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首先，你要根据你们单位的评职文件了解单位是否对期刊有特殊的要求。有特殊要求的话就根据相应的标准来进行投稿就可以了。一般评初级职称不用发表论文，晋升中级职称（讲师，工程师）需要本专业或相近专业论文三篇，公开发表，省级期刊。晋升高级职称（高讲，副教授，高工）需要本专业或相近专业学术论文五篇，公开发表;三篇国家级期刊，两篇省级期刊，如果名额有限，需要核心期刊发表几篇。另外，评职称也不是只有发表论文这一项，申请专利或者著作教材挂名副主编也是可以的哦！专业发表九年，只做正刊，流程完善，有保障。有兴趣的小伙伴可以找我哦。
第一，首先需要清楚的知道发表论文的要求，然后根据相关要求选择正规且合适的刊物1 )确保刊物是新闻广电总局认可的正规的，有CN和ISSN双刊号；2）省级或者国家级的刊物；3 )发表后文章能在知网检索到，意思就是说这个刊物得是知网收录的；4）为了赶上评审，和大家就得提前几个月甚至半年时间准备好文章并成功发表，因为一般刊物的发表周期都是3个月左右，收到刊物后文章检索还需要2-3个月时间，不然发表后到评审了检索不到文章就麻烦了。根据这些要求去进行严格筛选，所以需要提前半年准备。第二，选定刊物后根据刊物的要求去准备文章，投其所好以便成功发表！第三，一切准备就绪后就可以安排发表了，一般的发表流程是投稿——审稿——文章通过就发电子版录用通知书，没通过就告知退稿或修改——付版面费——出刊邮寄杂志——网上检索文章。更多发表问题加友更方便
一、文章质量要符合发表的基本要求文章的质量是一个很抽象的东西，但也有一个大致通用的标准，即，观点正确，文字通畅，逻辑严密，结构合理，结论有创新，等等。如果您有了这样的文章，就可以进行下一步投稿的事情了。但是，由于我国学术界的特殊情况，文章质量达到发表的要求并不是太难的事情，或者经过我们的修改就可以发表。关于质量，可以参考日本质量专家的话，质量的核心是实用性。二、文章的选题要符合刊物的定位，不能乱投稿大家都知道，每一个刊物或者杂志都有自己特定的宗旨、栏目和专业定位，投稿前必须先对此进行了解，弄清楚目标杂志是哪个方面的。还要搞清是季刊、双月刊、月刊还是半月刊、周刊，这直接影响您的稿件发表的速度。三、文章格式要规范，还需控制字数学术性期刊的格式是非常严格的，论文的格式可以参照你所投刊物的要求去做。至于字数，因为很多刊物是按计空格字数收费的，所以，您要根据需要确定文章的字数，省得花冤枉钱。比如，高校评中级职称一般3500字就可以了，社会上评高级会计师、高级工程师等，3000字以上即可。还要注意，如果文章有图表，则要适当增加版面。四、提前投稿，尽量提前2—3个月投稿一般的学术刊物，从接收稿件到样刊出来，需要2-3个月。如果是核心刊物，则需要半年，或许更长时间。虽然最近几年，有很多刊物变成了月刊、半月刊，甚至旬刊，但还是提前准备为好。
CiZao territory along the stream of ancient sites, more numerous, early in the 1950s, the Palace Museum ChenWanLi FengXianMing, Mr CiZao kiln for such had survey, Thereafter, xiamen university, quanzhou museum of human JiaoTongShi overseas JinJiangXian museums, museums, museums in fujian province as the unit of the researchers have done a lot of research work, and have tried to dig, local large specimens, found in the southern dynasty - 26. In January of this place, Tang and five six sites, 12 this song and yuan dynasties, Qing dynasty. This 7 The song and yuan dynasties, TongZiShan spider mountain sites, soil sites include the tail set this mountain sites, CiZao referred to as listed in the first batch of fujian, this unit of provincial level. In this mountain, song dynasty xikou retaining golden hill sites listed jinjiang municipal units of cultural relics protection.CiZao kiln product variety, the shape of diversity. The breed with life daily utensils for bulk, in addition to display device, building materials, etc. Life in the vessel is bowl, plate, lamp, disc, basin, bowls, wash, cans, cylinder, urn, pot, bottle, lamp, dishes, lamp, ZhiHu, water injection, army, must hold pillow etc, porcelain, Display device are furnace, sweet fume, vase, flowerpot, animals, plants and animals YanDi fractal model (such as lions, tigers, tortoise, toad, peach, etc), and other like such a piggy bank, waist, can artifacts, Building decoration materials, etc. Among them, huang painted iron army, the market, the decorative plate is green glair for export products, dragon urn is the most local characteristics.The CiZao kiln chinaware TaiZhi general grayish, particle TaiZhi thicker, dense enough. Also because of this, the porcelain clay glair place more womb a yellowish-white makeup. But generally only half glaze, was in no glaze. Glaze can be classified into five categories, namely green glair, sauce black glaze, huang, green and yellow green glair glaze. Green glair in bowls, disc, lamp, port, basin, caddy, pot, ZhiHu, army, lamp, holding furnace, sweet fume, etc in green glair color; add brown under Many in the dark glaze sauce bowl, the lamp, lamp, cans, pot, ZhiHu, water injection, furnace waist, such as, some of the light side or bowl, the mouth ShiQing glaze, along the sauce black glazed, Yellow green glair is in bottles, cans, army, hold, water injection, basin, plate, furnace, pillow, birds and animals eat model, Some for the yellow color glaze, green glair, green glair is much "silver" return, Some are yellow and green glair with n a device. Adornment gimmick, picking flowers, there MoYin, DiaoLou, glazing and coloured drawing or pattern, etc. Decoration pattern has flowers (Ephraim, chrysanthemum, peony flowers, tangle, flowers, etc.), the grass (grass), the melon leng, melons, chicken, and stroke, YunLei, string equipment.the grain, the cloud, water color and spread point, especially in the dragon grain.In the jinjiang county annals "have" China township, take a focal porcelain kiln, and the earth open BoZi, cylinder, the size of the urn what genera, and give the foot." The records. Based on the field investigation and CiZao kiln relevant archaeological data, in Japan and the Philippines, Indonesia, Malaysia, Singapore, Thailand, Sri Lanka, Kenya, south east Asia, southeast Asia etc. Nation in the east and have CiZao kiln products. In these countries, some of the museum, the museum collections often works, thus the kiln, CiZao kiln is an important area of export porcelain.The army, bottle, ZhiHu, cans, disc is a song period of the main export products. Among them, the army is dedicated to people in southeast Asia and the religious activities, "Dragon" production since Ming dynastiy urn, follow, but also continuously domestic exports to southeast Asia. During the Ming and qing dynasties, CiZao to burn a daily ceramics, thick, with overseas Chinese still marketing of going abroad, porcelain making technology also spread throughout southeast, promote the development of local ceramic technology, such as the Philippines meters of land "neville" fires, CiZao WuXing overseas Chinese porcelain is taught. Until recently, still have many overseas Chinese in this camp, imparting ones.CiZao kiln is China's southeastern coast, with the important export ceramic kilns, is a strong kiln of local characteristics and style of the kilns. Its location - near quanzhou harbor port, make its export condition is superior. At