the development of international contemporary ceramic art. Especially in this activity, we also specially invited domestic and foreign well-known art pottery experts, theorists, aesthetes because discussion BBS, through this peak dialogue, to discuss the further development of modern ceramic art, through this activity to further strengthen cooperation in the field of ceramic, find a way to develop contemporary ceramic art in common, in order to put forward new ideas for the development of modern ceramic art, New contribution (sound).

I wish you all good health and good luck in everything.

Moderator Fang Lili: thank you for the speech of chairman zheng zhi, the development of pottery is inseparable from potters, theorists and financiers, Mr. Zheng is a financier, participate in promoting the development of pottery, it is a great honor! Now let's welcome Mr. Yang Zipeng, the former vice president of China Light Industry Federation to speak. Yang Zipeng once served as the president of China Ceramic Society and the president of China Society of Arts and Crafts. It can be said that he is a very important leader in promoting China's arts and crafts and ceramic industry. Please welcome!

Yang Zipeng: Distinguished Patrick Grande, dear friends, good afternoon! I was very excited to attend this activity this afternoon. After I arrived, I asked Zhang to confirm it, because he arrived early, what kind of influence he left behind. He said it was good and rich. After I read it, although it is very cursory, I feel that it is diversified to prevent such good activities in such a short period of time. At the same time, it is necessary to make people feel that it is mutually promoting and symbiosis. So, although the time is short and the content is not very rich, but I think the theme and the basic pursuit has been achieved. So, we should thank the organizers, I would like to thank the curators, also thanks to the art institute, there are so many warm-hearted, international organizations and friends all aspects of domestic, to promote China and the world of ceramic art and culture communication and mutual promotion, I think we achievements should be recorded, in front of the back will be more new achievements.

Just now, Guangzhen introduced many ideas and promotion in their activities. Guangzhen mentioned a motion, which was warmly approved by the conference hall, that is, to set July 28 as a beautiful day. I was very moved by it, whether for ceramic people or for Tangshan people in China. For a little more than 39 years, on July 28, the most powerful earthquake ever struck a place in China called Tangshan. Within minutes, 240,000 bouncing lives were dead. So, we feel this is an unprecedented disaster.

At the same time, because I am in Tangshan, I survived, I tell you truly, and it is easy to death died a few minutes, but people die is very not easy, my colleagues and I have many injured people from out of the ruins of the time, the people's liberation army to help us to the car, these people give up arm leg, inside the skull crushed, smashed the pelvis,But after more than 20 years of living as a disabled person, they are still thriving, still thinking about China, thinking about the world, thinking about what individuals can contribute to the cause. I still have friends in Tangshan who were seriously injured.

As for July 28, I came here to discuss with Guang Zhen a question that we have agreed on. Could you discuss with the relevant authorities of the state and Tangshan City of Hebei Province to locate the first official commemoration activity in Tangshan? Tangshan, as it is known to the world, has Chinese roots there in a certain sense. Tangshan is also the famous "northern porcelain capital" in China. Ceramics means tempering, ceramics means destruction, ceramics means rebirth and eternal life. I would like to propose this proposal to you in the hope that you can understand and appreciate our feelings. I believe that the people of Tangshan city, the party and government leaders of Tangshan city, the friends of Tangshan ceramics field and other circles will welcome and cooperate with you warmly.

First, it is easy to work on our topic today, and second, it is very difficult. It is easy to say, because we all have the same heart, the same reason, the same will and the same idea. But it is not easy to make things diversified, transcendental and eternal. As long as we do it step by step, it will definitely be achieved. As an old staff member of China Ceramic Industry Association, I will bring this activity to them. They will definitely support the market we are going to pass today. I wish our activity and future years will continue to achieve more achievements.

Thank you!

Host Fang Lili:I want to thank Mr. Yang Zipeng for his speech. He just said that it is very good to integrate Mr. Zhou Guangzhen's motion with another motion. We can choose July 28 as the World Ceramics Day, and we can also celebrate it in Tangshan, because 240,000 people lost their lives on that day. He just said a sentence I think is particularly good "ceramics are destruction and regeneration", made of earth and then regenerated with fire ", this proposal is very good.

Let's give the floor to Director Wilma Ververde! Those who are familiar with ceramic art should know her works. I saw her works in this year's Korea Biennale. She is a leader in ceramic art and also a famous potter!

Wilma Vervode: Hello, ladies and gentlemen! First of all, I would like to thank the organizers for inviting me to attend today's event, and I am very happy to be in Beijing to meet so many Chinese ceramic artists and all my friends. On behalf of the Argentine Ceramic Association, I wish today's event a great success!

I still remember coming to China for the first time in 2000 when I just joined the World Ceramic Association. Since then I have been traveling in China and visiting China. At that time I was very impressed by the traditional Chinese ceramics, but not long after that I also had the pleasure to witness the boom of modern Chinese ceramics. During this period, I saw the rapid development of Chinese ceramic art, because Chinese artists were able to get a lot of sponsorship and support, they were able to participate in different kinds of activities, and they had the opportunity to learn from other ceramic artists and artists from all over the world.

Another important point is that the ceramic industry, the art industry and the industry began to work together to show the artists' ideas (sound).

In terms of the development of ceramics in Argentina, it started in the 1950s when my teacher Verteweena, who was a sculptor and painter, decided to use ceramics as a material to construct and create her own works. She's the founder of ceramics in Argentina, she's 94 years old, but unfortunately she's not in very good health now, and I've written a book about her about her person, her life and her work. Today, I also bring with me two works created by my teacher. These works were created by my teacher a few years ago. Because she can't go around the world due to her health now, I always bring her works with me whenever I go everywhere. Therefore, today I would like to present these two works created by my teacher to the Ceramic Art Museum of Junior High School.

Thank you!

(Presentation Ceremony)

It's a small piece of pottery! This is a painting created by my teacher on ××.

Host Fang Lili:Thank Ms. Dai speech Wilma geert wilders, let us see China is a very ancient ceramic powers, we began to have the original ceramic in shang dynasty, Argentina is a country with a ceramic art development is very young, his father laid the foundation of the national ceramic art, he is very friendly and gave the teacher's work in ceramic art museum. I think this is also a memorable event!

The last grand finale, please give the floor to Mr. Patrick Grande, who is not the Chairman of the UNESCO Liaison Committee on Non-governmental Organizations!

Patrick Grand: Good afternoon, dear friends! It has been a great honour for me to come to Beijing to participate in the international ceramic art exchange, international ceramic art exchange as a member of the United Nations educational, scientific and cultural organization, like just weeks director said, yesterday and the day before yesterday we had a lot of seminars held in Oriental hotel, delegates from more than 40 countries more than 300 guests attending the meeting, discussed the topics such as the international cultural exchange.

This is a very important, very interesting and very meaningful academic exchange, because it was held by UNESCO from 2013 to 2015 to discuss the exchange and integration of international cultures. The participants were young and some were relatively old. We got together to discuss the exchange and integration of international academic culture and we found that in the past two days, the world's intangible cultural heritage and cultural heritage as a way, the way that international culture should be retained and integrated. As you all know, UNESCO goes around the world and classifies monumental buildings or cultural works or cultural or material or intangible heritage.

Of course, China also has many material and intangible cultural heritages, which UNESCO selects for. This is not a private heritage, it is a heritage of the world, it is international. Just as we have seen on TV or the media in recent years, some people are doing some actions to destroy the world's material or intangible cultural heritage, and they intend or are trying to destroy the communication and integration of world cultures.

All over the world, some people are destroying these material or intangible cultural heritages, hoping that their own culture will be the only one in the world, and not wishing that the cultural or intangible cultural heritages of other countries will exist. It is a great honor for me to be here with you and to find so many works of artists from all over the world. In my opinion, this is a way to promote the exchange and integration of world cultures.

Here you can see the classical Chinese ceramic art. In this venue, you can see the works of artists from all over the world, which transcends national boundaries. It is a kind of world art and culture exchange. I am very honored to be with you at this moment, and thank the International Ceramic Society as the organizer of this event, because of these ceramic works as a way to promote the exchange and integration of the world culture. By displaying these ceramic works, we young people can appreciate and appreciate these ceramic works and understand how the cultures of the world exchange and merge.

I am very honored to communicate with you, I am sorry, I do not speak your language Chinese, but because of these ceramic works, for us to provide a way to understand each other, to communicate with each other.

Thank you very much!

Host Fang Lili:Thank you, Mr. Patrick Grande, for his speech. His coming and speech are very important. This is only two days in China for the UNESCO International Forum, and today should have been his time to travel. This shows that the UNESCO NGO Liaison Committee attaches great importance to our ceramic activity. And he talked about a very important issue, the protection of intangible cultural heritage, the actual Chinese ceramic skills, ceramic culture, ceramic aesthetics and other systems are one of China's very important intangible cultural heritage. As he said just now, intangible cultural heritage should not belong to any nation or country, but should belong to all mankind. I think this is the most important. China is the first country in the world to invent porcelain, so it is the country of porcelain, and also the mother country of porcelain, but the traditional Chinese ceramic skills have been spread all over the world. I remember reading a sentence in the Korean Ceramic Museum that the World Ceramic Epic is the history of the continuous expansion of the ceramic memory. China has truly transmitted its intangible cultural heritage and ceramic skills to the whole world.

I think there will be more exciting presentations in the workshop in the following afternoon. I am from China academy of art, art and human, director of the institute and anthropology of art, although I do but I always focus on pottery, once read a book in China ceramic art academy of fine arts, also studied at the central academy of fine arts, very honored to preside over the meeting, also is a great pleasure to share ideas, underneath all the delegates to the door, please,You can have a brief look at the exhibition after the group photo. Come back here again at 3:20, we have the second half of the workshop. Thank you!

