China Daily Global Edition (USA)
Ceramic connections
Creations by foreign students featuring traditional Chinese techniques help build bridges, Cai Hong reports in Jingdezhen.
With its balanced, rounded pot and cups, the tea set looks like Chinese ceramic ware at first glance. But closer inspection of its motif reveals an ancient Ugandan design, customarily applied to tribal masks for important seasonal rituals.
“My projects always aim to fuse some aspects of Chinese and Ugandan culture,” said the tea set’s creator, Ocen Robert.
In 2015, Robert arrived in China from Uganda to pursue higher education in ceramic arts at Jingdezhen Ceramic University in East China’s Jiangxi province.
“Nihao (‘hello’ in Mandarin) was the only Chinese word I knew,” he said.
Eight years later, Robert, now 33, speaks fluent Mandarin and is enrolled in a PhD program that focuses on design, with his art sold at nationallevel exhibitions in China.
“China is one of the safest nations I have ever been in,” he said. “I love it here, not only because of its safety, but the raw materials and the production techniques for ceramics here are also among the best internationally.”
During his time in China, Robert was given many opportunities to participate in ceramic production, exhibitions and even to access the nation’s experts, which all helped him express his creativity, he said.
“As one of those who taught him, I would say Robert is exceptionally hardworking and always eager to learn about all aspects of Chinese ceramics,” said Professor Zhang Jingjing, dean of the international department at Jingdezhen Ceramic University, who also mentors PhD students.
Zhang said she introduced the president of the International Academy of Ceramics to Robert when she witnessed her student’s passion as a ceramic artist.
The academy, which is affiliated with UNESCO, is a prominent organization that represents the interests of ceramists worldwide.
Robert has since presented some of his best artwork to the organization, and expressed his gratitude to the professor for the introduction.
“I couldn’t have done it, if it weren’t for Professor Zhang and the help of Chinese ceramic artists,” he said. “I now introduce other promising Ugandan artists to the IAC, linking Ugandan culture to the world via Chinese ties.”
Local to global
To deepen his understanding and passion for traditional Chinese culture, Robert spends most of his free time in the culture and history sections of local museums. He also gets to know Chinese professionals, inside and outside the ceramic world.
“I would love to solidify my career as an artist here, while helping to link Uganda and China,” Robert said. “Ugandans are thankful, curious and passionate about Chinese culture. I would love to introduce the artists back home to study and create ceramic artworks in China and promote them to the world.”
Zhang said: “Robert has attained the essential spirit of Chinese ceramic art — fusing and embracing the differences. Loving the imperfection and imbalances has been the standard for Chinese ceramic arts and its creations. Some people love slim lines while others appreciate bold lines on the objects; some like various colors while others prefer a monotone.”
Many artists in the field consider diversification part of Chinese ceramic arts, accepting flaws in the presentation of unique beauty. According to Zhang, the current trend in the field is to expand the many aspects of its artistic value onto the international stage.
“We would love to present Chinese ceramics as both inheriting traditional designs and craftsmanship and having globalized, modernized components,” she said.
Robert said: “To be a modern artist in Chinese ceramics, one needs to comprehend the full flow of production, which requires years of practice and learning.”
Some of the most challenging parts of creating his pieces involve the “ideal shape and thickness”, he said.
“I would fail at times, but I always practice, again and again.”
Zhang agreed, saying artists should be able to “understand the materials that go into the work, the glazing, the engraving, or the painting of the surface, and everything else related to the creation of the artwork, before calling oneself an artist in ceramics”.
Growth hub
Chinese ceramic ware boasts a long history. It was vital for the ancient Silk Road and ceramic products made up a significant portion of global goods traded at the time.
Jingdezhen, the celebrated ceramics hub, is now being positioned as a national cultural inheritance and innovation pilot zone for the pillar industry. In line with the Belt and Road Initiative, efforts are also being made to leverage this rich ceramic heritage, including promoting cross-cultural cooperation on ceramic arts via national-level exhibitions.
The Annual China (Beijing) International Ceramics Exhibition alone attracts more than 400 major participants, including British, Thai, and Japanese artists.
At the event in July, master engraver Shi Shangjian, 52, told reporters he had been practicing traditional engraving techniques since he was 13.
“Ceramic art is about learning, adapting and creating,” Shi said, pointing to a creation with intricate butterfly designs. “We adopted Western engraving styles and also introduced the use of machinery, creating finer details that appeal to observers from every angle. You get the gist of engraving after one decade of practice. You can become an independent craftsman after two decades. After five decades, you can call yourself a skilled artist in ceramic engraving.”
At major industry events, Jingdezhen Ceramic University is also helping to preserve and promote the ceramic art legacy by giving its students platforms to showcase their work.
“Combining the use and artistic value of ceramics with material science and manufacturing technologies is essential for schools to teach Chinese ceramic arts,” said Professor Sun Qinghua, an expert in traditional Chinese artifacts and art styles.
Chinese ceramics will always be capable of incorporating global art forms and innovative manufacturing techniques, he said.
“We strive to promote and increase global understanding of Chinese values via Chinese ceramic arts,” Sun added.
Chinese ceramic arts majors also have a firm grounding in material science and engineering, constantly representing China and winning international awards for their creations and products, he said.
“With the global output of Chinese ceramic art designs and projects, Chinese culture is presented in artistic, abstract ways,” Sun said.
Ugandans are thankful, curious, and passionate about Chinese culture. I would love to introduce the artists back home to study and create ceramic artworks in China and promote them to the world.”
Ocen Robert, PhD student at Jingdezhen Ceramic University