the same time, it is closely related to the rise in quanzhou port quanzhou in song and yuan dynasties, when the traffic and foreign trade reached its peak, is the development of CiZao kiln production period of prosperity. Some of the CiZao kiln product is specially designed for export and fire, such as army as may be to adapt to the southeast Asia and religious life of furnace burn CiZao artifacts, the products implement class colorful, although is extensive, but it should be pointed out that special features, CiZao kiln unearthed some porcelain sculpture, deep eye high nose figure, vividly reflected quanzhou sea port of song and yuan dynasties "rise in birth million."But CiZao ceramic in Ming dynasty, because when the glazed products mainly of extinction, cylinder, pot, cans, disc, production and sale of demand, narrow. How to position yourself? ChongZou ancestors certainly not, then the path of people are turning to architectural ceramics. In 1979, CiZao WuJinShi people, through many thousands of practice in the ancient kiln burned modern glazed pottery. Since the start CiZao on real significance of ceramic enterprise, the development of extraordinary scale.After more than ten years of development, CiZao town as the five big building ceramic production base, become one of national xinghuo regional ceramic materials pillar industrial technology innovation, national ceramics industry in fujian province, the demonstration base of science and technology, and has ShiFanZhen ceramic group, advanced kiln production line 15 more than 300. Output value over 100 million yuan of enterprise group has 6, the value of the enterprise has super million, the building materials CiZao 159 products sold throughout the country, the exterior wall tiles yield an equivalent to two thirds of the production. Almost the glazed tiles. CiZao town by an unknown technocrat rural town has become MinDongNa economic hub. For many years in fujian province and comprehensive economic strength strong town. June 2000, Chinese sanitary ceramics association awarded "China ceramic town" honorary title.磁灶境内古窑址多沿溪分布，数量众多，早在二十世纪五十年代，故宫博物院陈万里，冯先铭等先生就对磁灶窑进行过调查；其后，厦门大学人类博物馆、泉州海外交通史博物馆、福建省博物馆、晋江县博物馆等单位的研究人员均对其进行了大量的调查工作，并进行过局部试掘，采集到大量标本，发现了南朝至清代的二十六处窑址。其中南朝窑址1处；唐、五代窑址6处；宋元时期窑址12处；清代窑址7处。宋元时期的蜘蛛山窑址、童子山窑址、土尾庵窑址、大坪山窑址统称为磁灶窑址，列为福建省第一批省级文物单位。南朝溪口山窑址、宋代金交椅山窑址列为晋江市级文物保护单位. 磁灶窑产品品种繁多，器形多样。其品种以生活日用器皿为大宗，此外还有陈设器、建筑材料等。生活日用器皿中有碗、盘、盏、碟、盆、钵、洗、罐、缸、瓮、壶、瓶、灯、盂、盏托、执壶、水注、军持、急须、瓷枕等；陈设器则有炉，香熏、花瓶、花盆、动物形砚滴、动植物模型（如狮、虎、龟、蟾蜍、寿桃、力士像等），以及其它如腰鼓、扑满、鸟食罐等器物；建筑材料有装饰板等。其中，黄釉铁绘花纹大盘、军持、青釉碟是专供外销的产品，龙瓮是最具地方特色的。 磁灶窑瓷器的胎质一般呈灰色，颗粒较粗，胎质不够致密。也正因为此，瓷器胎土施釉处多上一层黄白色化妆土。但一般仅施半釉，器内无釉。釉可分为五大类，即青釉、酱黑釉、黄釉、绿釉与黄绿釉。青釉多见于碗、碟、盏、钵、盆、小罐、壶、执壶、军持、灯、炉、香熏等器物，有的还在青釉下添加褐彩；酱黑釉多施于碗、盏、盏托、罐、壶、执壶、水注、炉、腰鼓等器物，有的如碗、盏里侧或口沿施青釉，外施酱黑釉；黄绿釉则见于瓶、壶、罐、军持、水注、盆、盘、炉、枕、鸟食罐及动植物模型等；有的为单色的黄釉、绿釉，绿釉器多有“返银”现象；有的则黄、绿釉同施一器。装饰手法有刻划、剔花、模印、雕镂、施釉及彩绘等。装饰纹样有花卉（莲、菊、牡丹、缠枝花、折枝花等）、草叶（卷草）、瓜棱、瓜、凤，以及篦划、云雷、弦纹、卷云、水波及点彩、文字等，其中尤以龙纹最具特色。 在《晋江县志》中就有“瓷器出瓷灶乡，取地土开窑，烧大小钵子、缸、瓮之属，甚饶足，并过洋。”的记载。通过对磁灶窑的实地调查和有关考古资料证实，历年来日本、菲律宾、印度尼西亚、马来西亚、新加坡、泰国、斯里兰卡、肯尼亚等东亚、东南亚、南亚和东非国家中多有磁灶窑产品出土。在这些国家的一些博物馆、美术馆，常收藏有该窑作品，由此，证明磁灶窑是一处重要的外销陶瓷产地。 军持、瓶、执壶、罐、碟等是宋元时期大量外销的主要产品。其中，军持是专门适应东南亚人民进行宗教活动需要而烧制的；“龙瓮”的生产自宋明至今，沿袭不断，除了内销外还输出到东南亚各国。明清时期，磁灶以烧制单一的日用粗陶为主，仍运销海外，随着华侨的大批出国，制瓷技术也传播南洋各地，促进当地陶瓷工艺的发展，例如菲律宾米岸烧制的“文奈”瓷器，就是磁灶吴姓华侨传授的。直到近代，仍有众多华侨在海外操营此业，传授技艺。 磁灶窑是我国东南沿海地区，以烧造外销陶瓷为主的重要窑口，是具有浓量的地方特色和时代风格的民窑。它所处的地理位置---濒临泉州港口岸，使其外销条件优越。同时，它与泉州港的兴衰密切相关，当泉州在宋元时期对外交通和贸易达到鼎盛的时候，也正是磁灶窑生产发展昌盛的时期。磁灶窑的某些产品是专门为外销而烧造的，如军持等可能是为适应东南亚各地宗教性生活而接受的定烧器物，磁灶窑的产品器类丰富多彩，虽然比较粗放但却颇具特色，特别应指出的，磁灶窑出土的一些瓷雕塑，深目高鼻的人物形象，生动地反映了泉州港宋元时期“涨海声中万国商”的景象。 但磁灶的陶瓷在明清之后，由于宋时釉彩等工艺的的失传，产品主要以缸、壶、罐、碟为主，生产和销路窄小，市场需求低。如何定位自己？重走祖辈们的老路肯定不行，于是人们把目光投向了建筑陶瓷。1979年，磁灶人吴金世，历经多次的实践终于在千百年的古窑里烧出了现代的釉面砖。磁灶从此开始了真正意义上的跨越，建陶企业得到了超常规模的发展。 经过十几年艰苦的发展,磁灶镇作为全国5大建筑陶瓷生产基地之一，成为国家级星火区域性陶瓷建材支柱产业区、国家级技术创新陶瓷工业示范基地、福建省第三批科技示范镇，目前，拥有建陶集团15家，先进辊道窑生产线300多条。产值超亿元的企业集团有6家，产值超千万元的企业有159家，磁灶的建材产品畅销全国各地，外墙砖产量一项就相当于全国产量的三分之二。琉璃瓦几乎垄断全国的市场。磁灶镇由原来名不见经传的乡村小镇一跃成为闽东南经济重镇。连续多年综合经济实力位居福建省10强乡镇前列。2000年6月，被中国建筑卫生陶瓷协会授予“中国陶瓷重镇”荣誉称号。
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"陶瓷"是一种通称,"陶"和"瓷"在质地上、物理性能上有很大区别。中国是最早制造陶器的国家之一,是最早发明瓷器的国家。 陶器的出现大约在距今1万年左右,中国进入新石器时代,开始了定居生活,盛水、蓄物等日常生活的需要,促使了陶器的发明。中国陶器的分布比较广泛,主要集中的在黄河流域和长江流域。其中仰韶文化是新石器时期比较有代表性的文化类型,以彩陶为特点,也称"彩陶文化",它派生出半坡和庙底沟两个类型,装饰图案有很高的艺术价值。马家窑文化是新石器晚期的文化类型,比仰韶文化略晚,距今约5000年。黑陶是继彩陶之后的又一伟大创造发明,距今约4000年的龙山文化时期,出现了工艺独特的蛋壳陶。近些年来,山东、河北一带多有仿制,有较高的收藏价值。秦汉时期的陶俑,是我国古代人物雕塑的高峰,使制陶技术和艺术达到了很高的境地。此外,唐代的三彩器、明清两代的紫砂器等,都是中国陶器文物的重要内容,很值得深入收藏和研究。 陶瓷(Ceramics),陶器和瓷器的总称。陶瓷的传统概念是指所有以粘土等无机非金属矿物为原料的人工工业产品。它包括由粘土或含有粘土的混合物经混炼,成形,煅烧而制成的各种制品。由最粗糙的土器到最精细的精陶和瓷器都属于它的范围。对于它的主要原料是取之于自然界的硅酸盐矿物(如粘土、长石、石英等),因此与玻璃、水泥、搪瓷、耐火材料等工业,同属于"硅酸盐工业"(Silicate Industry)的范畴。 陶瓷的发展史是中华文明史的一个重要的组成部分,中国作为四大文明古国之一,为人类社会的进步和发展做出了卓越的贡献,其中陶瓷的发明和发展更具有独特的意义,中国历史上各朝各代不同艺术风格和不同技术特点。英文中的"china"既有中国的意思,又有陶瓷的意思,清楚地表明了中国就是"陶瓷的故乡"。changaiyin 早在欧洲人掌握瓷器制造技术一千多年前,中国人就已经制造出很精美的陶瓷器。中国是世界上最早应用陶器的国家之一,而中国瓷器因其极高的实用性和艺术性而备受世人的推崇。 所谓陶器和瓷器是指用可塑性制瓷粘土和瓷石矿做胎体,用长石和石英等原料制釉,并且通过成型、干燥、烧制而成的制品,主要有日用、艺术、和建筑陶器等三种。考古发现已经证明中国人早在新石器时代(约公元前8000)就发明了陶器。原始社会晚期出现的农业生产使中国人的祖先过上了比较固定的生活,客观上对陶器有了需求。人们为了提高生活的方便,提高生活质量,逐渐通过烧制粘土烧制出了陶器。 随着近代科学技术的发展,近百年来又出现了许多新的陶瓷品种。它们不再使用或很少使用粘土、长石、石英等传统陶瓷原料,而是使用其他特殊原料,甚至扩大到非硅酸盐,非氧化物的范围,并且出现了许多新的工艺。美国和欧洲一些国家的文献已将"Ceramic"一词理解为各种无机非金属固体材料的通称。因此陶瓷的含义实际上已远远超越过去狭窄的传统观念了。 迄今为止,陶瓷器的界说似可概括地作如下描述:陶瓷是用铝硅酸盐矿物或某些氧化物等为主要原料,依照人的意图通过特定的物理化学工艺在高温下以一定的温度和气氛制成的具有一定型式的工艺岩石。表面可施釉或不施釉,若干瓷质还具有不同程度的半透明度,通体是由一种或多种晶体或与无定形胶结物及气孔或与熟料包裹体等微观结构组成。 陶瓷工业是硅酸盐工业的主要分支之一,属于无机化学工业范围.但现代科学高度综合,互相渗透,从整个陶瓷工业制造工艺的内容来分析,它的错综复杂与牵涉之广,显然不是仅用无机化学的理论所能概括的。 陶瓷制品的品种繁多,它们之间的化学成分.矿物组成,物理性质,以及制造方法,常常互相接近交错,无明显的界限,而在应用上却有很大的区别。因此很难硬性地归纳为几个系统,详细的分类法各家说法不一,到现在国际上还没有一个统一的分类方法。"