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Artistic
Activties and self-experiences
It is quite difficult for people
to understand themselves though they may be able to understand the
world around themselves. Stung with the boundless desires for minds
have already been distorted, What frequently happens is that seeking
novelty or fawning on vulgarity becomes the two extremes of the art
world. If discussing the art works from the perspective of the moral
quality, the art gradually becomes fantastical or mediocre, the
former being representative of the self-expansion and the latter, a
symbol of self-deficiency are the dissimilation of human natures.
Therefore, what should be followed with interest today is how to
recognize the subjectivity of non-dissimilative people in their
artistic artivities and the non-dissimilation of art works concerned.
The ceramic art seems to be on the borderline of the art
world, being somewhat different from others though unable to extricate
itself from a predicament. However, it is probably the borderline
which may be a possible solution to discard or clear up the
dissimilation. The process of ceramic making is ,after all, an
activity in which, being on intimate terms with the natural materials
and trying to give them specific functions, we have been making our
efforts to reveal the organic relationship between the
non-subjectivity and the objects in order to display the affinity
between people and materials . With their rich experiences, ceramics
makers have not distinctively paid the price of "degenerating their
hands" to promote any fashionable things, but ,in a sharp contrast,
toiling day and night as potters and appreciating as scholars to make
a genuine depiction of the state of existence with the direct aid of
the natural and original matters. For all the people ,such an
activity is both an experience and a transcending.
In time and space, the ever changing state of existence or
the subjective actions have their own "natures of purpose". However,
in the sense of our experience, it is only by offering resistance to
and going beyond various "integrated natures of purposes" of the
exterior forces that a true ego will be accepted universally. It is
not difficult to avoid that the a priori dreams will become illusions
and actions without human nature will go astray. By practicing their
techniques, ceramic makers may create images of the subjects in
conformity with the purpose while understanding and appreciating the
subject itself and perceiving the magic power of the nature to
appraise the truth of humanity and to demonstrate the values of
existence in our joys of self-content and perfect harmony of man and
nature. Besides, anything is uncalled-for. It is not necessary for
anyone to gain any worldly fames, or to seek any authority of
stylization and to show off and advertise himself. If so, the true ego
will be lost again.
The contemporary art has already gone through the
transformation process, i.e., from the objective descriptions of the
classic period, the subjective representations of the modernism to the
description of contemporary life. The ceramic art ,directly from life,
has a even closer relationship with the source of life. As a result,
it is not necessary for the ceramic art on the borderline of the art
world to squeeze into the so-called mainstream art which has not
entered into the process of transformation in China even today. We may
say that the art in life has changed its functions of "serious
teaching" while promoting the construction of life in art. It is even
closer to the "games" of wisdom. The game-like process of ceramic
making focusing upon the techniques has led us to break away from the
rigid language of the established system to reach an ideal realm of
freedom as "the perfect harmony of body and mind and perfect
integration of forms and contents". We respect our nature, love
our life and go beyond the barrier of stylization so that a true ego
will be able to return to the home of our souls.
Neither sincere respect is blind worship, nor ardent love,
foolish infatuation. Going beyond the established patterns does not
refer to any disregard of other experiences. What we do mean is that
we should neither be restricted to any specific influences, nor induce
others to receive our influences. It is only by keeping our eyes on
any influences that the subject of ego can never be transformed into
the object of him. The freedom that worldly possessions to be aimed
at, but absolutely necessary for them to comprehend in their minds
from time to time. The so-called "keeping our eyes on the ball" only
refers to the potential self-identification and their confidence in
their choices and explorations, not any repulsion or denial of all the
things. The wisdom of the predecessors is none other than the property
of later generations and the subject of ago will never be able to
break away from the parent body of cultures in which it dwells.
Confucius, the great scholar, once said: "I have understood quite a
lot fundamental truth through studying ordinary knowledge." We may
regard the teaching as a way of initiative learning, but not a passive
training. We should practice and comprehend by ourselves before
realizing self-recognition and self-transcending to "reach the perfect
harmony," i.e., the perfect integration of the ceramics makers have
been aspiring in their practices are as follows: the
self-demonstration of the spirit of nature. The ancients be placed in
our heart. No traces have been left like the dissolution of dew in
spring." It is probably the best description of the nature, but we may
regard it as both one of the principles to conduct ourselves and the
state of mind in making of ceramics.
As for the above casual notes, there should have been no
"traces", but they have to be written down in lines. Here are some of
my works that I have in my collections even today. In addition
to the great diligence and kindness of the editor, the photos may be
regarded ad "the end of my writing.
January 22,2004 the
Spring Festival of Chinese Lunar Calendar
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