(rest)

Moderator Fang Lili: The following seminar officially begins. We just finished the wonderful opening ceremony, now we want to start the most wonderful seminar, I also learned a lot from the opening ceremony, the time is limited, the orientation speech. First of all, I would like to invite Qin Dashu, a teacher from the Archaeological Museum of Peking University, to speak first. Mr. Qin has traveled to many countries around the world, including the ancient ceramic road, and visited many sites. Now let's welcome Mr. Qin to speak!

Qin Dashu: My speech is not particularly in tune with today's exhibition, because it is ancient, now it is mainly a modern ceramic art exhibition, I would like to introduce our work.

Archaeology team of Peking University in Kenya, East Africa

Our project is funded by the Ministry of Commerce, the first foreign cultural aid project funded by the Ministry of Commerce. This project is named the Archaeological Project in Lamu Islands by China and Kenya. There are two aspects: one is the underwater archaeology center to search for the sinking ship of Zheng He; the other is to search for the tribes of the ancient kingdom of Maryenti. At the same time, the former official archaeological and unearthed Chinese porcelain in Kenya will be sorted out and investigated.

There are a lot of people to participate, a total of three times, we work by taking part in people's knowledge to date occlusion test, we found that the more abroad of China, the most information about the job, so we invited archaeology by Zhejiang people, they to Longquan, more to understand better, please the archaeological museum scholars involved in our work. We kept some of the porcelain, we put it together, and this is the work of Kenyan scholars with us. The first is to pick out, the second is to identify the kiln, the third is to type and type, the fourth is to portrait. They discovered that the archaeological porcelain didn't really know what it looked like, so we put it together, and then started taking pictures, which started to be more amateur, and then more professional. Kenya is the storehouse of Chinese porcelain, discovered that Chinese China very much, this is a site unearthed Chinese ceramics, there are thousands of pieces, we also use a handheld silver analyzer to analyze science, it's a very big help for determining kiln mouth, we used to think is zhangzhou kiln porcelain, relatively coarse, found after testing or kind really porcelain. We did a physical survey of the sites that were found, this is Lamu (7 points), and everyone had a handful of Chinese tiles in their hands, and the number of Chinese tiles that were unearthed was very rich. We are talking about modern porcelain art exchange, then we must know that the main medium of communication between China and the outside world is porcelain, ancient Chinese porcelain. This is the Shangjia ruins, this is the Arab people think that photography is not good, will put the soul hook away, even if the photograph is also low head.

We conducted an investigation in Mombasa, ×× and other places. We investigated 37 excavated documents, including more than 1,000 pieces of porcelain found by ourselves, and a total of more than 10,600 pieces of porcelain. The second work in Indian Ocean region, may present some know, in 1965 and 1966, the Japanese experts in Chinese pottery of xx once with a group of Chinese scholars in old Cairo multifilament tahe, site investigation, they have four or five times of investigation, surveyed more than 12000 ceramics, we surveyed more than 10000 ceramics. It's the second largest tile. They only investigate when there is something, dating is not accurate, and Xiaoshan × Fu I also field investigation, found that some of the porcelain is Iraq, not necessarily Chinese porcelain, not necessarily very accurate. Therefore, we made sufficient statistics after the generation and kiln cutting, so that Kenya could be taken as a unit. After the statistics, we could see that the output scale of Kenya was different in different periods. Special export products in different period is also not the same, product output in different period is different also, so, I want to pass this coastal parts of the country as a big unit, and statistics, as a unit to see ancient Chinese porcelain to height of the phases of the Indian Ocean to see about a few, a few trough. In fact, what I said is relatively polite, the Indian Ocean region is actually the modern development of China's ancient maritime trade. What it refracts is also directly related to the domestic economic and trade environment.

These are some Chinese porcelain pieces that we found unearthed.

II. The stages of Chinese porcelain export reflected by Chinese porcelain unearthed in the coastal areas of Kenya.

There were several peaks in sales of Chinese porcelain to the Indian Ocean Rim.

The first peak period is the founding period, that is, the 9th and 10th centuries. From the late Tang Dynasty to the early Northern Song Dynasty, the large-scale export of Chinese porcelain to overseas countries began in the 9th century. This is actually transit trade. The entire Indian Ocean region, from the South China Sea to the Indian Ocean region is divided into three trade circles, China to Guangzhou Strait, Guangzhou Strait to the peeling Strait, the Baltic Strait to the Persian Gulf region, and the Persian Gulf to East Africa region. China's "new tang book" in great detail recorded where there, how many days after, we the strait of malacca to the Persian gulf, they called middle road, probably go to Dr. Days in Baghdad, and expertise "west sea", academic circles have some specific argument, Zhang to think that the west on the Arabian peninsula. Most scholars agree with Chen Chongbian that Sunland is the counterpart of the East African city of Sunland, so it should be in East Africa and Kenya. This is a route to the west coast of the sea.

The products exported in the late Tang and the Five Dynasties were mainly the four combinations of the academic world, the Yue Kiln, the Changsha Kiln, the celadon produced in Guangdong and the white porcelain produced in the north. When President Xi Jinping visited Africa last year, he said that our connection with Africa can be traced back to the time of Zheng He's voyages to the Western Seas. Actually, it is not. At least, Chinese porcelain has been found here as early as the late Tang Dynasty.

This is Kenya lamu islands, jia site, here is an important site of the university of Cambridge professor mark horton (original) is a PhD student here for a large number of archaeological excavations, he did not understand Chinese porcelain, he says, don't study Chinese porcelain to understand people to study, so we found in China, it is this on the site of the tribe. There are 17 pieces of Changsha kilns in the late tang dynasty, among which there are two in ancient times, and the others are all from the late tang dynasty. Also found at the Manda site in the Lamu Islands are the Changsha kiln porcelain, which is white porcelain from the 10th century Fanchang kiln, and the Yue kiln porcelain from the 10th century. It was found at the Manda site on the island of Manda.

We can see that in the 9-10 centuries, while Chinese export porcelain has just begun, but the range of its reach in the time of zheng he's navigation was breakthrough, so, in 8 century maritime trade on a large scale, 9-10 century to reach peak for the first time, the distance it has reached the central Africa, export scale is very big. Let's take two examples of shipwrecks, one is the Black Lion shipwreck, it was ××826, archaeological. . . Mainly Changsha kiln porcelain, Yue kiln porcelain, Guangdong celadon, warehouse in large quantities to keep this big pot. This is what happened when they came out of the water.

Similarly, there are more than 430,000 pieces of statement found in Java, and about 350,000 pieces of Chinese porcelain, mainly Yue kiln porcelain, according to our ××. There are so many such POTS that they are considered precious in China. There are thousands of such POTS here. Thus it can be seen that in the 9th and 10th centuries the first peak of Chinese maritime trade, as far as East Africa, was very large.

The second period, the 11th and 12th centuries, was the trough period. The Northern Song people pursued a simple and elegant life instead of foreign products, such as clove oil and other clothes and hats. Another important reason for the control of the Strait of Malacca by ×× and the Cylinder Kingdom of India to carry out, the Strait of Malacca closed, although we will find some Chinese porcelain in East Asia, Japan, Korea, the Korean Peninsula, but in the west of the Strait of Malacca found very few Chinese porcelain, this is a low point period. The number of eleventh-century Yue kilns in Kenya is very small. The Jingdezhen white porcelain in the middle of the Southern Song Dynasty, which was almost as good as the Chinese porcelain, was very small in quantity at this time.

This is the excavation site at that time, we unearthed a lot of dragon porcelain in the Southern Song Dynasty.

Third stage is the end of the southern song dynasty to the early years of the Ming dynasty, is the whole China the second peak of export porcelain, number continues to grow, starting in the late southern song dynasty, was presided over by Mr. Maystadt sites, a professor at the university of Cairo Egypt jol, hanna-barbera a description (transliteration), the southern song dynasty at the beginning of the 13th century, during the period of Longquan celadon porcelain such as flooding, a day out of a dozen pieces. That's a pretty impressive number. A large number of original Longquan kiln porcelain, Longquan kiln porcelain from Shangjia site, as well as a very large bowl of Longquan kiln. This is from the early Ming Dynasty, along with Fujian white porcelain.

Southern song dynasty when the quantity is less, more truly is the original generation, we have a preliminary judgment, established the Bohr khanate in Iran and the Persian region (sound) x was Kublai Khan's brother, is Han when he support Kublai Khan fight for the position of the great khan, the relationship is very close, the reasons for maritime trade is very developed, at the time of the original generation. It lasted until the early Ming Dynasty. In the late Southern Song Dynasty, the Longquan Kiln was more exported. Huaguang Reef No. 1 was discovered in ×, a shipwreck found in Japan and a porcelain unearthed in Tapenkeng, Taiwan.

The blank period of Chinese porcelain export in the early Ming Dynasty. In the 21st century, Roxanna Brown, an American scholar in the University of Bangkok, published a book. She was over 60 years old and used 15 materials on shipwreck for her doctoral degree. She explained that in the early Ming Dynasty, she believed that the export of Chinese porcelain in the early Ming Dynasty was very small due to the sea embargo policy.

Between 1325 and 1380 there was an archaeological gap in the export porcelain.

During the 100-year period from 1352 to 1487, there was no export of blue and white porcelain. After the gap period from 1352 to 1487, there was a lot of blue and white porcelain, but it did not mean that Chinese porcelain was not exported. At that time, China had a great voyage, namely Zheng He's voyages to the Western Seas. It had nothing to do with economic trade. In fact, a large number of Longquan porcelain were exported during this period. Why was this thought of as a blank? It's because our archaeological work hasn't kept up, or it hasn't been disseminated. Therefore, many Longquan porcelains in the early Ming Dynasty are believed to be from the Yuan Dynasty. In 2006, Zhejiang University and XX jointly released the unearthed porcelains from Longquan kiln in the early Ming Dynasty of Yongle.