Ceramic" is a generic term, "Tao" and "Porcelain" in texture, the physical properties there are very different. China was among the first to create one of the countries of pottery, porcelain was one of the first invention. The emergence of pottery dating back about 1 million years or so, China has entered the New Stone Age, began to settle in life, water, with objects of daily life, such as the need to promote the invention of pottery. Chinese pottery wider distribution, mainly in the Yangtze River and Yellow River Basin. Yangshao culture which is the New Stone Age culture more representative of the type, characterized by painted pottery, also known as the "painted pottery culture", which derived Banpo and Miao Digou two types of decorative patterns, has high artistic value. Majiayao culture is the culture of the late New Stone Age type than a little late Yangshao culture, since about 5000. Black painted pottery is the second after another great invention, since about 4000 the Longshan Culture period, there has been a unique process of eggshell pottery. In recent years, Shandong, Hebei and more in the vicinity of imitation, there is a high value for collection. Qin and Han Dynasty pottery figurine of China's ancient sculpture of the peak figure, so that the ceramic technology and the arts reached a high position. In addition, three of the color of the Tang Dynasty, the Ming and Qing dynasties such as Yixing, China is an important aspect of pottery relics, it is worthy of collection and research. Ceramics (Ceramics), the general term for pottery and porcelain. Ceramic refers to the traditional concept of all inorganic non-metallic minerals such as clay as raw material of artificial industrial products. It consists of clay from or containing a mixture of clay by kneading, molding, and calcined made of a variety of products. By the most rough-earth to the most refined of the fine pottery and porcelain are it. For its main raw materials are derived from natural silicate minerals (such as clay, feldspar, quartz, etc.), and glass, cement, ceramic, refractory material, such as industry, with an "industrial silicate" (Silicate Industry ) Area. The history of ceramics is the history of Chinese civilization is an important part of China, as one of the four ancient civilizations, human development and social progress made outstanding contributions, including the invention of ceramics and the development of a more unique significance , The history of China-North Korea on behalf of all the different artistic styles and different technical characteristics. English of "china" China not only mean, ceramics and mean, clearly demonstrates China is the "hometown of pottery." changaiyin As early as the Europeans have porcelain manufacturing technology over 1000 years ago, Chinese people have created a very fine ceramics. China is the world's first application of one of the countries pottery, and porcelain from China for its high artistic quality and relevance of the world have attracted much praise. The so-called pottery and porcelain refers to the use of plastic ware and porcelain clay quarry to do matrix, quartz and feldspar, and other raw materials-glaze, and through the forming, drying, firing from the products, mainly for daily use, art, and architecture Three pottery. Archaeological discoveries have proved that the Chinese people as early as the Neolithic Age (about 8000 BC) invented pottery. The emergence of primitive society with advanced agricultural production so that the ancestors of the Chinese people lead a life of a relatively fixed, the objective of pottery with the demand. In order to improve people's lives easier, improve the quality of life, gradually burn through the burning out of the clay pottery. With the development of modern science and technology, and the past 100 years there have been many new varieties of ceramics. They no longer use or the use of small clay, feldspar, quartz and other traditional ceramic materials, but the use of other special materials, and even extended to non-silicate, non-oxide scope, and there have been a lot of new technology. The United States and some European countries have literature "Ceramic" understanding of the term for a variety of solid inorganic non-metallic materials known. Therefore, the meaning of ceramics in fact go far beyond the traditional concept in the past the narrow. To date, the Definition of ceramics may be generally described as follows: The ceramic is aluminum silicate minerals such as oxides or as the main raw material, in accordance with the intention of people through specific physical and chemical processes at a high temperature to a certain degree of Temperature and atmosphere made of a certain type of rock technology. Glazing may be on the surface or glazing, porcelain has a number of different levels of transparency and a half, the species by one or more of the crystal and amorphous or cement and clinker with pores or inclusions, such as micro-structure. Portland ceramic industry is one of the main branches of industry, belong to the scope of inorganic chemical industry. However, modern science and highly integrated with each other to infiltrate from the ceramic industry as a whole manufacturing process to analyze the contents of its complex and involve wide, is not only Using the theory of inorganic chemistry can be summarized. A wide variety of ceramic products, their chemical composition. Mineral composition, physical properties, as well as manufacturing methods, often close to each other staggered, no boundaries, and in the application there is a huge difference. Therefore, it is difficult to be summed up in a few hard and fast system, a detailed classification of the various different view, the international community to now there is no uniform classification.
