在东方古老而神奇的土地上，中国陶瓷以其独特的艺术魅力和深厚的历史文化底蕴，穿越了千年的时光隧道，从古朴的原始形态逐步演化至今日的璀璨夺目，成为连接古今、沟通中外的重要文化名片。当西班牙国家研究院副主席胡安·伊格纳西奥·拉富恩特，和来自埃及的南昌航空大学外教玛娃首次踏上景德镇这片陶瓷圣地时，他们不仅品鉴了一段泥与火的传奇，更见证一场跨越时空的文化交流与碰撞。In the ancient and magical land of the East, Chinese ceramics have journeyed through time for thousands of years, showcasing their unique artistic charm and profound historical and cultural heritage. From their primitive forms, they have gradually evolved into a stunning expression of craftsmanship, becoming an important cultural symbol that connects the past and the present, and bridges China with the world. When Juan Ignacio Rafúente, vice chairman of the Spanish National Research Council, and Marwa, an international faculty member from Egypt at Nanchang Hangkong University, first set foot in Jingdezhen—often referred to as the sacred land of ceramics—they not only experienced a legendary history of clay and fire, but they also witnessed a cultural exchange and collision that transcends time and space.两人第一站来到景德镇古陶瓷基因库，这个宝库，收藏着无数陶瓷瓷片的“DNA”。古陶瓷基因库的建立为研究古代社会、复原古代工艺、进行古陶瓷鉴定、开发陶瓷文创、讲好瓷器故事打开了一扇门。在这里，他们亲眼目睹了从汉代青瓷到唐宋白瓷，再到元明清时期青花、粉彩等各色瓷器的演变历程。每一件展品都承载着历史的厚重，讲述着匠人们的心血与智慧。胡安对宋代青瓷的温润如玉赞叹不已，认为其简约而不失高雅的设计理念至今仍具有极高的审美价值。而玛娃则被明清时期粉彩瓷的细腻画工深深吸引，她认为这些作品如同色彩斑斓的梦境，展现了中国人对美好生活的无限向往。Their first stop was the Ancient Ceramic Gene Bank of Jingdezhen, a treasure trove that houses the "DNA" of countless ceramic fragments. The establishment of this gene bank has offeredan approachto research ancient societies,restore ancient crafts, authenticate ceramics, developing ceramic cultural products, and narrating the history of porcelain. Here, they witnessed the development of ceramics, from celadon in the Han Dynasty,and white porcelain in the Tang and Song Dynasties, to blue-and-white, and pink porcelain in the Yuan, Ming, and Qing Dynasties. Each exhibit carries the weight of history and tells the story of the dedication and wisdom of the artisans. Juan was deeply impressed by the delicacy and jade-like quality of celadon in the Song Dynasty and admired its minimalist yet elegant design, which still holds great aesthetic value today. Marwa was captivated by the intricate paintings on Famille Rose porcelain from the Ming and Qing dynasties. She felt that these pieces were like living dreams that reflected the Chinese people's endless longing for a beautiful life.随后，一行人步入景德镇御窑博物院，这里曾是明清两代皇家御用瓷器的生产基地，一砖一瓦都彰显着皇权的尊贵与威严。漫步其间，他们仿佛穿越回时空，亲眼见证了宫廷对陶瓷艺术的极致追求。从精致的茶具到宏伟的陈设瓷，件件作品都凝聚了匠人的精湛技艺和无尽的创意。玛娃惊叹于那繁复而有序的图案布局，以及青花料釉下那一抹深邃的蓝色，认为这不仅是技术的胜利，更是艺术的巅峰。胡安则对御窑的生产流程和管理制度表示了浓厚兴趣，他认为，这种高度组织化的生产方式，为后世工业化生产提供了宝贵的借鉴。The group next visited the Jingdezhen Imperial Kiln Institute, historically recognized as a pivotal production center for porcelain used by the imperial court during the Ming and Qing dynasties. Each brick and tile in the museum exuded royal dignity and authority. As they wandered through the exhibits, they experienced a sense of temporal displacement, witnessing the palace's profound commitment to ceramic artistry. From intricately designed tea sets to grand ceremonial porcelain, every artifact exemplifies the exceptional skills and boundless creativity of its artisans. Marwa expressed her admiration for the complex yet harmonious patterns and the rich blue tones beneath the cobalt glaze, perceiving these creations not merely as technical achievements but as true works of art. Meanwhile, Juan was captivated by the production techniques and management strategies employed at the Imperial Kilns, considering them invaluable references for industrialized manufacturing practices in later eras.