A large amount of Longquan kiln porcelain was exported in the early Ming Dynasty.

The old town of Gedi is a very old settlement, very large, and in the 1940s there was a lot of porcelain unearthed in Kenya, 1,257 pieces of porcelain, and we did a thorough survey of that. Jingdezhen porcelains accounted for 37%, Longquan porcelains for 58%, Longquan kiln is the main export porcelains. In terms of times, the original porcelain accounted for 23%, while Longquan kiln porcelain accounted for 88. 9%. At the end of the Yuan Dynasty and the beginning of the Ming Dynasty, we can not clearly date the period, but in the second half of the 14th century, it accounted for 17. 34% of the total, of which Longquan Kiln also accounted for more than 80%. Especially, the quantity of Cao Qi's porcelain in the Ming Dynasty accounted for nearly 41% of the whole Gedi Ancient City, and Longquan porcelain accounted for 99%. Therefore, Longquan kiln porcelain was the main export of the Ming Dynasty.

In the fourth stage, there was a high peak at the bottom, during the Chenghong period in the middle of the Ming Dynasty, which was a small peak. The policy of sea ban still existed in the Ming Dynasty. Why did it increase? This is the ancient city of gedi unearthed, this is the blue and white porcelain of the Zheng he period, there are a lot of them, we found the Zheng he porcelain of the Hong Zhi period. At the beginning of Chenghua, China began to monetize silver, which was the emergence of silver standard monetization. A large amount of silver was needed in the country, and we found from archaeology that all the silver mines were in the decline stage. At this time, a large amount of silver was needed to be imported, so it was necessary to smuggling porcelain to exchange for silver. In the Ming Dynasty, China's silver mainly came from South America and Japan, so it needed to export a lot of porcelain. Cheng Hong-ho was at a time when the Ottoman Empire was very strong, and it established a trade ring around the Indian Ocean, and trade was very regular. So there was a small peak of trade in the middle Ming period.

The pursuit of Chinese porcelain in the Ottoman Empire was very strong. This is a collection of porcelains from the Tokabi Palace Museum. It is very fine, and there are many porcelains from the Yuan Dynasty to the Ming Dynasty.

The fifth stage, in general, the third big peak is the late jiajing and wanli period to the early stage of the Qing dynasty kangxi period, this time is the big Shanghai period, the so-called great geographical discovery, in the international trading system, China's porcelain in global trade or in the process of global economic integration of the very important position.

After the Great Geographic Discovery, the first Portuguese team, da Gama, rounded the Cape of Good Hope at the end of the 15th century.

The Marindi and the Portuguese maintained good relations in the 16th century.

An iconic site, the Portuguese Chapel, the first Christian church in Africa, was built in Marindi, on the west coast of Mali, where Islam was prevailing, and the building of Christianity here indicates that the Portuguese had occupied the corner. Malindi served as a base for the Eastern Jin Dynasty, when the Portuguese occupied Goa and Malacca in India and China did not allow them to land at that time, so they ran the Bangor Century smuggling trade at Shangshan Island in Taishan County. In the 36th year of Jiaqing, the Ming government allowed the Portuguese to open ports. . .

In the middle of the Ming Dynasty, Haidi Ancient City was still taken as the statistics. In the middle of the Ming Dynasty, Jingdezhen porcelain was mainly produced, accounting for 28. 7% of nearly 30% of China's porcelain, mainly Jingdezhen porcelain. And one of the major phenomena that we see here, the so-called Braque porcelain, which is the site of Gawan, suddenly disappeared, and it was thought that the Portuguese brought the disease, and the site was suddenly submerged, and it wasn't until the last century that we found this ancient site.

See a phenomenon, here in the Portuguese trade smuggling is composed of the opening of trade, the major destination region in Portugal, Long Qing switch after a large number of porcelain, such as wanli China found in Europe, truly become a global trade, the people imagine is possible, but take the empirical specification our statistics is very telling.

During the reign of Emperor Kangxi, the export of Chinese porcelain reached another peak, mainly led by the Dutch East India Company. In the mid 17th century, the Dutch. . . A great deal of Chinese porcelain was found in South Africa, especially during the Kangxi period, but what was really shipped to Europe was a very small amount of very fine porcelain. In South Africa, we can see that the boxes that need to be nailed with wood are full of blue and white porcelain of the Kangxi period, which was large in scale and quantity.

This is the Kangxi 36 Mombasa shipwreck, this is the world's earliest underwater archaeological work, this is a warship, but out of a batch of Chinese porcelain, we have written a report published in the journal of the Palace Museum.

After the decline of the Dutch East India Company, which was later replaced by the British East India Company, trade was very normal, the amount of porcelain after Qianlong was not as great, not as much as it was after Kangxi, this is what was underwater after Qianlong.

In the late Qing Dynasty, there were some local Chinese porcelain, but only in limited quantities.

And then there's the Japanese Kinaki porcelain.

Until 1698, we saw this in East Africa. In the 36th year of Kangxi, the Portuguese were completely driven out of East Africa by the Sultanate of Oman. After that, the British East India Company did not use Central Africa as a transit station, but went directly to Europe.

Lili Fang: Thank you, Mr. Qin Dashu, for giving us a very wonderful academic report. I haven't listened to it yet, because time is limited. What he said is very relevant to us today, the starting point of Chinese pottery art, which is not only related to the present, but also related to the future. China has a very strong history, different kiln porcelain development, Chinese pottery will get more important development on this basis, and he spoke very well, this is not just about porcelain, he talked about the international situation, national situation, four heights, China is the strongest and most open period.

Next, Ms. Wilma Vervode, a ceramicist from Argentina! Previously he was speaking as president of the Ceramic Society. Now I want her to speak as a ceramist.

Wilma Vervodei: I can tell you a little bit about the development of ceramics in Argentina. It's mainly a portrait, and most of the artists follow the form of their teacher, Vertevera. But in Argentina, ceramic artists get little help and support. Although artists have a lot of good ideas, they lack funding and funds, so it is difficult to turn their good ideas into reality. But the situation in China is quite the opposite from that in Argentina. Chinese ceramic artists can develop their own projects, they can find the corresponding support and sponsorship, and they can turn their ideas into reality.

Argentina is a South American country that has faced many economic problems over the years. I came to China for the first time in 2000, and I have been to China for several times since 2000. I have witnessed the development of Chinese ceramic art, and I have seen that ceramic artists in China can start and hold some of their own projects and carry out their own artistic creation projects, which is very important for artists. In Europe, we take Spain as an example. In Spain, young artists can hold their own large-scale solo exhibitions and get the support of the municipal government and even the mayor. They can publish their own personal album when they are 25-30 years old, and they can freely or happily engage in their creative work. They believe that free and happy creation is the most important thing for an artist.

Therefore, I think Chinese ceramic artists are very lucky, because they can get the help and support of a lot of organizations when they are engaged in ceramic creation. Therefore, it is very important for the ceramic industry and the art world to work together, because the ceramic industry needs the creative ideas of artists, and we artists also need the help of the industry to turn our creative ideas into reality and apply them to our lives.

I wish all the ceramic artists good luck, and I am very grateful to the organizer for organizing this very important seminar for us, because only our platform can promote the development of our ceramic art in the world. Thank you!

Lili Fang: thank you very much for the speech made by the president of Argentine ceramics. Her speech made us really feel that we are very happy as a Chinese ceramics artist. The topic of today's seminar is "Human Nature Beyond Diversity". A journalist just asked me what it means. In fact, culture is diversified, because we live in different geographical space and historical period, so, resulting in the cultural diversity of different nations. But the human nature is interlinked, the human mind is interlinked, the so-called human nature is interlinked because everyone's basic happiness is the pursuit of a good life, happy life, and ceramic production is also for the good life, happy life. Fortunately, the art of ceramics grew in China.

The land in China, I remember chairman Zheng told me something very insightful, he said push is the coffee and western oil painting, the east Japan and China, is the tea and porcelain, therefore, it is the root of a culture, so the roots of the culture of the ancient China, and such a wide area of people like this ceramic, so, Chinese land gave birth to the development of Chinese ceramic artists. Argentina is a very young country with ceramic art, but I believe that with the development of society, there will be an atmosphere of love for ceramic in their country, but this is not a day or two (formed), but a history of tens of thousands of years, no art and culture as long as ceramic.

Mr. Qin Dashu's speech just now shows us that Chinese ceramics not only have a long history, but also have travelled all over the world and exerted a great influence on the world.

Now let's welcome Mr. Zhu Legeng, who is from China Ceramic Art Research Institute.

Zhu Legeng: Good afternoon, everyone! Beijing international ceramic art activity is too little, don't become great powers for ceramics, because of our country, really want to thank Mr. Zheng, our activity is too little, Japan, South Korea ceramics are the favorites of their country, China ceramic art so long, after China's reform and opening up, the entire ceramic culture development, ceramic art also get very good recovery. Including ceramic resources to the contemporary, modern ceramic art development plays an important role. Historically speaking, ceramics are the earliest art form in every country. Ceramic art itself is produced for the good life, including manufacturing, using for life, and convenient for the use of details in every aspect of our life. They are the best objects in the primitive society, just like cars and refrigerators today. It makes not only objects, but also the earth, the beautiful man, his ideals, his beliefs, his ideas, expressed through the making of ceramics.