陶艺艺术陶艺在某种意义上已经成为中华文明的一个代名词。然而，当中国的陶艺家们猛然从“传统”、“实用”、“日用”等字眼中惊醒重新打量世界时，却发现自己落后了。的确，现代陶艺已不仅仅只是作为一种与人们的日常生活息息相关的工艺美术而存在，也不是仅仅“实用”、“美观”、“经济”、“大方”的观念便能涵盖得了的。它已经以其独特的艺术语言形成广泛的参与到现代艺术运动中，成为艺术家表达自己的观念，进行文化批判的利器。中国人开始关注现代陶艺，并在舆论上形成规模应该是在20世纪90年代之后的事情了。当然严格说来中国现代陶艺的发展起源和70年代末和80年代初，原中央工艺美术学院（清华美术学院前身）、景德镇陶瓷学院等院校中的那些最早实践者有关。20年来，老一辈陶艺家如祝大年、杨永善等在现代陶艺方向作出了有益的尝试，而且产生了一大批中青年陶艺家如吕品昌、罗小平、白明等，风格流派众多，技法日趋多样。他们中大多数是高校教师，或受过高等教育中传统陶瓷艺术的薰陶，因此，中国的陶艺在一开始便与学院有着不解情缘。然而单纯的学院发展，不管是在观念上，还是在传播上都受到极大限制，而且在学术层次上也是狭窄的。在90年代，首先是1991年“北京国际陶艺研讨会”，继而是1995年的“景德镇国际陶艺研讨会”，1998年5月在宜兴举办了由罗小平等人策划的规模更大、学术研讨更具深度的“98中国宜兴国际陶艺研讨会”，同年秋在中国美术学院由刘正等人策划的“首届中国青年陶艺家作品双年展”也与观众见面。1999年岁初在广州美术馆由左正尧策划的“超越泥性——中国当代陶艺家学术邀请展”更是颇具水平。这几次具有重要意义的学术研讨性的展会，预示着中国的陶艺正在兴起，其规模和范围及影响正在向全社会拓展。然而，现代陶艺作为一项新鲜事物还存在着许多问题，这些问题在更大的意义上、更大的程度上组成了中国陶艺现状，更值得我们去研讨。归结为以下几个问题，以资读者玩味。一、“传统”与“现代”的隔阂“传统”与“现代”的关系在如今的各个艺术领域都是一个争不完的话题，陶艺也不便外。然而，在关于陶艺从“传统”走向“现代”的许多讨论中却轻视了一个非常重要的问题，即陶艺的功能问题。它不仅关系到陶艺品的功能与价值，而且对于陶艺在整个文化体系中所担当的角色及陶艺家的社会定位都关系很大。只有摆正了“现代陶艺是干什么的？”这样一个问题，而不只是“现代陶艺是什么样子？”，我认为陶艺才能真正从“传统”走入“现代”。中国传统陶艺是附属于陶器的，“实用而尽量美观”在相当长的时间内限制了当代中国陶艺发展。在这种观念下，陶艺只能属于工艺美术，其功能只是实用加玩赏。在这种情况下，陶艺家的才智更多的受到了“制器”的局限，只能在追求设计与形式美的领域里探索，陶艺家也更接近于工艺家，无法融入现代艺术的潮流。现代陶艺的作用在于它扩大了原有陶艺的艺术属性，使陶艺家不受“制器”的限制，可以在其审美和价值批判领域里驰骋。他既可以在原来的设计领域里继续有所作为，又可以充分发挥其艺术家的天性，针对现实进行有价值的文化批判，从而涉足到雕塑、装置等众多艺术领域。丰富了自己又补充了其它艺术门类，从而丰富视觉艺术的门厅。因此，传统陶艺无论如何发展都有“器”的约束。现代陶艺发展，在认识上首先做到的便应是功能论上的转移，从而脱离对“器”和固定造型的依赖，而真正走向一个更广阔的天地。这种隔阂是可以通过观念转变而化解开的，它的存在也是当代陶艺不断发展的动力。二、传播与接受的局限现代艺术中的诸多流派，在改革开放后特别是80年代中晚期，如暴风骤雨般进入中国。虽然当时中国人还不懂得欣赏，有的甚至产生厌恶之情，然而在客观上承认了其存在的合理性，并从观念上日益接近它们。现代陶艺没有赶上那段风潮，从传播的角度看似乎错过了黄金时节。从现状看，许多业内人士也指出现代陶艺仅在某几个瓷区和都市中基础较好，如景德镇、广州、上海等地，然而从面上讲其群众基础相当薄弱，没有培养出一个大范围的陶艺欣赏群，这是不利于现代陶艺的发展的。我们也注意到由于当前中国的日用陶瓷和美术陶瓷产业并不景气，所以即使在原来有着深厚传统的许多瓷区，其群众对陶艺的兴趣也在减弱，这种情况是十分令人担忧的。另一方面，媒体、报刊对现代陶艺的介绍是零星的，形不成规模，更不用说专门的陶艺刊物了。现在担当着传播任务的是一些陶艺工作室，但他们的作用未受到重视，有识之士指出一个国家陶艺整体发展的前提是要把民间的力量调动起来，只有水涨才能船高。从接受者来看，中国人固然不缺少对陶瓷的感情，然而确实谈不上他们对现代陶艺的感情，因为大多数人对陶艺的看法都停留在传统的观念上。再加上传播不力，欣赏者的口味自然很难调动起来。然而，我们要看到，现代陶艺在精神上与现代艺术运动是相通的，人们能接受现代艺术便能接受现代陶艺，这只是时间早晚问题。三、理论与实践的脱节理论与实践的脱节成为现代陶艺中一个十分突出的问题。陶艺家夏德武说：“广州美院的一批人请了中央美院的某位艺术评论家去评论现代陶艺，他可以拿现代艺术观念、现代哲学来评论现代陶艺。但我认为这是远远不够。”他指出现代陶艺批评家很难形成的原因是中国现代陶艺不发达，他认为非常需要理论家。笔者曾在中央美院图书馆找到一本所谓“现代陶艺”的书，实际上书中的陶艺品只是现代的“活人”做的陶艺。可见，现代陶艺在理论上是相当匮乏的，能找到的介绍现代陶艺书也相当少，且多不正规。看来，现代陶艺实践与理论的脱节在相当的一段时间内，将成为一个让人头痛的问题。理论人才急待培养，为此许多陶艺家提出一边实践，一边做一些理论研究，这可谓是无奈之举。此外，现代陶艺在创作体制、销售体制、创作理念等方面也都不同程度地存在着问题，好在从当代陶艺家的言词中我们都能体会到一种“路漫漫其修远兮，吾将上下而求索”的中国知识分子特有的壮志豪情。现代中国陶艺虽然路漫漫，随着中经济的发展，它必然会有一个辉煌的明天！天下器物，多有装饰。中国陶瓷在几千年的发展历程中，装饰和器物紧密联系，形成了独特的陶瓷文化风格。在人们审美多元化的今天，作为具有中国几千年历史文化的陶瓷艺术越来越受到人们的青睐，现代陶瓷艺术装饰在传统陶瓷艺术装饰的基础上的更新与发展，不仅促进了现代陶瓷艺术装饰在创作方向与表现形式、表现手法向更高的艺术境界拓展，而且出现了“百花竞艳，万象并存”的态势，其全新的观念、奇特的创意、丰富的材料以及精湛的制作技艺形成了独特的工艺绘画形式。现代陶瓷艺术装饰更加强调作品对人的精神和心理产生的作用，且艺术家用自己的设计理念，将更多新的内涵融入到陶瓷艺术装饰作品之中。1、陶瓷艺术装饰形成了独特的陶瓷文化陶瓷艺术装饰语言释义：“装饰” （decoration）一词，在西方国家最早出现于18-19世纪，装饰泛指艺术修饰，各种能使人感到赏心悦目的视觉效应。稍后出现了装饰艺术、装饰派艺术等词汇。装饰这个词语，在中国最早出现于5-6世纪，装饰是指修饰、打扮之意。所谓陶瓷装饰，是根据装饰美的一般规律和表现形式，在限定的陶瓷器物上，将客观世界的真实感受上升到理性认识进行艺术的再创造。运用装饰规律和美的法则去组织、安排陶瓷从器型到画面的关系组合，从而构建起一个新的视觉世界。陶瓷装饰简单地说，就是对陶瓷器物进行修饰、打扮，它是通过釉色、纹饰来美化陶瓷造型，达到釉色、纹饰与造型完美结合，用陶瓷装饰特有的语言表达作者的创意。那么什么是陶瓷艺术装饰语言，笔者认为，陶瓷产品是一种具有实用价值和欣赏价值的作品，其在造型及装饰方面都具有特殊的艺术风格和形式。陶瓷装饰设计不同于一般绘画性艺术品创作，它的平面构成是在陶瓷器物的立体形体上完成的，必须服从陶瓷器物的形状和部位对装饰绘画的题材、形式的特殊需要，符合从任何一个角度对其立体形态的陶瓷器物及附属的装饰纹样进行审视，使之达到合二为一的完美性，才能称得上成功的陶瓷装饰。因此，陶瓷装饰是一种有局限性、有工艺材料限制及艺术要求的、同时以绘画或雕刻方式来完成的艺术创作，这就是陶瓷装饰的艺术语言。关于中国传统文化：传统文化是指前人创造的物质文化和精神文化的总和。我国丰富多彩的优秀传统文化越快越受到全社会的关注，中国传统文化的内涵是多方面的，中国传统文化含有1、观念文化（思想理论，传统观念文化主要是儒家、道家、法家和佛家学说）；2、历史文物（文物含器物和艺术品，如陶器、瓷器、青铜器、玉器、金银器、漆器、铜镜、古钱；书法、绘画）； 3、社会制度、即所谓制度文化；4、有关文学、史学、医药养生、农学、天文历算等古代书籍。从中国传统文化可以看出，中华民族用自己的勤劳智慧创造了悠久的绵延不断的历史和丰富多彩的文明。中国传统文化内容丰富，表现形式多样。中国传统文化具有人文、自然、奇偶、会通精神。陶瓷艺术是艺术与科学的结晶，每一件陶瓷作品都由陶瓷材质、造型和装饰三个基本要素有机统一组成的整体，具有物质和精神双重文化特征。陶瓷器皿在实用的前提下，具有造型规整、装饰多样、内涵丰富的特点，陶瓷艺术装饰经过数千年的探索与实践已发展得相当完备，其装饰形式基本可以归纳为釉下彩、釉上彩、釉中彩、颜色釉和综合装饰五大类。陶瓷艺术装饰以其精美的图案、丰富的色彩、独特的工艺、精湛的制作技艺、奇特的创意以及全新的观念，形成了独特的工艺绘画形式。形成了特有的陶瓷文化。陶瓷艺术装饰创作过程始终贯穿了整个艺术创作的审美发生、审美创造、审美接受三大环节。在人类社会的文化艺术发展史与经济发展中，陶瓷艺术装饰占有极为重要的位置，陶瓷艺术博大精深，源远流长，陶瓷艺术品是陶瓷文化传播使者。陶瓷艺术装饰呈现给人们的是一种陶瓷文化精神。