The creation of this series orignates from my visit to Jingdezhen two years ago. I carried my imagination of traditional art and worship of conventional skills with me on the way to search for the most beautiful porcelain products in China; however, what I saw and felt was somehow disappointing in the way that all the products were superficial but contained neither any traditional spirits nor contemporary aesthetics or down-to-earth coziness. It was almost impossible for you to find any apparatus that was of any connection to our daily life. Despite all the disppointments, I did meet a lot of masters in porcelain making skills and was much more impressed by their passion in traditional porcelain techniques and their enthusiatism when talking about procelain types, glaze, painting engineering, temperature, furnace transmutation and other secret ingredients than the new comers, the so called contemporary artists and designers.
It’s a paradox and a pity that once the traditional aesthetics was treated as a set type it would probably be called outdated. This makes me contemplating the question how to connect tradition and contemporary life. Seeking to answer this question, I intended to deploy this series of products to depict our daily life and our understanding of tradition instead of simply and roughly illustrating beauty with traditional elements. Tradition and the current should not compromise with or make use of each other, and beauty is not supposed to exist in one specific system, or to say the least, one specific system can even explain beauty itself.
As long as the philosophy had been established, I looked hard for technical support from master in procelain making. The series was successfully created after improving the traditional plum vase, borrowing from such commonly seen and trendy elements in the patterns as wave point, diamond, stripe, gradient and pure color, and employing the most conventional Qing Hua techniques as raw material selection, throwing, moulding, painting, glazing and baking. Two products of the series were designed to extend the plain into a three-dimension which made use of the techniques of traditional product and meanwhile elongated the space and freed the concept of the product shape.
Raw material: ceramics
Process: hand throwing
Qing Hua Fenshui
2012 Yin jiulong’s Design Exhibition
Museum of Contemporary Art Chengdu