Liu Zheng
Professor and PhD Supervisor, China Academy of Art
Former Deputy Secretary of the Party Committee, China Academy of Art
Vice Director, Ceramic Art Committee, China Artists Association
Recipient of the “Outstanding Contribution Award in Chinese Ceramic Art Education”
Interview Notes：
“How can we make our generation’s contribution to the ceramic art of the world?”
This question runs like a hidden thread through Liu Zheng’s 27 years of reflection and practice since he initiated the firstChina Contemporary Young Ceramic Artists Biennalein 1998.
From initially creating a platform for exchange among ceramic artists to becoming a core arena for dialogue between local culture and international perspectives, he has witnessed the growth and transformation of contemporary Chinese ceramics.
From an early stage of uncertainty about how to “create freely” in the face of an immense tradition, to today’s direct engagement with the impact of AI and globalization, these 27 years trace the journey of contemporary Chinese ceramics in search of its own coordinates.
In this conversation, we seek to clarify: in an era of platform overload and information explosion, what exactly is the role of a top-tier biennale? And how should young Chinese ceramic artists find themselves amid the global clamor?
Q：Yu Lingna
A：Liu Zheng
Q：How do you see the global position of the Jingdezhen International Ceramic Art Biennale, and what is its core value?
A：It is undoubtedly one of the most important ceramic art biennales in China and even worldwide. It has already exerted significant influence in the field of contemporary Chinese ceramics. Whether for academically trained artists, practitioners from production regions, or ceramic artists of different generations, it provides positive guidance and serves as a highly influential platform for exchange.
Practice has shown that the more international the outlook, the more deeply we must reflect on the unique positioning of contemporary Chinese ceramics. In what form and with what ideas should we contribute our generation’s strength to the development of world ceramics? This is precisely the core goal of the Biennale: to use an international platform to clarify the path forward for contemporary Chinese ceramics, and to encourage ceramic artists to examine and construct their own creative systems within a globalized context.
Compared with internationally renowned ceramic biennales such as Mino in Japan and Gyeonggi Province in Korea, our distinctive feature lies in deeply cultivating local cultural resources and stimulating the creative vitality of contemporary Chinese ceramics. We focus on nurturing young ceramic artists who embody both a Chinese cultural temperament and a contemporary vision. In past juries, even when the panel included many international experts, there was always strong attention paid to the cultural roots and attributes of the works. Through this Biennale, we hope to further excavate and present the profound appeal of Chinese culture, and to systematically cultivate a new generation of ceramic artists who combine Chinese characteristics with international modes of expression.
Q：You initiated the first China Contemporary Young Ceramic Artists Biennale in 1998. What was your original intention, and what new challenges does the Biennale face after 27 years?
A：The creative environment back then was completely different from today. The original intention was actually very simple: to build a platform for artists working with ceramic materials to exhibit and exchange ideas. At that time, ceramics were not included as a category in the National Art Exhibition, and evaluations within the light industry system mainly focused on products from production regions. Artists devoted to creative practice were instead on the margins of the field.
Conditions for the first exhibition were extremely difficult. There was no funding, and participating artists even had to paint the display stands themselves. The exhibition space was borrowed, though fortunately it was designed by Wang Shu, resulting in a striking visual effect. The first two editions were both held there. Faced with China’s profound ceramic tradition, many artists were unwilling to merely imitate and replicate the past; they hoped to create works with a distinct personal style. We also invited artists from across the Taiwan Strait and Hong Kong and Macau to participate. Step by step, we persevered, and to date the Biennale has been held thirteen times.
Today, ceramic exhibitions have proliferated across China—at institutions such as Jingdezhen Ceramic University, the China Academy of Art, Tsinghua University, and in Shandong, among others. In this context, the Biennale must “set out again” and respond to the core questions of our time: how to absorb the positive achievements of global ceramic development, integrate them with local traditions, energize the creativity of young ceramic artists, and encourage them to produce works that possess both local cultural charm and a contemporary spirit.
It must be emphasized that “locality” should not devolve into narrow nationalism, nor should it become a superficial accumulation of symbols. The key lies in a deep understanding of the inner core of Chinese culture, rather than a shallow, “costume-like” presentation. As awareness of this issue deepens, the expressive depth and artistic quality of the works will continue to improve.
Q：As the Biennale is hosted by academic institutions, what unique value and impact does it bring to ceramic art education?
A：The Biennale plays a crucial guiding role in education. We are cultivating the backbone of the field for the next ten, twenty, or even more years. As a platform that combines experimentation with academic rigor, the Biennale introduces cutting-edge ceramic issues into teaching and becomes an important opportunity to explore the future direction of education.