人在劳动中创造了文化，文化又塑造人，陶瓷艺术不仅是物质产品，而且是一种精神产品，更是一种文化产品。陶瓷艺术装饰经过长期实践，形成了独特的陶瓷文化。2 陶瓷艺术装饰与中国传统文化关系2、装饰应用于陶瓷拥有悠久的历史和传统中国传统陶瓷艺术，尤见装饰匠心。中国传统陶瓷装饰形式，大体上有刻镂、堆贴、模印、釉色、化妆土、彩绘六大类型。图案纹样装饰于陶器早在新石器时代的仰韶文化中的彩陶上就已出现。先民们感受生活的自然现象创造出波折纹、圆形纹、编织纹等图案，以二方连装饰形式呈现在陶瓷器物上，在西安半坡遗址出土一件绘有精美的人面和鱼纹的彩陶盆是新石器时代彩陶中的精品。陶器上的纹饰体现了先辈们对于自然和人自身观察的结果，陶工们对于点、线、面的熟练融合，对花纹繁密的组合，以及对于旋纹与弧线的审美感，不但表明他们对于自然和人类自身有了一定的认识，而且还表明自然界已经脱离了它的原貌，增加了人的思想和人的想象力，以及人对自然的美化和崇拜。商、周时代是以青铜器为时代标志的历史阶段，这一时期的陶瓷纹饰和青铜器饰相似，刻纹白陶的烧制成功是制陶工艺上一个重要的里程碑。它用高岭土制坯，烧成温度达1000多度，素洁可爱的造型与优美的纹饰相结合，逗人喜爱。春秋战国时期，陶器主要朝建筑用陶和冥用陶两个方向发展。当时各侯国大兴土木，亟须大量陶制材料，这样就促进了建筑用陶的工艺水平。秦汉时期，“秦砖汉瓦”更成为制陶艺术的佳话，陕西省西安市郊的秦始皇陵附近出土的兵马俑，形体巨大，数量众多，生动地反映出秦兵剽悍雄伟的真实面貌。隋唐时期的三彩也是陶器中的瑰宝。从商周到汉唐时期的陶器造型来看，它更多的是反映人和社会，人已成为陶器造型的主体，陶瓷艺术装饰反映了人间生活的千姿百态，陶器反映出人们对于自然和人类自身认识的深入，体现出汉唐文化的人文精神。魏晋南北朝的中国，进入了瓷器时代。隋代，中国窑工烧成了白瓷，隋代这项伟大的成就，改变了青瓷一统天下的局面，以邢窑白瓷最为有名，有“类雪”之誉，开创了“南青北白”新格局。有“诸窑之冠”美称的越窑，在唐代创造了中国青瓷艺术的高峰境界，唐代诗人陆龟蒙曾经写出这样的诗赞：“九秋风露越窑开，夺得千峰翠色来”。他把越窑的青瓷形容的“千峰翠色”，正是对越窑瓷青翠莹润之釉色特点的诗意写照。宋、元时期的瓷器在工艺技术上达到更高的水平。宋代是中国传统瓷艺达到最高美学境界的时代，也是“玉的精神”和类玉的品质体现的最为深刻的时代。钧、汝、官、哥、定五大窑所取得的卓越成就，使中国在人类制瓷中上登峰造极。它那冰肌玉骨般的素雅、沉静品格，成为后世瓷业执著追求的审美风范。明清时期的瓷器在宋、元制瓷技术的基础上，达到了制瓷业的顶峰。永乐年间的白瓷洁净如玉、薄如纸，给人以甜美的感觉；永乐年间的青花瓷也很有特色。宣德年间的青花瓷达到了完美无缺的地步。明朝在高温单色釉方面也取得了辉煌的成就，祭红见于成化，鲜红夺目，祭蓝以氧化钴为色料，蓝色纯正。宣德年间的祭蓝瓷尤为精致。清代的瓷器在康熙中后期有所发展。康熙时期的青花纹饰采用西洋画技。雍正、乾隆时期彩釉瓷发展最快，雍正时期以清丽媚见长，乾隆时期以富丽堂皇为特点。这期间烧制的仿古窑精品，无论纹饰、造型、款识都达到足以乱真的地步。追溯中国历史各个时期的陶瓷产品，陶瓷装饰有两大特点：一类是以适合陶瓷器皿的图案纹样装饰形式；另一类是以中国绘画形式在陶瓷器皿上进行的工艺转换表现形式。3、陶瓷艺术装饰在中国传统文化中所表达的人文精神陶瓷艺术装饰形式从唐、宋、元、明、清到现代可分二类：一类是写意绘画，另一类是工笔绘画。这两种绘画装饰形式都是中国绘画艺术发展时期特征在陶瓷产品上的呈现。唐代长沙窑出现釉下彩绘花鸟，正值唐代花鸟画艺术已有相当高水平时期，技法成熟、笔法流畅，一气呵成，自然生动，是唐代民间花鸟画的艺术风格。而宋代的陶瓷刻划花的精细都是反映了花鸟绘画风正转化为工细的工笔画的鼎盛时期。也为元青花、明清的陶瓷工笔古、粉彩的出现奠定了基础。陶瓷艺术装饰形式无论是写意还是工笔画都是中国特有的绘画艺术装饰形式在陶瓷上的表现。陶瓷艺术装饰都反映了中国人文画历史性影响，形成了中国陶瓷装饰特有的艺术风格。陶器和瓷器是人为制作的物品，它们在反映客观世界的同时，必然反映人的主观意识，陶瓷艺术装饰表达了人的自然观念，人的想象、情绪和理想。陶瓷艺术装饰精致地表现了中国自古以来人与自然和谐统一的人文思想，历代陶器和瓷器装饰纹饰既有自然界的山山水水、花鸟鱼龙，又有人类自身，而且在这一纹饰中，总是执着地追求人与自然和谐统一。陶瓷艺术装饰表现了人物内心纯真的感情和潇洒的风度，使人成为真正优美的形象。中国瓷器还体现了中国人民对历史的尊重。瓷器所表现出的人文精神，所映着中国人民对美好生活和美好事物的艺术化的追求，它不愧为是中国传统文化的典型代表。4、陶瓷艺术装饰对中国文化发展的贡献陶瓷艺术装饰的传承和发展都与中国传统文化息息相关。如何在传统文化中提取精华，汲取养料，如何在传统和创新中寻找平衡点，不放弃任何新的发展途经正是我们这一代乃至几代陶瓷艺术工作者共同追求的目标，为陶瓷文化的更广泛地传播与发展是我们陶瓷艺术工作者义不容辞的责任，让我们广大陶瓷艺术工作者们共同努力，给陶瓷艺术装饰赋予新的审美理念、新的表达方式，相信陶瓷艺术装饰的明天将更加辉煌。陶瓷艺术装饰是中国优秀文化之中的重要组成部分，它是我国民族的宝贵财富。中国瓷器，从隋唐时期便开始向外域流传，宋、元、明、清各代，瓷器都作为重要商品行销全国，走向世界，陶瓷艺术装饰品作为商品在流通的同时，也在不断地传播中国的陶瓷文化，促进了中国文化发展，所以中国素有“瓷国”之称，誉满全球。制瓷工艺代代都有传承和创新，中国生产的各具特色的陶瓷，对满足人民的生活和审美需要，及对外经济、文化交流都起着重要作用。瓷器是我国重要的文物，是中国人民的独特创造。中国闻名于世界，瓷器在其中起了其重要的作用。中国一词的英文china原意是瓷器。瓷器以其独特的民族文化特色代表着中国悠久的文明。从瓷器的造型和装饰来看，它比较完美地体现中国文化的面貌。陶瓷艺术装饰对中国文化和世界文化发展的交流起到了一种互通往来的桥梁和纽带作用。为中国文化和世界文化的繁荣与发展作出了巨大贡献。
中国陶艺那么多
艺术与设计，作为传媒品牌始创于1997年创刊的《艺术与设计》杂志。经过十余年发展和历练，如今已形成了包括《艺术与设计》、艺术与设计网络传媒、《Surface》（中文版）、《BEIJING NOW》、《住》、《现代艺术》、《CG World》、《1626》和《产品设计》等强势媒体群在内的艺术与设计出版联盟。而创刊百余期的《艺术与设计》杂志是整个出版联盟的奠基刊物与核心刊物。她见证了中国现当代艺术和设计发展最为迅速、变迁最为巨大的十年。如今，《艺术与设计》杂志和艺术与设计出版联盟旗下的杂志群继续以饱满的热情和独到的视角密切关注着整个社会，以及艺术、创新领域的新动向与新发展。艺术与设计这个主要发的是设计专业的作品之类的，如果要发文章的话发的是艺术与设计理论，这个是专门发学术论文的，用于各大高校教师职称评定，本科毕业等等都是有效的，文章对质量有一定的要求，必须是原创的比较好。凡平面设计、广告学、环境艺术、建筑、产品设计、数字艺术、传统工艺美术、纯美术与美学理论等方面的优秀论文均可被收录可以通过官方邮箱投稿投稿格式：中文题目如：浅谈居住空间装饰设计与平面构成元素的应用英文翻译：********【作者】*** 【Author】 *****【机构】 ********； 【摘要】 通过对居住空间构成形态的分析,阐述了居住空间装饰设计的基本原则和要点,研究如何将三维空间的组成元素抽象概括为点、线、面的设计方法,探索平面构成的基本设计手法在居住空间装饰设计中的应用规律,对于提高装饰设计的艺术表现力具有一定的现实意义。 更多还原【关键词】 ***；****； *****；【参考文献】[1] 陶晶晶. 居住空间软装饰设计[J]. 大众文艺(理论). 2009(04) [2] 韦自力. 居住空间概念设计[J]. 美术大观. 2006(08) [3] 陈昊武,喻磊. 试析简洁陶瓷装饰设计的魅力[J]. 陶瓷研究. 2008(04) [4] 彭荣新. 谈谈陶瓷贴花纸装饰设计的工艺性[J]. 景德镇陶瓷. 1985(01) [5] 南通工艺美术研究所环境艺术装饰工程部装饰设计作品选[J]. 装饰. 1993(02) [6] 武珊. 传统艺术与装饰设计的意义[J]. 西北美术. 2000(02) [7] 辛景林. 论动物装饰设计的创意[J]. 北方美术. 2002(04) [8] 陈瑰丽. 空间装饰设计的色彩选择[J]. 艺术界. 2006(02) [9] 武桂荣. 浅谈产品装饰设计的个性化[J]. 美术大观. 2006(10) [10] 马辉. 行为诉求对居住空间个性化教育的影响[J]. 华章(教学探索). 2006(03) [11] 龙厚强,任庆薪Q1824991456线在室内空间设计中的审美感知[J]. 美术大观. 2008(07) [12] 徐丹. 室内空间设计与现代家居艺术[J]. 艺术评论. 2010(10) [13] 黑白情缘新奢华时尚空间[J]. 流行色. 2010(07) [14] 关未. 岭南地区别墅设计的要素[J]. 美术大观. 2011(03) [15] 建筑·生活 还归自然——上海[长堤花园·湿地坡景别墅]记[J]. 上海艺术家. 2002(Z1) [16] 粟武,王早. 因人而异的住宅空间设计[J]. 装饰. 2008(03) [17] 赵秀敏. 校园规划应考虑的两个影响因素——以杭州市大学校园为例[J]. 装饰. 2006(07) [18] 竺健行,任务. 创新的形态设计在当代室内空间设计中的应用[J]. 大家. 2010(02) [19] 陆虹,李斯. 谈酒吧的设计理念[J]. 艺术教育. 2007(11) [20] 狄巨宽,周云哲,王巨,于红艳,孙泓洁,王鸽,苏璇,代戋戋,苗卫钟,缪济临,解彦军. 新生代别墅群:诗情的延续[J]. 河北画报. 2011(06)