Just Qin Dashu teacher ceramic international communication, communication is not only the tang dynasty, when there are humans, ceramic between tribes and tribal, between countries, between people and people is a kind of culture, is now the Internet age, ceramic communication beyond national borders, communicate with Chinese and foreign artists today, we have to attend international. This has greatly promoted our ceramic exchange and pottery art. Our understanding of ceramic art, how the development of ceramic art transforms contemporary art, and how to combine it with the current lifestyle, are also some issues we are discussing today.

The works in this exhibition are quite different from the traditional ones. They show the artistic thinking. Although they are not an industry, they reflect the spirit of ceramic art. But how many good ceramics can we really buy in the market now? We feel that there is a lack of good design, in Beijing is the lack of good ceramic design.

Contemporary we need ceramic revitalization, also need ceramic great rejuvenation. I think this meeting today is meaningful and very important for the development of Chinese ceramic art. In the future, I hope there will be more international conferences and more discussions to promote today's ceramic art to re-enter the world.

At present, there are many museums in different periods of history, but in the Asia-Pacific, Chinese ceramic art is basically blank and has not developed. We have a lot of ceramic art, but many museums are not very familiar with contemporary Chinese ceramic art and works. I hope all of us can work hard in the future and entrepreneurs like Zheng Zhi can help us. I believe that Chinese ceramic art can better re-enter the world in the future.

Thank you!

Lili Fang: Thank you very much for your speech, Mr. Zhu Legeng. He mentioned a question which I think is also very important. The development of contemporary Chinese pottery has reached a new climax. But what about the development of Chinese Japanese porcelain? China is a big country of daily ceramics, how it penetrates into people's life, culture and culture is to change into the world, let the world people use your things you can become the best things, art and design is also very important. Now I don't mention the name "China", because now I know it is embarrassing to mention China, because there are two names for porcelain, B×× × and China. B×× refers to high grade porcelain, China refers to low grade porcelain, China used to be high grade porcelain, but now it is low grade porcelain.

The China Institute of Ceramics is the only university of ceramics in China, which aims to train not only ceramists but also designers. Next, I would like to invite Mr. Ning Gang, vice president of the Institute of Ceramics, to speak. I think he will speak not only on behalf of himself but also on behalf of a very important university of ceramics.

Ning Gang: Good afternoon, experts! Is a brief introduction of institute of ceramics, ceramic institute in 1910 ceramic art study group, there was a group of studying in Europe, Japan aspiring young after home feel bit behind China's porcelain, because you know in the 18th century Europe sent missionaries in China for more than 20 years, he finally found the formula, so the European society of found xx soil for China. It was very expensive for them to make porcelain. In the late Qing Dynasty, some aspiring young people thought that it was necessary to revitalize China's porcelain, so they founded the Ceramic Art School in Jingdezhen. At that time, the Ceramic Art School was set up in ×× Mansion. In 1927, under the government of the Republic of China, the School of Ceramics was established as a technical secondary school in the province. In 1947, it was established as a junior college in the province. In 1958, it was established as a bachelor degree. So the Institute of Ceramics is now doctor, master, undergraduate three levels of enrollment and training.

According to the words of the standing secretary of the provincial party committee, the institute of ceramics is the only university with the most internationalization in Jiangxi province, so our slogan is to build the characteristic marketing of international influence. Our ceramic institute show abroad over the years, such as the queen x 60 years to the British museum, the 40th anniversary of diplomatic relations between the China and Britain, the queen of the celebration, also find our ceramic institute, Cambridge museum we show there for six months, when I made a personal work to the queen, the queen of xx, culture and sports minister at the time, all of the public opinion. After the celebration, the Greek President met with us in the Presidential Palace. At the end of the year, Prince Charles ×× was held in the Victoria Museum in Britain. Therefore, we have made the journey of Eurasian ceramics on the new silk road, and most importantly, we have established the ceramic culture center of our ceramics school overseas. Our exhibitions in Korea and Indonesia are constantly being exhibited and communicated to the outside world. After Mr. Zhou Guangzhen and I served as the directors of the International Ceramic Association of China, I first expressed my congratulations, and second, I hoped to introduce foreign ceramics outside China and bring Chinese ceramics outside China, so that we could interact with each other.

Just the teacher said to design problems, in fact, the city of Jingdezhen, many people criticize Jingdezhen won't design, is actually a misunderstanding of Jingdezhen before is very pay attention to the design of the city, every year we ceramics China and innovation of the appraisal, the modelling of a large number of works, x need not make the product to can put the domestic paint directly, direct orders. I think the design of Jingdezhen has something to do with the overall climate, not only the ceramics, but also the things of various industries and enterprises. At that time, some enterprises in Jingdezhen had very good profit. They were ordering goods the first day and producing anything on the first day. But at that time, the leaders were one-sized. he criticized them and said, why do you still eat big pot rice? The workers said that 30 years after the liberation, they went back to the pre-liberation one night, the workers had no jobs, and the administrative staff went to set up stalls. This was a very painful process, the process of transition from planned economy to market economy. Jingdezhen at that time three thousand bricks to send color TV to the section chief, the situation at that time is very good, then the industry to such a situation is very people letter tube. You go to a master designer and it doesn't translate. The provincial ceramic institute, the city ceramic institute is ready to integrate into the deputy department level unit redesign, but the current Jingdezhen design situation is such, to determine the person is very embarrassing. The art sector is still prosperous, but it also has many problems. Jingdezhen is making progress anyway.

Jingdezhen has been an open economy since ancient times, with craftsmen and cars all over the world. We look at the Longquan porcelain and crescent porcelain produced in Jingdezhen in Hangzhou Museum, which are very good. If you learn the skills well, you can go to the whole country. In ancient times, the pottery industry in Jingdezhen was very important, and now 40,000 people live in Jingdezhen. Wang Lirong, the president of Peking University, summed it up well: Jingdezhen is like a bit of a * lady, a bit sloppy and unkown, but once you get inside, it's full of energy. Why are there 40,000 Jingpiao in Jingdezhen? Xu Fei led a group of people in Jingdezhen the other day. Some artists who have been living in the United States for more than a decade have stayed in Jingdezhen, feeling that they have found their place and taken over their families and children. This is the charm of Jingdezhen. Jingdezhen is such a famous historical city, our school of ceramics in the development process of Jingdezhen should also give advice and make some contributions.

Recently, it has been reported in the media that General Secretary Xi personally gave instructions to attach importance to the excavation and protection of Jingdezhen official kilns. Liu Yandong also gave instructions that we, the Standing Secretary, personally inspected and gave instructions on the development of Jingdezhen official kilns. Therefore, Jingdezhen will build an official kiln complex on a scale equivalent to that of the Imperial Palace, in which there will be a lot of work in the excavation of porcelain. Therefore, Jingdezhen will have a good future.

School of Ceramics, I hope that Mr. Zhou and the experts present here, after 60 years of accumulation after 1958, the School of Ceramics is now China and the world's ceramic education and creation base, so I hope that our School of Ceramics can widely cooperate with the international and domestic, and welcome all the experts to give lectures and guidance to the School of Ceramics.

Thank you very much!

Lili Fang: Just now, President Wilmao of Argentina said that the Chinese people are very lucky to make pottery. Not only do the Chinese people love pottery, but the state and institutions are supporting this industry. Professor Ning told us this in his speech. I work at the Chinese National Academy of Arts, and the National Academy of Arts has done a lot for this. In 2005, for example, began to take turns to do the TaoYiZhan Asia and China, Japan and South Korea three countries, the first three countries are China, the second is South Korea, and the third is Japan, from 2008 to now for so many years in a row, China academy of art is an agency under the ministry of culture, so the Jingdezhen grand prix this years or international TaoYiZhan is held by the ministry of culture. Entrusted to the Chinese National Academy of Arts, which organizes for them every year. The Central Academy of Fine Arts has also done a lot of things, which Mr. Huang Chunmao will talk about later. Just now, when we talked about the design failure, we used porcelain, royal style porcelain for daily use, so I think China's porcelain for daily use is in the past. From now on, maybe China will not be low-end porcelain, but high-end porcelain in the future. I have been studying Jingdezhen porcelain for 30 years, and Jingdezhen's warps and drifters are the most important topic of my research. I led two graduate students there, I rented a house there, and a professor from England joined us to conduct research in Jingdezhen.

Jingdezhen is like 798, like abandoned factories, where young artists and foreign artists gather to create, and some villages, like Songzhuang, where artists also gather. The fact that old art is so attractive to artists shows that the city is both old and not old, both old and young. What can be both old and young is worth exploring. The fact that so many young people can go to Jingdezhen shows that it has a market, without which it cannot thrive. State-owned JingPiao more than 40000 people, there are now 120000 craftsmen, there are 40000 people, all over the country come from overseas artists, and university graduates to make a living in that place, and they not only do art, also do a grand, but they craft porcelain, I think this may be the future development direction, great variety, a high cultural value, value added. So this is a smart industry, and now Jingdezhen is starting to be vibrant again, and it's going to become the center of the world. In the past, Jingdezhen in China was the center of the world ceramic art.

I once wrote a book called Lost Town, and now I think it's back. Originally I thought lost the ancient town, because Jingdezhen disappeared in history. Now Jingdezhen has become the center of ceramics again. Many artists come to Jingdezhen and regard Jingdezhen as their Mecca and the Holy Land, the place of pilgrimage. So I am saying to the protectors of intangible cultural heritage that, on the one hand, you see the disappearance of intangible cultural heritage, on the other hand, intangible cultural heritage is reviving. Not only Longquan Kiln, Yaozhou Kiln, Chizhou Kiln, many local traditions are reviving. China is still the biggest ceramic country in the world. There are so many people in China who love ceramics. Ms. Vilma from Argentina said that libertarians want to be free and create happily. China has so much ceramic soil, supported by artists, financiers and investors, so ceramic artists can be happy and free to do this work. This is a rare opportunity. I just talked about it a little.

