A piece of pottery, through time and space, through the wind and smoke, through the fire, turn soil into pottery, independent, and interpret the song of life. Where is Tao? In Xiaoxiang Red Temple, there are different styles of pottery, concept pottery, life pottery, environmental pottery, dignified and elegant, can sing, and has the feeling of Tao Tao.
A person, molded by plastic clay, threw himself into fireworks, experienced calcination, realized the way of life, and interpreted the ups and downs of life. Where are people? In Taoyanju. Known as the "mud prince", his name is Xu. In a ceramic world, he is profound, exploratory and insightful. Wandering in time and space, Wang Yang's feelings and thoughts, shaping character and quality, managing soul and spirit, enjoying Tao Tao.
In my eyes, he is a white fox living by the water in Xiaoxiang, haunting the ceramic world, absorbing the beautiful aura and heavy soil of heaven and earth, holding the clear water in Xiaoxiang and the fiery red white fox calcined in Tao Rong kiln.
Taoyanju is a miniature ceramic world. On both sides of the gate, migratory fish interpret the persistence of fish returning to their hometown with a smart attitude. Where is the hometown of fish? In Qujing. The fish crosses the Longmen, where is the Longmen? In Taoyanju. A group of pottery fish, on a wall, are smart and lively, with sparkling eyes. And that light, I think, has met and merged with Mr. Masahiko's eyes many times. That kind of eye contact is not only the meeting of hearts, but also an understanding of God. These living pottery fish, emotional pottery fish and individual pottery fish, their eyes are moving, their bodies are moving and their hearts are moving. Entering the gate, there are pottery on the ground, on the wall and in the room: pottery fish, pottery people, pottery beasts, pottery pots, pottery retort, pottery paintings, ancient, modern, China, foreign, molded and unformed. From pots and pans to playthings in life, they are full of essence, aura and air.
Encountered by the Tao, understood by others. In Mr. Masahiko's view, he is just a child playing with mud. In my own fairy tale world, I watch mud, keep mud and play with mud. I don't think anyone knows more about feelings for soil than I do. "Why do I often have tears in my eyes? Because I love this land deeply. " He knows the land under his feet too well, because he knows, he knows the mud of this land. Every time you dig soil, you can put mud for publicity. Every time you rub the soil, it can be purified and sublimated. When mud was understood by him, it accumulated all his hard work, emotion, spirit and soul. The use of mud is the gift of his life and the extension of life creation. Micro, macro, material, spiritual, external, internal, poetic, painting, sculpture, calligraphy ... In his life world, emotional world, ideal world and aesthetic world, he really needs to find a platform to create the best growth opportunities for his works.
In Tao's world, Mr. Masahiko took the tension of life to the extreme. The breakthrough of ceramic art, in his view, is your unyielding insistence on Excellence in the creative process. In the production process, from sketching to molding, from building clay tablets to sketching, every step of meticulous creation is permeated with his understanding of life and accurate grasp of ceramic art creation. He is not so much feeling the happiness of ceramic art as feeling the hard work and happiness of life in the process of ceramic art creation. The combination of mud and water, and the wonderful understanding of techniques and mental methods all reflect his creative pursuit. Ceramic art and life have precipitated a rich inner world for him. In this world, he brought ceramic art back to ordinary life. In his view, the most important principle of any art is practicality. In these ceramic worlds, we can see fireworks, hear the wind and rain, and feel the rich flavor of life. I think this should be the place where ceramic art has the best value.
Ceramic art is a comprehensive art closely related to painting, sculpture, calligraphy, design and other arts and crafts, which combines many cultural elements. In the process of ceramic art creation, Mr. Masahiko consciously fulfilled and undertook the mission of a ceramic artist with his perception and understanding of art. If his life is compatible with the soil, he will get rich soil. Its luck is attached to pottery, not the thickness of pottery. His works show us a kind of natural original ecology. Those melons and fruits, those pots and pans, and even a small toy object are full of his emotions and spirit, understanding and creation. Indulge in Tao, indulge in Tao, get carried away in Tao, this is Mr. Masahiko's loneliness towards Tao.
