How Pottery Market Golden Age Lost

An overseas student who had just returned from the United Kingdom spoke about the orientation of the professional he chose: “It was very simple, because I saw local newspapers saying that after 25 years, China’s pottery must lead the world.” So he intended to learn and design, and immediately filed a ceramic specialty. . Four years passed quickly. What is the progress of China's contemporary ceramic art market?

Even though the ghost blue canopy motifs of the royal blue and white cans created a 230 million yuan *** auction miracle at Christie's in London; even though last year's Chinese Guardian's work on Chinese contemporary ceramic artist Bai Ming's work has soared to 1.265 million yuan; Beijing Poly During the autumn auction, Zhou Guozheng’s sale price of red and blue “chicken” skyball bottles was as high as 1.15 million yuan.

Although everyone seems to have seen the performance of the pottery market in full swing, the prices of most Chinese contemporary potters' works still generally range from a few thousand to tens of thousands. From an optimistic point of view, there is still room for appreciation of pottery works in contemporary art. From a pessimistic point of view - no matter what kind of porcelain works or ceramic art exhibitions are held, there are not many outstanding ceramic works.

Ceramic art is a special kind of art. Its particularity is that its craftsmanship is part of the value of the works. To reach the mature art level of pottery, it takes a lot of time and cost. The founder of Hong Kong, Shanghai and Jingdezhen Lotte Pottery, Zheng Yi, has a point of view: The most important ceramists are two time nodes, 28 and 36 years old. From the age of 20 to 28 years old, it is necessary to complete the technical knowledge, proficiency, and flexible expression. In the next eight years, we must work hard to find our own unique artistic language and comprehensive cultivation, and then talk about the value of the work. If it is a true leader in the industry, it should provide a constructive and unique aesthetic point of view for the history of ceramic art.

Why light technology takes 8 years? This should go back to the characteristics of pottery itself. It is rich in art materials, whether it is glaze, clay or sculpting, firing options and plasticity. In an extremely rich arrangement, pottery art can present colorful artistic effects and create other artistic categories incomparable. Aesthetic experience. It is precisely for this reason that it is necessary to try again and again in order to find the most suitable technical technique for oneself, so that the proper technical means can be accurately and stably used to achieve the perfect skill of the work. In the ever-changing era of change, many people have lost patience with this, so the only truly innovative and relatively mature expression of unique skills is still scarce.

The last eight years are eight years of practicing internal strength. I believe there are also many people who have no patience. Recently I saw a paragraph from the curator Gu Zhenqing (Weibo) on Weibo. I feel very good. “The bad artist relies on copying. Good artists rely on stealing. Da Vinci is a 'god stealing'. His self-innovation and incremental contribution after learning and drawing on it is obvious. In the end, he self-achieves a classic.”

The exploration, breakthrough and renewal of technology, self-cultivation and personalized language, and the creation of unique aesthetic language are fundamental to the value of ceramic art. Technology is lazy and works must be present. It is also easy to be lazy in terms of innovation and excavation of personalized art languages. The lazy way is plagiarism and imitation modification.

Without genuine originality, it is difficult to keep a solid foothold in terms of artistic value and commercial value when talking about prices and markets. The development of Chinese contemporary pottery art with a short history, the ceramic art critics and brokers related to the pottery art market, and galleries and auction houses in the related primary and secondary markets are also rare and immature, resulting in mixed phenomena in the market. And enough.

It was only then that they had to meet the market appetites because they wanted to win market profits as soon as possible, and bury their unique artistic language, failing to reach the “masters” of their creative peaks. There is also a sense of inadequacy in innovation due to closure and arrogance, rigid adherence to traditions, and the work is gradually rigid and rigid. The original special differentiation of talents, thus missed the opportunity to create the most exciting ceramic works, and thus missed the golden era of pottery art that will come.

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