Next, I would like to invite Mr. Liu Chuanming, a very famous cultural scholar who has been recommended to me by Chairman Zheng Zhi. He is also the chief writer of CCTV's 100-episode large-scale documentary "The Master in 100 Years". Please welcome him!

Liu Chuanming: Hello, experts and friends present! I received such a meeting about a week ago. This morning's documentary exhibition, work exhibition and opening ceremony were all very successful. Everyone here witnessed such a moment. Let's start this academic seminar. Here I want to talk about, in such a short period of time we do this exhibition and cultural activities, in addition to the front of the host says to the concern of the international ceramic art academy, everything you care about, and from the support of the Beijing museum of art, I want to say Beijing art museum Zhang Shuwei in the literature, Their librarian, Ms. Meng, specially translated the English documents for this meeting, and all of us participated in such a successful event. So, thank you, curator Zhang!

Today this meeting room UN decade Yuanguang soft tissue culture in the BBS of a BBS, just several speakers, since Mr. Qin Dashu to Argentina, chairman of pottery to Mr. Zhu Legeng, Mr. NingGang, each of them, so to speak, from the perspective of their talk about their working relationship and ceramic, academic research and comments on the current status of the ceramic art. We could say that each plays his own gong and each plays his own trumpet. But it is precisely from different angles that the theme of cultural integration is reflected.

When I learned about such a conference, to tell the truth, I taught art history in school. After working, I have been paying attention to painting and the art of ceramics besides painting, so paying attention to it is my interest.

Five or six years ago, I was commissioned by the National Museum of China to conduct a survey on the status quo of the new technology in contemporary China, which gave me the opportunity to have more contact with ceramic art and the works of ceramic artists, and also to have friends in the ceramic field, some near and some far away. As a result, my achievements and interest in ceramic art have been intensified.

Today, I am in this meeting, I am going to talk about a question, the aesthetic characteristics of contemporary ceramic art, this topic is very big. Because this is a grand theme, is a professional direction determine the topic, and in general of the United Nations organization support, this meeting today and has international background, if you want to in a short time the ceramic art world, modernity, professional discourse as the relative system I think it is almost impossible, so, I want to focus on the question. On the issue of the aesthetic characteristics of contemporary ceramic art as I understand it, let me talk about my point of view.

First of all, as far as art is concerned, modernism is a complex ideological trend of thought, and ceramics as the carrier of modern ideological trend of thought is inevitable.

My conclusion is that the aesthetic of ceramic art can only have direction but no coordinates. Why there is direction but no coordinates? The so-called coordinates are clear signs. So-called direction is different culture, different people, different creating class artist, you will run in one direction, this needs to be done in theory, although a lot of people, foreign artists, Chinese artists to our present situation of Chinese contemporary ceramic art full of enthusiasm, full of hope, but the problem of contemporary ceramic art also is obvious.

As far as I know, the theme of the forum of "cultural harmony" is tolerance and understanding between different countries, different nationalities and different trends of thought, and to explore their aesthetic values and ideological contributions.

General understanding of the modernistic always aimed at the art of painting in terms of philosophy, but it is covered in western art painting, sculpture, architecture, music, drama, of course, such as ceramic, is the art of all kinds, so the understanding of the modernism became our academic discussion of contemporary ceramic art an unavoidable topic.

Second, ceramic art and modernism have a natural connection.

In the materials you have seen, we all know a very good example, Marcel's "Fountain", born in France but active in the United States, is the landmark work of the ceramic world, the urinal, which Duchamp bought for six dollars, signed his name and put it on the painting exhibition. The natural connection between the painting and the ceramic art is very closely linked by a very accidental action. This is an example of how modernism can be even more destructive and challenging than any other art, deviant and bizarre.

More than a century later, Duchamp's work is still an indefinable topic, as well as its very fresh meaning, which has been repeated by countless subsequent arguments under the modernist trend of thought. To Europe in the late 1980 s I have a chance to do the seven months of academic exchange, when a at the university of gottingen and there's a in brill, a German school, I was lucky enough to see a lot of western modern art, one of the most famous is canvas drew a knife with a knife, the emergence of these works the flag of the modernist ideas to promote. Of course, there are also a large number of works of modernism, including the reconstruction of some classical works like King and Queen with modern techniques, which has stripped away the direction of modernism aesthetics.

What do I mean by that? That is to say, the modern western ceramists not only broke the boundary between art and non-art, sounded the death knell of classicism, inspired incomparable enthusiasm, but also made the western ceramic art and modern art have a strong tension and ideological energy. And the current status of Chinese ceramics is completely different. It must be admitted that we have some breakthroughs, some technological improvements, some technological progress, and even what I have seen, including teacher Zhu Legeng, last night I saw as the representative of quite artistic works, very beautiful. And anyway, Chinese ceramics have a relatively large market. These are all objective facts.

I personally think, generally speaking, gave up the attention to The Times and life, indulge in copying classical, please the market, as the atrophy of the vitality of ceramic art, must be an inevitable. So, it is neither the world China's modern ceramics ceramic art important constitute the mainstream, and deviated from the more than one thousand years of our outstanding even longer into enlightenment of Chinese excellent traditional culture of ethics bear social responsibility, focusing on the present, the attention society, not only is a western concept, is the art of Chinese traditional philosophy and essence, and Chinese ceramics, I speak a little bit arbitrary. I do not deny that there are many contemporary artists and outstanding works, but the problem tends to be very, very serious, which is probably the phenomenon and essence of Chinese contemporary ceramic art.

As old and young, of course, has extensive worldwide art, the vitality of the ceramics will never end, we only get through ancient and modern, the attention of Chinese and western ideas down to re-examine ceramic aesthetics, ceramic art, ceramic education and so on a series of problems, and continuously explore new direction of the ceramic art development. This is the current all ceramic artists first of all is the Chinese ceramics, of course, also including the world's ceramics, because in the process of world integration we have a common responsibility and take on the premise of cultural harmony, cultural integration and understanding under the ceramic art development, ceramic art life continues to develop. . . (70 points), criticism of the western modernism itself may learn art history of comrade, the Picasso of Carlyle's senior curator of the museum, the Picasso museum curator of more than 30 years, and it should be said that his identity, his emotions, his position, by him to write the "theory of painting the demise of the book to criticism of the western modernism. I think it has considerable significance. Oriental academic circle, Chinese academic circle also began to the specious reflection, the world is in reflection, only reflection can create. The book into the thought, determine the direction of ceramic aesthetic development is the most important, otherwise we will always only in the old thought, for the thought of the following pipe in the whole college. UNESCO Forum for the Harmony of Cultures, "Humanity Beyond Pluralism" in ceramics, I think the establishment of this theme also has historical significance in it.

So my conclusion is that art aesthetic and the pluralistic and works of art creation and the phenomenon of life is we are happy to see, really reflects the cultural art and art theory, it must be in us to comb the art tradition, under the premise of constantly open up our world view, would really make ceramic art to better development. For Chinese ceramists, the real awakening of the localization of contemporary art is particularly important.

Due to time constraints, I would like to discuss the last sentence with you again in the future, because it cannot be said that there are no contemporary Chinese ceramists with modern concepts, but more of them are copies of western concepts. Chinese modern ceramists, the modern consciousness of localization should rise.

  Host Fang Lili:Thank Mr. Liu Chuan-ming 's remarks, in his opinion pottery now lack most is the ideological content, the traditional painting has heavy indoctrination, into a human, he thinks that how to understand the contemporary ceramic art in the west, how to understand Chinese contemporary ceramic art, sometimes we learn from the west, and sometimes when we didn't think of learning from the west can't, many places are taken from the west. So a lot of culture is mutual, and many times we don't know the west, but I don't know the western modern ceramic art has been influenced by Chinese porcelain of song dynasty, the Japanese beat your club is from hit you cross source and natural artificial beauty, and I look natural appeal of two things, a natural thing, not man-made things, of course a lot of things, traditional Chinese is traditional. In fact, a lot of traditional beauty has been lost. Is the artificial decoration of the United States, the Song Dynasty is to rely on natural beauty, many traditions, traditions we should learn and can not be completely traditional. Today I set up the western art ceramic, kaufman, very modern, practical see it there are a lot of artistic features of the east, it enables you to meditation, you touch his works to imagine, this is the Oriental, is because of the Oriental aesthetic experience of aesthetic is not art, so the Oriental aesthetic need mining. It's an interesting discussion, and the more we talk about anything, the more we know where we're going.

Now let's welcome Mr. Zhou Guangzhen to speak again!

Zhou Guangzhen: just a few teachers are wonderful, very enlightening, we in the mainstream art and ceramic art involved such a problem, the relationship between the process of the development of ceramic art in the west, western ceramic art from the 50 s, contemporary ceramic art, now called the modern ceramic art, previously known as the contemporary ceramic art, sometimes abroad use "modern and contemporary ceramic art". It combines ceramics from the range of arts and crafts with mainstream media. I have also written some articles to learn and refer to in this respect.

In the current environment of China, ceramics itself is diversified. One is the range of arts and crafts. You require absolute delicacy and perfection in the craft without any defects. Today, we can see that the world's modern and contemporary ceramics have their own national style and national roots. In the scope of China, of course, on the one hand, we need the inheritance of ceramic craft for the protection of intangible cultural heritage. At the same time, we should also see the new development direction of ceramic craft, that is, how to do contemporary ceramic art, to innovate in the conditions of China's cultural roots, rather than simply imitate or repeat. In fact, there are still a lot of problems involved. President Ning Gang also talked about some problems just now, which also inspired me a lot.