He is a craftsman, and his ancestors once carved beams and painted phoenixes for the Longfu in Zhaotong, which made him famous for a while. His ceramic creation is also deeply influenced by his family background. Life is attached to Tao. He knows the real needs of his inner world. He doesn't want to live a poem, but he wants to live a wonderful life. A big decision in life, others quit to go to sea, but he quit to play with mud. Thirty years of playing with mud earned him the reputation of "Prince of Mud". Play with mud, play with level and play with style. In his ceramic creation, he has a unique work display and life performance. Inheriting the essence of family art, he is making pottery with his heart, cultivating with his feelings and cultivating with his spirit. Every piece of pottery is a world, full of life and feelings. He is making pottery by hand and also by spirit. He is reading and interpreting, analyzing and creating, completing the creation of life, what he thinks, what he feels, what he does, what he does, and what God has revealed. So in his ceramics, there is not only a muddy texture, but also a human quality. The combination of the two will purify the wonderful pottery.
The creation of any ceramic art comes from the perception of life. Wearing a ray of fireworks, Mr Masahiko lives in his own fairy tale world, lonely and pure, accompanied by Tao Wei. He talked with his heart and works, with professionalism and dedication, with patience and concentration, he infiltrated the quality of craftsmen into his creation. Thirty years of persistence, 30 years of patience and 30 years of concentration have made his works have deeper connotations. Tangible, emotion becomes righteousness, and heart becomes destiny. This is his way. Have character, quality and faith. As he said, one must have faith. Relying on faith to support life, I think, his works also rely on this belief to inject their own efforts. In his works, you can't see randomness. It is not a simple symbol of a symbol, but a natural embodiment of an attitude towards life, which is spontaneous.
Mud mud, mud is made into a blank, and the blank is pottery, which gives people life, emotion and blood. Then pottery has pottery, temperature, toughness and strength. Just like Mr. Masahiko's simplicity, modesty and naturalness, he always shows his personality charm and quiet and simple quality. Willing to remain indifferent, but in their own ceramic creation. Watching the world of mortals, but trying to improve the quality of life. Concentrate on art, concentrate on industry, concentrate on ceramics, be infatuated but not fascinated, be fascinated but not lost. Persistence in pottery, persistence in ideals and research on the art industry are the interpretation of the craftsman's spiritual core. Calcined earth makes pottery, and pottery becomes a great instrument. In this process, Mr. Masahiko also showed the simplicity and excitement of life.
Close to people, close to the road.
Approach the road, approach life.
He smokes, drinks and drinks tea, and makes ashtrays, small handles and teacups with exquisite, exquisite and exquisite pottery, but these are not important. What's important is that in the misty smoke, the clear fragrance of wine and the faint fragrant tea, we can see a craftsman whose feelings and ethics have fallen to the ground, with roots and buds. You can also see a soul hidden in people's inner world, which is precipitated, then ignited and calcined by fire. It is this soul that makes these things called Tao radiate spiritual light. In the face of these pottery, I must constantly look up to its height, as well as the height of these craftsmen's spirit and the spiritual tolerance contained in it.
Mr. Yayan's life pottery is to develop pottery in the prosperous times, with simplicity as the color, massiness as the truth, and calcination as the Tao. Talk about Yiran's pottery. One pottery and one art, rooted in human nature, based on pottery, tasting tea and poetry in Taoran, this is Yan Zheng's ceramic life.
When I came back from Taoyanju, I thought of the white fox that once appeared in Pan on the Xiaoxiang River. I chose a place to live. I am good at communicating with people, squeaking and enjoying, and singing the prosperous times. I don't know when the white fox will come and go, but as an auspicious thing, it has always lived in my heart and in the hearts of all kind and poetic people.