1、《新形势下的高职院校艺术设计教学刍议》中文核心期刊《美术大观》2007年第十二期2、《试论陶瓷设计与材质的应用》在2004年科技部·美国陶艺学会·欧洲陶艺学会·中国硅酸盐学会联合出版的《陶瓷材料与工程》3、《现代粉彩的演进与创新》国家级中文核心期刊《中国陶瓷》2005年第4期发表4、《景德镇现代陶瓷艺术的鉴识与收藏入门》在江西美术出版社2007年出版的《景德镇现代艺术陶瓷投资与鉴藏》一书中发表5、《粉彩瓷填色技巧运用及应注意问题》在《景德镇陶瓷》1989年第一期杂志
导语周金田，男，1969年05月出生, 现任泉州工艺美术职业学院副教授周金田，男，1969年05月出生, 现任泉州工艺美术职业学院副教授福建省陶瓷艺术大师福建省高级工艺美术师福建省工艺美术名人第十一届泉州市政协委员中国工艺美术协会会员福建省陶瓷专业委员会会员德化恒玉陶瓷有限公司艺术总监。获奖作品：2001年9月陶瓷作品《新潮》获“第一届全国陶瓷艺术展览与评比入选奖” ，同时出版在《中国陶瓷艺术展作品集》2002年7月陶瓷作品《惠女情》获“第二届全国陶瓷艺术展览与评比入选奖”2003年9月陶瓷作品《惠女情》获“第二届全国陶瓷艺术展览入选奖”2004年8月《瓷魂》《我的大书包》分别获福建省首届民间艺术精品展“优秀奖”“银奖”2006年4月作品《新潮》《瓷魂》《惠女情》出版在《中国瓷都·德化陶瓷艺术精品》集2006年6月作品《皇权霸业》荣获 “中国工艺美术学会”主办2006 中国手工艺精品博览会“华茂杯”铜奖2006年8月作品《皇权霸业》入选 “中国清华大学美术学院举办的首届国际陶艺教育交流年会作品展”，同时出版在《首届ISCAEE2006 中国清华大学国际陶艺教育交流年会作品集》2007年9月度被评为“福建省优秀教师”2008年10月创作《牛势冲天》被澳门特首何厚铧永久收藏2009.11作品《风华国乐》获第五届福建省工艺美术精品“争艳杯”大赛铜奖2010年5月创作《世博华鼎》入选“2010上海世博会——中华艺术·国家大师艺术珍品荟展”2010年10月作品《年年好 节节高》获第九届全国陶瓷艺术设计评比“铜”奖2011年5月作品《双鹿献寿》荣获第四届中国工艺美术学术奖“华艺杯”评比铜奖2011年5月作品《锦绣前程》荣获2011中国（天津）工艺美术精品博览会优秀作品评比“银”奖2011年10月作品《暮归》获第四届福建省陶瓷艺术设计评比“金”奖2012年5月作品《竹报平安》获第七届中国（莆田）海峡工艺品博览会优秀作品评比“金”奖2012年5月被福建省经贸委评为“福建省工艺美术名人”荣誉称号2012年12月被福建省人事厅评为“福建省高级工艺美术师”
这两个刊物没太大的差别，但是江苏陶瓷是双月刊，比陶瓷科学与艺术略占优势。
有一个《海外英语》，还有《青春岁月》这两个刊物可以刊出全英文稿件，除此以外，英语专业的也可以考虑，比如《校园英语》之类
Despite their ostensible crumbling , flaking ,sagging or wilting ,the diminutive ceramic sculptures of Chinese artist Bai Ming are inspired less by fascination with the visual effects of decay than by respect for forms that resist the destructive influences of time .In these minimalist works ,time seems the agent in a process of abstraction that seizes the essence of endurance ,and compresses that quality into dense masses of clay scarcely larger than a person’s heart . This vague allusion to the heart ----both as a vital organ and as the symbolic locus of sentiment - provides a key to the integral relationship between time and humanity that Ming’s works are intended to express. These simple sculptures, simultaneously melancholic and majestic, are in their ambivalence characteristically human, blending a lamentation over the effects of time with a kind of apologia for it. “I am,” say Ming, “very sensitive to the significance of time for human life .In my work, I strongly emphasize transformation. It is a serious theme ,because time changes people form young to old .However ,I am also acutely aware of the value of time , since it can leave behind an elite body of cultural knowledge.” Once a student and now a faculty member at the Central Academy of Art and Design at Tsing-Hua University in Beijing , Ming could hardly have been indoctrinated into a more “elite body of cultural knowledge ” than that of Jingdezhen porcelain production . The utilitarian works through which he established his reputation as a ceramist in the early 1990s clearly the influence of this venerable tradition, not only in terms of materials and techniques but also through incorporation of such distinctive features as the glazed foot, a Jingdezhen innovation once reserved exclusively for wares commissioned by the imperial household. Technically flawless and serenely elegant , Ming’s porcelain vessels are all the more impressive for the knowledge that ,over the past decade ,only part of his time has been devoted to his career as a potter .Truly multifaceted ,he has authored three books on contemporary ceramics ,and achieved important stature as a painter whose somber textural compositions recall European postwar abstractionists such as Alberto Burri and Antoni Tapies ,while elaborating a distinctly Chinese perspective on nature. Four pieces the "sit in meditation-The Forms and Process" series ,to approximately 8 inches(20 centimeters) in high, porcelain Despite the material and stylistic