There is another question. In terms of Jingdezhen in China, how do you develop and which direction do you want to develop? Sometimes in the subject of UNESCO, "sustainable development" is mentioned, which does not mean that today a certain producing area has a high output value, and the export of ceramics is large enough to get a certain name of porcelain capital. In fact, in the true cultural sense, it is about its cultural heritage, its history and its roots. We are in different areas, from inheritance to innovation, which actually have many different directions to go, everyone can have their own position, rather than simply repeat the path of others.

For the friends who come here today, there is a letter card for you to give to your friends.

Moderator Fang Lili: Thank you, Mr. Zhou Guangzhen, for your remarks. Without him, this meeting would not be possible. Now let's welcome Mr. Huang Chunmao to speak! He used to get a master's degree from the university of alega, and his design is also very good. At the APEC meeting, you can see the porcelain with the royal momentum, which is his organization design. I think he must have many thoughts and feelings. Please welcome!

Huang Chunmao: Thank you for giving me this opportunity to speak. These are all my predecessors and teachers. Since most of you are artists and scholars, I will speak a little presumptuous from our point of view, because it is related to the academic seminar. Many Chinese friends get rich by buying houses, selling houses and speculating houses. In fact, the expansion of Chinese culture is very interesting. With more material foundation and international contacts, at least Chinese people are going abroad and foreigners are entering China. The most interesting thing is that. The current values in China range from the way our grandparents taught us when we were young to the new material way, the new time space and the new way of living. With the advent of the entire virtual age, everything is constantly challenging and subverting our tradition, our way of thinking and our concept of life.

That is to say, the extension and freshness of this culture must be given to our art. China's culture is systematic, including people who have never read books. The inheritance of culture does not depend on a simple university education or college education. Therefore, culture in China is a very large, very popular, very systematic country. In such an era when the opportunity comes, I think it is a very good opportunity for cultural growth. We also realized that although Liu Chuanming and I are not in the same profession, our views are very serious. We are faced with a problem and an embarrassing situation we have to face.

The content and historical significance of Chinese traditional ceramics can never be culvert. Now it is only one or two hundred years. We must bravely admit that the art of modernism and the culture of modernism are rooted in the concept meaning of the whole modern culture, life style and survival style. From this perspective, China's modern ceramic art and contemporary art, I also and Zhu Legeng teacher said just now, you are a talented artist, Chinese contemporary art, including the China central academy of Prof. Xu yan, teacher, what's he doing works of international significance, is not the whole phenomenon, Chinese artists can only represent the type and the individual genius. Zhu Legeng teacher China this so a few artists, but to the United States, the ceramic art education committee opened every year, 4-6000 people, it is a group phenomenon, we are individual phenomenon, it can not represent the progress of the entire era.

In these phenomena, has more than half a century, western modern ceramic art development after x (97) motion, manual movement and the modern culture collision, half a century ago to college education, ceramic itself is C * * China goldsmith's word, not the humanities scholars thinking, therefore, college education is also relatively late, so, We need to grit our teeth now.

As for our gallery concept, a few years ago, when China's economic bubble was growing, many students in Chinese contemporary art and ceramic art became masters immediately after graduation, and their works were immediately published in the news. In fact, contemporary things require a kind of concept and mature thinking of people, it is highly cultural requirements doomed to a few mature artists in their 20s, just like foreign artists are all white hair, it requires a mature thinking. Therefore, the growth of contemporary art is in a state of constant renewal.

Several contemporary artists in China have also been criticized for plagiarism, that is, for not innovating. So our opportunity has come, what we do is an opportunity, is a kind of shuffle, the industry is changing, the culture is changing, the standards of artists are changing. For example, gallery, in 798 to get an art space LOFT will become an art boss. You push and grasp the ability of the artist, the artist to take responsibility.

Now we are building a platform. Artistiness is an active and growing cycle, and it is the same with galleries and museums like Mr. Zheng. We are very glad to establish communication with Mr. Zheng. So, there's a lot of uncertainty in a whole lot of art.

Lili Fang: Huang is always the youngest, the most promising and the most energetic one here. He also raised a lot of questions. Let's invite Mr. Zheng Zhi, the person in charge of one of the organizers, to make a speech.

Zheng Zhi: Good afternoon, experts and leaders! I also want to thank all of you, because I am the organizer, and especially I want to thank so many experts for participating in this conference. I heard some wonderful speeches, even the speeches on literacy, which was very happy for me and very grateful.

Before I get to my point, I want to make two points. First, I am not an expert or scholar. It is a pity and a shame that what I am talking about today is neither an academic nor an expert. At most, I am an economic person and a ceramic art lover. Second, there may be a lot of mistakes before I speak, because some professional lines like mountains, I will talk about the conference arrangement, lines like mountains, I will certainly speak a lot of wrong views, a lot of wrong places, here I would like to ask the experts to criticize and correct.

The main topic I want to talk about today is "how to systematically establish a theoretical system to promote the development of contemporary ceramic art".

Any thing, whether it's art or economics, I think, any industry, if one thing is driven from a single structure, it's not enough, it's not complete. We should think and promote from systematicness and pluralism in order to achieve the goal better.

In terms of ceramic art, on the one hand, we set the academic system of ceramic itself, the development of art; On the other hand, we have to consider the purpose and significance of its development and construction.

Personally, I think its significance is to serve two things: first, to serve human civilization; The second is to serve today's markets and, for a while, even politics. From this point of view, it is regrettable and incomplete to talk only about art, not to talk about the market, not to talk about its policy environment and not to promote its development. It may not even achieve our goal. Therefore, the market, the policy system environment and the art environment complement each other. When we talk about development, we must talk about the market, and we must talk about the environment. I think there are certain differences between the market and art, it is related, but there are different theoretical systems and ideological frameworks. So, it should be worth talking about.

From the outside perspective, the systematic consideration of problems should be integrated and diversified to promote. According to this guidance, I think four aspects should be systematically considered in terms of the development system of ceramics that I talked about that day:

First, the art of ceramics itself, its own ceramic system construction.

Second, the construction of the market system of artistic ceramics.

Third, the financial construction of art ceramics.

Fourth, the policy environment construction of art ceramics.

There should be four aspects to promote this issue.

First, the construction of ceramic art system.

I think there are at least three aspects:

1. The thought and academic system construction of artistic ceramics.

Just a lot of teachers have talked about this problem, especially Liu teacher from the aesthetic point of view about this problem, this is the soul of the development of art ceramics, is to solve the art ceramics can go how far, go how high, go how big a fundamental. If there is no ceramic ideological academic theoretical system construction, can not guide the development of ceramic art, the development of the market, or even other aspects of the development. It is to guide the human and the market how to understand, how to aesthetic, now use this art, because you serve the human, is the general public, is the civilization, to teach people how to understand the art ceramics, how to understand the art ceramics. What if you don't understand, don't understand? We don't know why we bought this art ceramics, which is the crux of the poor development of the current market.

Due to various reasons, this is not enough, not done enough that not only China, also don't do very well in this respect all over the world, as we understand it, because the world's two great works of art on behalf of the system, it is painting, 2 it is ceramic, it without time and space in the world, no differences of regional, but culture system, academic theoretical system, ideological system is very good. But what is the thought, academic and theoretical system of global ceramics? I can't get the book yet. I can't see where it is. Therefore, this area is still very weak, we should strengthen the construction in this area.

2. Cultivation system of artistic talents.

Have academic theory system, have thought, how do we train ceramic art talent. All the experts and professors are here, so I don't want to say more. Training talents is a very important link, no one will not have a fundamental impetus, no one has a foundation for it.

3. Production and value system of ceramic artworks.

There are two aspects to the value system, not the price system. First, the value of art itself, its historical contribution, its contribution to the humanities, its contribution to the academic itself; The second is the value of the market, and of course it has applications. This includes at least three aspects, this from the ceramic own system construction, should have thought, has the academic, has the talent cultivation, has the product birth value system.

Second, the construction of the market system of artistic ceramics.

Any work of art, any industry, any product, needs a standard, scientific, gradual development of the market framework system. The current market is very complex and very diverse. I will only talk about the regularity in general. I will also talk about the structure of the market from three aspects.

1. Market classification.

Roughly divided into three structures: artistic humanistic use; Consumer market demand; Market demand for investment. The market is a theoretical system.

2. Market channels and structure. The market channel is divided into two systems, one is its market system, the other is its sales system, especially the market system and sales system, including brokers, galleries, auction companies, the Internet and other means of application, how to establish a million market channels to promote its development is also a aspect.

3, the development of art ceramics has two, one is how to guide, the other is how to open up a great art. The sale and consumption of our ceramics in the past are far better than the oil paintings in the world today. Later, we went to a lower stage. In addition to the common elements, we also missed a piece. How to guide consumption is more important. How to globalize and move, that's what's going to be built, that's going to be promoted.

Third, the construction of the financial market system of artistic ceramics.

Ceramic finance is the most important support to promote the development of the whole ceramic industry and the development of the market itself. It is not pure ceramics. Any industry or any item can hardly talk about how far it develops without the support of finance. We belong to the financial side, if we build the house, all the investment without banks, without the intervention of the capital market is not possible to develop into today's real estate market. Therefore, finance is very important. Without the support of finance, no industry would be a backwater and no liquidity would be formed. How we build financial support, it is important to demonstrate from three aspects, to promote.

1. Art ceramic works must be capitalized, just like western oil painting works. Capitalization is an important symbol of property asset allocation.

2. Monetization. This does not mean that money becomes RMB like monetization, but value financialization, that is, the artwork can be circulated, can be used as collateral, can be bought and sold, can be exchanged in international exchanges, just like our house to form a good financial product, if there is no public consumption support.