离开博物院后，他们拜访了中国工艺美术大师徐岚的陶瓷艺术馆。他们被一系列细腻温婉的青花瓷作品深深打动，最吸引他们的作品是《守望·家园》，这件作品手工塑造成类似于“飞碟”的扁瓶器型，造型独特，如同雕塑般散发着构建的力量，徐岚大师巧妙地融合了刻、划、画等多种手法，将大自然中众人熟知的板栗树和鸟儿作为创作题材，仿佛有一种生命的旋律流淌在其中。胡安对徐岚在青花、粉彩完美的构图以及色彩上的大胆创新表示高度赞赏。Upon departing from the Institute, the group proceeded to the Ceramic Art Museum dedicated to Xu Lan, a renowned Chinese master of traditional craftsmanship and fine arts. They were profoundly impressed by an array of exquisite blue-and-white porcelain pieces. Among these, the most striking was "Guarding the Homeland," a uniquely crafted flat vase resembling a "flying saucer." This innovative design emitted a sculptural vitality, seemingly encapsulating the essence of creation. Master Xu Lan cleverly integrated various techniques such as carving, painting, and drawing,using the well-known chestnut tree and birds in nature as her creative themes, as if a melody of life is flowing within them. Juan expressed his high praise for Xu Lan's perfect composition in blue-and-white porcelain and pastel, as well as herbold innovation in color use.紧接着，他们来到了雕塑家吕品昌的雕塑艺术馆。吕品昌是一位从景德镇走向世界的陶艺和雕塑界重要代表人物，今年10月，他将其40年创作的所有作品无偿捐献给景德镇，不仅表达了他对这座城市的热爱，更以其独具匠心的现代陶瓷表达向传统致敬。吕品昌将陶瓷恢弘的气势化成凝固的史诗，创作出了雕塑《信仰》。在这件作品中，吕品昌率领团队力求新突破，创作中既通过方阵构图保持了整体面貌的一致，同时又允许发挥每一位作者的创作个性、语言和手法，形成了有效的规范和张弛关系。将西方雕塑与中国传统雕塑、绘画、建筑及木刻等艺术形式融汇、转化和升华，作品庄重严谨而具有民族艺术的深厚底蕴。Their next stop was the Sculpture Art Museum dedicated to the works of Lyu Pinchang, a prominent figure in ceramics and sculpture, who originated from Jingdezhen and gained international acclaim. In October of this year, he generously bequeathed his entire body of work produced over the last four decades to Jingdezhen, expressing his affection for the city but also honoring tradition through his distinctively crafted modern ceramics. Lyu Pinchang's sculpture "Faith" exemplifies his ability to encapsulate the magnificence of ceramics into a timeless narrative. In this creation, Lyu guided his team towards innovative advancements, successfully achieving a synthesis between a cohesive overall design characterized by a grid structure and allowing each artist the opportunity to showcase their unique creativity, style, and techniques. The artwork harmoniously integrates Western sculptural elements with traditional Chinese artistic expressions, such as sculpture, painting, architecture, and woodcut printing, resulting in a piece that is both solemn and rigorous while richly embodying national artistic heritage.吕品昌的“中国写意”系列作品更是将传统文化与现代文化完美对接，用一地碎瓷与历史对话、与现实对话、与内心对话。他采用多种造型方式构筑叙事模式，宏大的视觉体验让观者身临其境。《中国写意·NO.44》让观赏者仿佛置身于文物收藏者的乐园，感受到了历史的厚重与文化的深邃。而《阿福》系列融合了中国传统雕塑元素，特别是民间工艺中的人物形象，并进行了剧烈的夸张与变形。