It is not only a gathering place for the works of leading artists, but also a venue for various symposia, making it an ideal site for accessing industry resources and information. More importantly, it allows us to observe in advance potential future trends and challenges in creation, and to encourage young people to boldly explore and experiment with new directions. Such exploration may not always be easily understood in conventional exhibitions, but the Biennale must create space for it.
Q：This edition of the Biennale places special emphasis on supporting young ceramic artists. In your view, what abilities are most strengthened when young people participate in international biennales?
A：They are mainly concentrated in two areas: conceptual thinking and technical language.
In terms of concepts, the first step is to reject “McDonaldized” creation—that is, simply imitating currently popular styles. The second is to engage deeply with local culture, not only Chinese culture, but the broader Eastern cultural system, including traditions and contemporary practices from Japan, Nepal, India, and beyond. These form the foundation of creative vitality.
In terms of technical language, one must maintain an open mindset. On the one hand, it is essential to master traditional techniques solidly; on the other, one should actively learn contemporary technologies, new materials, new processes, and firing methods. Universities provide the best technical platforms: free from commercial pressure, they allow for pure research into materials and processes while bringing together advanced techniques from around the world. Young artists should make full use of this advantage to build a strong technical foundation.
Q：Many new materials and technologies are now being introduced into ceramic creation. How do you view the impact of technology on the development of ceramics?
A：New technologies and materials are undoubtedly a plus. For example, today’s precisely controlled wood-firing techniques were unimaginable in the past, and they offer more possibilities for expression. However, in the context of digitalization and AI, we must think more deeply about the core direction of ceramics. AI mainly addresses technical issues. Even if it can simulate emotion, generate works, or replace certain forms of popular ceramics, human aesthetic and spiritual needs will continue to evolve.
Just as after the Industrial Revolution, machines replaced many handmade products, traditional ceramics did not disappear. On the contrary, works with a strong sense of handcraft became mainstream in the twentieth century, and Japan’s Mingei movement arose from this context.
In the digital age, what AI cannot accomplish is precisely the space for the future development of ceramics. At its core lie emotion, aesthetics, and metaphysical spiritual values. No matter how technology advances, the world will always need artists, because artists provide spiritual support—and ceramic artists are no exception.
Q：What do you see as the core challenge facing ceramic artists today: a breakthrough in artistic concepts, or the construction of a spiritual core?
A：Both are important, but ultimately it comes down to “finding yourself.” Many artists are easily swept along by current trends or fashionable concepts, losing their own voice. For ceramic artists who aspire to represent their era, it is not enough to simply imitate tradition, nor to blindly follow foreign trends. They must reject “McDonaldized” conformity and create works that embody both the spirit of the times and a personal style.
The path of independent creation is not easy. Artists face survival pressures and misunderstanding, and their early works may be immature or unrecognized. But perseverance is crucial. For artists, the greatest challenge is often not technique or concepts, but willpower. No matter how difficult it becomes, they must hold fast to their ideals and remain true to their original aspirations.
Q：As a Jiangxi-born artist and a promoter within the field, what are your expectations for the upcoming global ceramic event to be held in Jingdezhen?
A：To host such a world-class event in Jingdezhen is in itself of great historical significance. As one of the most important sources of global ceramic culture, Jingdezhen deserves to be a focal point for world ceramics. This event represents an opportunity for it to re-enter the international spotlight.
I hope it will become a gathering place for the latest works, ideas, and thinking in contemporary ceramics worldwide, and serve as an “engine” for the development of contemporary Chinese ceramics. It should not only absorb outstanding domestic achievements, but also bring together advanced global ideas and technologies. If Jingdezhen can build this core platform well, it will surely become a global hub for ceramic art creation, product development, commercial operation, and cultural experience in the future.
Q：What encouragement would you give to young people who are still hesitant about participating in the Jingdezhen Biennale?
A：Looking back at history, today is undoubtedly a golden age for the development of ceramics. Young ceramic artists should hold themselves to a “dual perspective”: first, a global perspective—absorbing advanced methods and ideas from around the world to raise the standards and scope of their creation; second, a historical perspective—rooting themselves in local cultural lineages to establish the foundation and identity of their work.
When a horizontal global perspective and a vertical historical perspective converge in creation, you will find an entry point that belongs to this era. This is the goal that our generation—and every young ceramic artist—should strive for. I hope everyone will participate boldly, find themselves through the Biennale, and create works that truly belong to this time.