3. Securitization. Securitization is a very important link in forming the art capital market. Now our hotel, you build a hotel of 2 billion yuan, and there are 500 million works of art in it. If you want to invest this 500 million yuan, this 500 million works of art cannot be packaged and listed as liquid open capital, but it should be excluded. So you can't securitize. We are now discussing the question of how to turn securitization into liquid capital and then into capital markets.

4. Global liquidity. The financial and monetary systems of all countries must have the support. Otherwise, if China does not have the support, foreign countries will have it. No matter how good the products of Picasso and Van Gogh are, they will not be recognized in China. Supporting the financial and monetary systems of various countries is also very important. Bank and securities two intervention is a representative of the whole ceramic landmark financialization.

Is we are finance, investment, I said a set of data to everybody here, according to barclays bank, bank of Switzerland last year, China, the institutional investors and high-end light total assets is 130 trillion, if in accordance with the international asset allocation architecture, 5% to 8% is to configure the art market, China has 6, 10 trillion art market. By the same analogy, there will be a 100 trillion market in the world now, but in China last year there were only over 300 billion. Due to the lack of financial intervention, we have barely reached the fraction of that, and the proper asset allocation and market capacity have all been lost. So, as an investment firm like ours, we're looking at that, and we're going to be pushing that in the future.

Fourth, the construction of the policy system of artistic ceramics.

This includes two aspects, one is the industry, the other is the government policy. Industry policy and government policy support for global trade flows are very important. As I said just now, there are two aspects of contemporary art, one is the oil painting market, the other is the ceramic market. If our global circulation system is not perfect and trade barriers are not broken down, the system will not be complete, which is also impossible.

Today, it is not enough for me to talk about recommendation from a single aspect. We must talk about development systematically in order to promote it. Each piece has a theoretical system, each piece has a framework and its scientific nature.

I lack of talent and learning, said a little said wrong, please experts and scholars to criticize and correct.

Lili Fang: Thank you, Mr. Zheng. I didn't know what socialism and capitalism were. As soon as he talked about it, I knew that it is difficult to circulate without paying attention to capital after marketization, so the future prospect of pottery is how to make it capitalist and circulate in the world. This needs me to learn, worth thinking about.

We will leave the final speech to Mr. Zhang Shouzhi. Everyone here is very familiar with him. He is a veteran of the audience, a famous professor of the Central Academy of Arts and Crafts, and a leader in the policy-making of many ceramics in China.

Zhang Shouzhi: Products today this will harvest is very big, especially the UNESCO conference literature exhibition this time, but a large part of literature is one of China's here, and it is the new China 60 years including traditional Chinese ceramics in the history of archaeological research, the creation of our predecessors' there are many good works, if there is no reform and opening up of contemporary China may can't do that. Because in the history of China is a civilization with ceramic, and it is the invention of the ceramic country, but didn't leave much text and history, this is the impergium China ceramics in human invention China even after 1000, the world or pottery society, Chinese porcelain of the world spread improves the human quality of life at that time, we made a contribution. But the agrarian age says too little about our ceramics, agrarian technology and shipwrecks and invisible cultures. But this will be very good, there are so many literature out, I feel very happy, and I couldn't see, I was 83 years old this year, I was 1950, 1949, Peking national YiZhuan, 50 years rise into the central academy of fine arts, we only 50 years more than 40 students learn ceramics, at that time, the national college students is very little, the statistics how many college students in China. To students, for new China's socialist construction cause in a planned way, the college students to ceramic is four places at the time, is the Jingdezhen Shi Yuren  is my monitor, Jin Baosheng  is together we stay in academy of fine arts, vice minister Xu Borui one tube ceramic art work throughout the country, so four, Zhou Guangzhen not fine arts. He is a sculpture major, we are in the same year. In Jingdezhen, Minister Sun directly asked for it from President Jiang Feng. He was the resident teacher, and he volunteered to go to Jingdezhen.

60 years of new China ceramic recovery and development, after the war started with Jingdezhen in 1953, 1954 two years we are studying in Jingdezhen, seven professors and teachers took us two years in Jingdezhen, the first year to the founding of China, in the second year of art of Jingdezhen porcelain restoration, so our time coming of age in the manual, all Jingdezhen or hand,Gypsum grouting molding has not yet, only Tangshan has a little Japanese left a single knife wheel (sound), the rest of the country is handicraft industry. It has been 63, 64 years since we went to school to study gangue ceramics. New China ceramics from the handicraft industry into a semi-mechanized and semi-manual to today is such a situation. In the past 60 years, we have seen the famous injection molding in the exhibition room, especially the injection molding of many kiln in Tang and Song Dynasties. It was excavated in the 1960s by our contemporary ceramic people, including Professor Qin Dashu of Peking University, an important archaeological major in China. It was originally called Yanjing University, and it was called Peking University after the liberation, who made great contributions.

And at the same time, we have all of the ceramic Liu Peijin teacher, teacher Liu Peijin is 50 s pottery in Chinese arts and crafts import and export corporation of the ministry of foreign trade section chief, until his retirement, the two of us together is almost dry ceramic, national unity planned economy s ceramic export he a person has been looked at for more than 40 years, he know China ceramic. The history of modern export porcelain is all in his belly, he is the authority. So, we today discussion of modern ceramic art, I am not the modern ceramic art, the day he graduated from the university of the porcelain measurement, the founding of the western Pacific, the day after the court of Beijing cui flower floor tableware, measurement after the liberation of Beijing hotel stay Hubei type AGAR AGAR and western-style meal cup ruler of France, and my tutor Mr. Advocate dozen years taught me, until the academy of fine arts, art ceramics is your major in the future. In the future, you will use the measuring cup and ruler to measure for 40 years, and you may become a qualified daily porcelain teacher in the Academy of Arts and Crafts. At that time, I was determined to be a professional for my whole life. Today, in the first three months, I went to Handan and Shenzhen and bought two more sets of Silk Road tableware, which are almost ready to be cooked. Although I am engaged in daily porcelain, although I can not do pottery, but I like to do pottery, why? It is because it can have a sense of The Times, it can have a personality, attracted me all my life, I am not engaged in daily porcelain, I love pottery, is that compared with our traditional arts and crafts art porcelain and compared with our mass production of daily porcelain, it provides people with its own personality in life; Plus, it has a contemporary feel. These are the two things that attract me most.

On the question of standards, the ceramics displayed in the exhibition room today are still beautiful. Why is that? One is the Chinese tradition, the other is can be liked by everybody, Zhu Legeng from graduate students began to make red and green color, always make comprehensive color glaze decoration, and then make decorative arts, decoration art, the world's best l ring (sound) hall he to make, but not put the horse you see today, see it you can think of nature, so ceramic art is a reflection of life, just it and traditional craft art ceramics distance, it has entered the pure art, like painting, sculpture, I think this is the modern ceramic art in the human development in the last century, the 20th century to today all over the world to form a large range, and it can get the welcome of all over the world, at this point. What attracts me most is the sense of The Times and the individualization.

Of course, the potters of each country can not do without their own local and traditional, because you are Chinese, anyway, you are Oriental, and any country can see their own blood in the pottery, so the vitality of modern pottery is very strong. It's just that our current masses, society or contemporary Chinese people do not have enough understanding of the rich people who got rich first to understand modern art. The chairman talked about how to improve the understanding of contemporary people on the ceramic art, this is our responsibility, we are often in the circle of people in the discussion, we did not cross industry, did not discuss the modern ceramic art together, in the future we should engage in this kind of activity, cross industry, live and appreciate. Through this kind of activity, we can get faster development of modern pottery.

Fang Lili: thank you, Mr. Zhang, he is a daily porcelain designer, he is very passionate about modern ceramics, very passionate.

Zhang Shouzhi:China ceramic art start, not after the reform and opening, in 1962, between the use musical performances in Guangzhou artist association, weld road (sound) to make a studio, s when planned economy is the requirement that cannot make individual workshop, or to make personal individual ceramic handicraft industry, so was found in Guangzhou have a personal studio. If a Chinese painter wants to establish a Guangzhou production cooperative, he cannot be a painter himself. At that time, he was engaged in traditional Chinese painting and did not have this new specialty. At that time, Tan Changgao developed the way of modern ceramic art. Gao Yongjian launched China's five famous kilns with clay and glaze materials from Guangdong Province, both of whom made great contributions. We started at that time, together with Professor Mei Jianying from the United States, who took us to Shiwan, and Jin Baosheng, who is an in-service graduate student, we did two works in 1962, and we had an exhibition on Wende Road, and now we have an exhibition in Shuaifu Garden of the Academy of Fine Arts. At that time, there was no Chinese Art Museum. Exhibitions in that place, when artists for the first time to use personal name MeiJianYing, Zhang Baozhi exhibition of modern ceramics, is very popular in the arts world, the Chinese people's political consultative conference hall to hold exhibitions, the ministry of culture began to criticize us, you are the petty bourgeoisie, standing on the position of the bourgeoisie, do cool pot is the bourgeoisie, still have to write a check, China after the liberation, because of we make of planned economy. No construction with the West, and only a few countries outside the establishment of diplomatic relations with India is basically closed. Later, when we went to the United States and Australia for exchanges, after World War II, many ceramists came to the East, but they could not come from mainland China, so they went to Japan, so they were all under the influence of Japan. After the reform and opening up, ceramists from the United States and the world came to Japan, from Japan to South Korea, Korea to seek their roots, and now China has opened up and come to China.

Fang Lili: Thank you, Mr. Zhang! Some of the senior gentlemen in the industry are here. Because of the limited time, I can only stop here today. I hope this kind of seminar can be held frequently.