《中国写意》系列与《阿福》系列相互支撑，既从实践与理论上探索具象与抽象的边界，又在残缺与完美的审美边界游走，还探索材料语言与造型语言结合的边界与融合，展现了艺术家对陶瓷雕塑艺术的深刻理解和独特见解。Lyu Pinchang’s "Chinese Impression" series connects traditional and contemporary cultures, fostering a dialogue with history, reality, and the inner self through the medium of broken porcelain. He employs various narrative modes to construct a multifaceted visual experience that fully engages the viewer. In "Chinese Impression No. 44," the audience is transported into the realm of a cultural relic collector, allowing them to profoundly perceive the weight of history and the richness of culture. Conversely, the Afu series incorporates elements from traditional Chinese sculpture, particularly figures derived from folk art, which are exaggerated and distorted in dramatic fashion. The interplay between the Chinese Impression series and the Afu series reveals a mutual support system as they explore the distinctions between figurative and abstract forms both practically and theoretically. Additionally, they probe the aesthetic dichotomy between flaw and perfection while investigating the integration of materiality with formal language. These works exemplify the artist's deep comprehension and distinctive perspectives on ceramic sculpture art.此次访问的最后一站是景德镇学院，这里不仅是陶瓷艺术人才的摇篮，也是创新人才培养的试验区，还创造出了世界唯一的“瓷乐”艺术。当一行人步入音乐厅，一曲由瓷磬、瓷笛、瓷鼓等瓷制乐器演奏的乐章缓缓响起，清脆悦耳，宛如天籁，不仅是听觉的享受，更是心灵的洗礼。胡安感慨地说，这是他第一次听到如此独特而美妙的音乐，中国陶瓷文化的博大精深和无限创意可以被看见，可以被听到，可以被触摸。玛娃被这种跨界融合的艺术形式深深打动，她认为，瓷乐不仅展示了陶瓷的物理特性，更体现了中国人对美的追求。The final destinationwas Jingdezhen University, recognized not only as a nurturing ground for talents in ceramic art but also as an experimental arena dedicated to cultivating innovative thinkers. This institution has pioneered the unique art form known as "Porcelain Music." Upon entering the concert hall, attendees were enveloped by melodies produced from ceramic instruments, including porcelain chimes, flutes, and drums. The crystalline and harmonious tones resonated like a celestial symphony, providing both an auditory delight and a spiritual rejuvenation. Juan expressed that this was his first experience with such distinctive and exquisite music, noting that it encapsulated the profound depth and boundless creativity inherent in Chinese ceramic culture—qualities that could be perceived through sight, sound, and touch. Marwa experienced a profound emotional response to this interdisciplinary amalgamation of artistic expressions. She posited that porcelain music not only exemplifies the tangible characteristics of ceramics but also mirrors the Chinese aspiration for beauty.胡安和玛娃不仅领略了中国陶瓷从古朴到璀璨的发展历程，更深刻体会到了中国陶瓷艺术背后所蕴含的文化精神与创新力量。他们相信，中国陶瓷将继续以其独特的魅力，在世界文化的舞台上绽放更加耀眼的光芒，成为连接不同国家和民族之间友谊与理解的桥梁。Juan and Marwarecognized the evolution of Chinese ceramics from its primitive simplicity to its striking brilliance but also cultivated a profound comprehension of the cultural essence and innovative prowess inherent in Chinese ceramic artistry. They asserted that Chinese ceramics will continue to illuminate the global cultural arena with its distinctive allure, serving as a conduit for fostering friendship and understanding among diverse nations and cultures.