distinctions between his pottery and paintings, he has always maintained a conceptual unity to his creative activity .The long -standing Jingdezhen tradition -into which new forms have been periodically introduced while the porcelain itself and the technology used to produce it have remained remarkably constant over the centuries-is analogous, for Ming, to the eternal essence of nature, which perseveres despite the convolutions of history. Perhaps it was inevitable that he would consider bringing his work in clay stylistically more in line with the nature symbolism of his paintings .This would entail a move into the realm of sculpture -where conceptual concerns would be solely responsible for dictating form and content--- without compromising the knowledge of convention gained form his background as a potter. Working in Jingdezhen porcelain, Ming decided to develop a series of abstract sculptures that would simultaneously emphasize the characteristics of tradition and transformation, perseverance and natural decay .Although the softness of the clay body initially hindered his efforts, it would ultimately lead to the fortuitous discovery of the simple, compact stele form to which he subsequently adhered for the majority of his sculptures. “I frequently failed in my early sculptures,” he recalls, “because the clay was just not stiff enough, and the form that I constructed collapsed. But after one such unsuccessful attempt ,I massed the clay in the traditional Jingdezhen way and was preparing to discard it ,when I realized that its shape was reminiscent of a meditative position in yoga .Form the time I was ten years old ,I have worked while sitting in a similar fashion cross-legged on the floor . I can sit in that position comfortably for five or six hours at a time .Something about the piece that I had made by accident suggested this position .Obviously, it wasn’t literal. It had something to do with the motion, the feeling of being both compact and slightly twisted around.” Drawing inspiration from this impression, Ming set about producing a series of unobtrusive 8-inch sculptures intended to suggest contemplative states, Entitled “Sit in Meditation-The Forms and Process,” the series reflects Ming’s general affinity for meditative practices rather than a specifically religious dedication. “I’m not a devout follower of Zen,” he explains, “but I have always been involved in cultural practices that derive from it. Untitled ,from the "sit in meditation-The Forms and Process" series ,to approximately 8 inches(20 centimeters) in high, porcelain “My way of stretching or positioning myself when I work is very much related to Zen .The works themselves reflect upon this kind of motion ,which in turn is a way of ordering the mind .My work is simple and pure ,a reflection of my lifestyle. I’m accustomed to spending time drinking tea, writing and meditating .They’re peaceful activities, and that’s the sense that I want to convey through my work.” The early works in the “Sit in Meditation” series ,consisting of porcelain accentuated by sparing applications of blue and white glazes ,are closely linked ,materially and conceptually , to Jingdezhen pottery .Their is enhanced by the balance between incised rectangular forms and more spontaneous punctuate patterns. In addition, a quiet dialogue is established between smoothly glazed surfaces and irregularly dimpled and fissured expanses. Often the individual sculptures appear similar to one another in form but are unique in the traces of process on their surfaces, a point that Ming emphasizes in relation to the dynamic between the one and the many in Zen. “The position of meditation is the form,” he explains, “not the content , which is process .This process involves achieving levels of understanding .The sculptures could be compared to a group of people sitting together in the same meditative position ,but each achieving a different state of understanding .” In the spring of 2001, his work entered a new and more openly expressive phase when he began a residency at the Clay Studio in Philadelphia .Although he continued to emphasize the serene ,concentrated mass characteristic of his “Sit in Meditation” series , he temporarily abandoned porcelain for stoneware ,and began exploring a slightly brighter and more varied palette. “In Philadelphia, I began to exaggerate the color,” he explains. “It was a natural response to my experiences in America. There were so many things that were different in my daily life. I heard a lot of jazz music, for instance, and I was trying a lot of new foods. My new lifestyle began to affect my work in important ways. ” Equally significant was the availability of a variety of commercial glazes. Unaccustomed to such a broad selection, Ming enthusiastically explored new and more dynamic color combinations. Although the works that Ming produced in Philadelphia, he is quick to assert that their underlying inspiration remained essentially Chinese. For example , in addition to works for the “Sit in Meditation” series , he produced several low ,horizontal sculptures that allude both to the narrow ,rectangular format of traditional Chinese scrolls and to the mountain ranges that are a recurring theme in classical literati painting . "scenery No.1,"from the "Mountains and Rivers with Time " series,26 inches(66 centimeters) in length ,glazed stoneware "scenery No.2,"from the "Mountains and Rivers with Time " series,26 inches(66 centimeters) in length ,glazed stoneware ,by Bai Ming, Beijing, ChinaThe overall form shared by the sculptures of the “Mountains and Rivers with Time” series suggests a literal expanse of peaks, and the rough textures of the pieces are reminiscent of eroded stone. At the same time, the surfaces are articulated in a loose brushwork that emphasizes the nature of the mountains as representations. “I like to develop two principles in my work,” Ming explains. “One is clearly that of the ceramic artist, a three-dimensional orientation toward real space, but there is also the conceptual sensitivity of a painter.” The integral relationship between the material and the conceptual in the work of art became particularly significant to Ming several years ago during a visit to the famous Yungang Buddhist caves at the foot of Wuzhou Mountain in China’s Shanxi Province .The 53 chambers of this historic site contain dozens of sculptures hewn from the living rock, but the most imposing feature is the colossal Buddha carved from the face of the mountain itself ,an insinuation of the human body into the immortal substance of nature .While Ming made no attempt to represent the specific attributes of the site in his own sculptures ,the caves and their carving held important implications for him regarding the integration of human art and ingenuity with a form and material that are literally as old as the hills. If there is melancholy in the reflection that the cave reliefs are the work of ancient hands that left no other trace of their brief existence in the world, there is something equally inspirational about the perseverance of the sculptures themselves. For Ming, time is the greatest abstracter of all, and what survives its relentless negation is not only awe inspiring, but the purest form of truth. “I am interested in the motion of time and the traces of meaning that it leaves behind in things that seem eternal,” he explains. “For that reason ,inorganic objects touch me more than living things .The carvings in the Yungang caves ,for example ,affect me more than grass or birds ,the kind of nature that doesn’t endure for thousands of years .The region where the caves are located is a dry expanse under a vast sky ,but somehow in those conditions a great culture left its traces for the ages . That is what excites me, and that is what inspires my sculpture.”
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