Liu peijin: there are a lot of young people here today. You must think independently and analyze what is right and wrong. Don't listen to what the experts say. I personally don't agree with many points of view today. We are not a debate, so you have to think about it.

The creation of works of art, the flow of works of art and the character of each person are linked together. For example, Zhu Legeng's horse, we intersect for several decades, I study his horse for seven years, Zhu Legeng's horse is Zhu Legeng, you see it outside soft inside just, this is Zhu Legeng. I have put forward to him several times, you do not always low head, do not always make public, he can not make public. He's tough on the inside, soft on the outside, that's how it is. The work of art itself is the embodiment of the creator's virtue. So those of you who study art should not simply look at art as art.

Today Zheng Zhi talked about four issues, which are the key issues for the development of artworks in the future, not the direct issues, but the essential issues. I am not in favor of "human nature transcends pluralism", this is very unscientific, why? There is dialectics. That's out of the question. Next, I would like to say a key point. I read your book "History of Ceramics". I had dinner at your home. Young men, let me discuss with you a question.

What is pottery?

My conclusion, pottery is the ancestor of the opera, the ancestor of all art is pottery, pottery is born the earliest in the human society, how many years, I personally think that the history of pottery should have four space-time concepts:

First, in recent years, the assumption of 5,000 years, 7,000 years, has been proved wrong by archaeology. Ten years ago, some pottery pieces were found in the Xianren Cave in Wannian County, Jiangxi Province. After the joint physical test with the United States, it is 20,000 years. The history of Chinese pottery is the history of human pottery, and the Chinese pottery is the grandfather of human pottery.

Second, it is said that Fuxi is the god of pottery, and the god of pottery must have pottery. If Fuxi is legendary, the development of Chinese ceramic art is 100,000 years.

Fourth, Lao Tzu in "Tao Te Ching" wrote ". . . Under the whole heaven is born in content, content was born in content ", it should be written in the, in China, five mountain man (sound) is in 1. 7 million, the foresight of people in 1. 5 million, now, Chinese people are already using archaeological discovery foresight, lantianman is fire 1 million people management, basic and figure five elements is the basic element, the tao can come out the fire is the key, with fire clay will follow up,Let me ask you a question and you can think about it for a moment. Our primitive old ancestors, regardless of wind and rain, had to eat. What did they eat? Eat barbecue, barbecue in the fire, the ground is wet, under the roast to eat, it becomes a hard block, inspired, it is necessary to study. After the occasional by the inevitable to nature, the creation of pottery.

So, personally, I think Chinese pottery is at least hundreds of thousands of years old or millions of years old. Therefore, please young people from the materialist dialectics of research, to write the History of Ceramics, do not say that history has figures is a director, history without figures is not history. The history of ceramics has been melted in the soil and water. The clay of ceramics must reach a certain hardness if it is not to be melted. That is, in hundreds of thousands of years when the ceramics are relatively soft and the hardness is relatively low, the ceramic pieces created have been fused with the soil and water. The integration of earth and water does not mean that there is no art history of ceramics. Therefore, the art history of ceramics in China should be written in the view of Lao Tzu and in the way of materialism.

As a Chinese, I very much agree with Zheng Zhi's point of view, I do not agree with a person's point of view, is tantamount to the death knell for ancient art, this is absolutely wrong. The development of things is continuous, only in different stages of improvement, improvement does not mean it is completely similar. This view is wrong. Therefore, I suggest you study Xi Jinping's view. History is the past, and present reality is the future history. No one can cut history apart. Don't be led down the wrong path by wrong opinions, that will do you harm.

Thank you very much!

Host Fang Lili: thank you Mr. Liu, in fact, seminar or there should be some different sounds interesting, if everyone speak the same dull, the so-called diversification is different point of view, different ideas, collision of different ideas, from this perspective, we today this discussion is valuable.

Although our speech today is not a large number of people nor a long time, it is a fruitful result and very meaningful. It's hard to say how long the history of Chinese ceramics is. What I said about "History of Ceramics" is that it has been burned to begin. Mr. Liu's new point of view has not been burned to begin.

With Mr. Qin Dashu about history, he from somewhere about history I also feel interesting, he talk about history from export porcelain, the export of Chinese ceramics is the most prosperous time must be the most prosperous, the most robust exports certainly is a highly developed country, when the first height is the tang dynasty, the second is the Yuan dynasty, Yuan dynasty landscape is very big. The whole of East Asia and West Asia are under its territory. The third is the end of Ming Dynasty. The globalization in the end of Ming Dynasty is not only the embodiment of China's domestic prosperity, but also the great geographical discovery in Europe, which promotes the prosperity of ceramic art. I and Mr. Zheng said, China's contemporary pottery can again be strong and prosperous to see our national strength, our national strength developed, economic development, coupled with the rapid thought of the country, and there is openness and the desire to communicate with other countries, this pottery will be able to develop. The development of Chinese pottery is determined by the efforts of artists and theorists, and by the power of capital, whether the country is strong and prosperous and whether the country is developing. That's the key question.

When it comes to education, ceramic art education, how to choose, Zhou Guangzhen teachers talked about this problem, the ceramic art education, how to train the next generation, it how inheritance development has new changes, perhaps the most intense idea problem, the idea of ceramic art this is probably the most intense today, culture is a famous scholar professor chuan-ming liu just now is he talked about the problem of ceramic art. He thought pottery lacked ideas and modern concepts, and he also brought in western modern art. Just now, Mr. Zhang Shouzhi also mentioned that there is still a difference between Chinese pottery and western pottery. The biggest problem with Chinese pottery is that it still has aesthetic feeling. Concept is very complicated, there have a problem has been discussed, the pottery is according to the traditional way is a trend, or creative is a trend, or how to innovation, based on western innovation is based on the traditional Chinese, or both in China and on the basis of absorbing western innovation, the innovation also is very interesting.

The concept of western pottery is not necessarily beautiful sometimes, he thinks it is ugly, but it just expresses the tension and visual stimulation. Is the Chinese pottery also going to follow this path? Why is pottery better than painting in Chinese history? Why are Chinese utensils better than those in the West? Personally, I think the West pays more attention to vision and senses, but Chinese people are not. In addition to vision, Chinese people also pursue tactile sensations, as well as temperament and taste, so that all organs are coordinated. Therefore, the west is the visual aesthetic, China is the experience aesthetic. These are two different systems. How to integrate these two systems together? Should we turn China's experiential aesthetic revolution away or into visual aesthetic revolution? So let's put these two aesthetics together.

Western contemporary strip found when I do, in the 50 s, the west also believes his industrialization degree to a certain point, the '50 s in the west began in the future development of industrialization, the real after western industrial development is in the 70 s, because artists tend to be early awakening, he intuitively feel industrialization to pressure him, so he find export. At that time, a lot of westerners started to pay attention to Eastern philosophy, it was just after the war, they didn't understand China, China von Piele, China was a socialist country, it was a different system, there was no communication with the West at all. At that time, many Japanese went to the west to study, and the US army occupied Japan at the same time. Therefore, this constituted the communication between Japan and the west. In the communication process, they suddenly found the Oriental philosophy very interesting, including Zen and Metaphysics, and the Oriental experiential philosophy was a shock to them. For example, the king's porcelain in the Song Dynasty was too thick and cracked, leaving traces when burned. It was not beautiful in the first place, but the Chinese people regarded it as the beauty of nature, the beauty of nature and the beauty of nature. He thought it was very interesting. We now see learning party, western these things by the Japanese carry, so it's called walk mud club (sound), he took the idea that develop, and then the idea spread to Japan and the United States, so, the west and the east is actually learn from each other, is not learning the western east, east west learning, mutual inspiration, inspired them into their own language. Not just the idea of the East, we see a certain idea, the actual form is not the same. Kaufman is influenced by eastern thought is large, it has a pregnant woman sleeping in that place, an image, a pregnant woman is more than eight months pregnant, belly breathing, a sitting on the clay POTS, let you touch the POTS, let your meditation, it like a Chinese characteristics, China is look outside, not within the view, imagine you in the mother's belly, imagine how your life is born. The pottery I touched was particularly delicate, a bit like skin. Similarly, it is not necessary for Chinese people to copy Western things. No matter how much they learn, it is still their own things, and so is the Chinese, no matter how much they learn, they can still experience and understand beauty in the end. There is nothing wrong with this, why not have an understanding of beauty? To achieve the final feeling, not with traditional things, is to use modern things to express. Chinese people are best at learning from nature, the harmony between man and nature, the harmony between man and nature, and the mutual watering. This is where China's own aesthetic values can be built up. We can discuss it in the future. Today's discussion, including Mr. Liu Peijin's aestheticism and Mr. Zhang's aestheticism, I think it is very interesting.

Fourth is Mr. Zheng, ceramic art development cannot leave the social support and funding support, out of so many masters during the Renaissance, they have a sponsor, if not the patron will not have a batch of Renaissance, so up to the Renaissance is also because capital, China ceramic art up also need capital, also needs to have the market, need the support of the people. One is the need for the awareness of the whole people, the other is the need for capital to enter. This will involve the issue of cross-industry, previously the potters are behind closed doors from said the words, today is open, different industries, different point of view, discuss pottery development from different angles, or even different countries, including Zhou Guangzhen teacher, he is Chinese, now live in the United States, is a multinational people.

President Wilma is here today from Argentina, and she brings us some foreign information. So, this is a very good seminar today. I am very grateful to the organizer for giving me a chance to learn from you. In fact, people are always learning. So, in fact, I learned a lot today, and I learned a lot of things, but the summary may not be very good. I hope there will be more opportunities to hold seminars like this in the future.

Thank you!