Liu Yingrui
Professor, Sculpture Department, Tianjin Academy of Fine Arts
Master’s Supervisor
Member, International Academy of Ceramics （IAC）
Interview Notes：
In Liu Yingrui’s view, the launch of the Jingdezhen International Ceramic Art Biennale is not only a key practice in China’s contemporary ceramics proactively building its own international discourse system, but also an open and inclusive platform rooted in over a century of disciplinary accumulation at Jingdezhen Ceramic University and nourished by China’s vibrant industrial ecosystem. Embracing diverse expressions ranging from craft traditions to material experimentation, the Biennale breaks down the boundaries between tradition and contemporaneity, craftsmanship and experimentation. “Long overdue, and arriving at exactly the right time”—these words capture both the historical inevitability of the Biennale and its bridging role within the ecology of contemporary Chinese ceramics. It marks a belated yet inevitable encounter between Jingdezhen and global ceramic art.
Q：Yu Lingna
A：Liu Yingrui
Q：You studied and taught at Jingdezhen Ceramic University for twenty years and are deeply familiar with the ceramic lineage of both the city and the institution. What do you see as the unique advantages and characteristics of Jingdezhen Ceramic University in hosting this international ceramic biennale?
A：I believe there are two very distinct geographical advantages.
First is the university itself. Jingdezhen Ceramic University has a history of more than a hundred years and is China’s only comprehensive higher education institution named after ceramics. It has a complete disciplinary system, covering the entire ecosystem from materials science and technology to artistic creation and design applications.
Second is the city of Jingdezhen, the millennium-old porcelain capital, where kiln fires have never gone out and which in recent years has seen new vitality emerge in contemporary creation and industrial innovation.
Holding an international biennale in such a place offers unparalleled resources and atmosphere. In fact, a high-level exhibition platform of this kind was long overdue. In the past, various conditions were not yet mature, which delayed its realization. Today, through the efforts of many parties, it has finally come into being—arriving at exactly the right time.
Q：There are many long-established ceramic exhibitions around the world, such as Faenza in Italy, Mino in Japan, and Gyeonggi in South Korea. Compared with these mature platforms, what is the most distinctive feature of the Jingdezhen Biennale?
A：Every exhibition has its own positioning and character. The Gyeonggi Biennale, for example, places greater emphasis on conceptual approaches and integration with contemporary art language, while the Mino International Triennale, now in its 13th edition, has broad influence and offers a deep engagement with East Asian ceramic traditions.
The distinguishing feature of the Jingdezhen Biennale lies in its balance between broad inclusiveness and value-oriented leadership. First is its breakthrough in scale and scope. In just the first two editions, it has already attracted submissions from 48 countries and regions, covering five major categories: vessels, sculpture, painting, installation, and video. This level of diversity and inclusivity is rare among many exhibitions. Second is the appeal of its incentive mechanisms: the total prize fund for 2026 reaches 2 million RMB, and 50 “Guozhong Emerging Artist Prizes” have been specially established to support young creators, making it highly attractive to artists worldwide, especially younger ones.
More fundamentally, it is the value orientation. The 2026 Jingdezhen Biennale is not limited to a specific group of people or a single style. It accommodates both craft-based creations rooted in tradition and cross-disciplinary experiments that combine ceramics with AI and virtual technologies. This directly resonates with the theme “The Future of Ceramics”—not a single-direction exploration, but the coexistence of multiple pathways.
Q：From a juror’s perspective, what phenomena from the first two editions left a deep impression on you? What insights do these experiences offer for the 2026 focus on “The Future of Ceramics”?
A：What impressed me most about the first two editions was their break from the conventional limitations of ceramic exhibitions, which often lean toward arts-and-crafts or decorative aesthetics, and their presentation of a much broader contemporary outlook. For example, works by the artist Zhi Min used ceramic materials for highly contemporary installation-based expressions, emphasizing conceptual and material experimentation. The inclusion of such works in a ceramics-themed exhibition is a very meaningful signal.
Of course, there were also many works that showcased exquisite craftsmanship and the inheritance of artisanal spirit, which is wonderful. But we must not forget that ceramic material itself is also a very important and widely used medium in contemporary art. The Biennale’s ability to embrace such works reflects a highly open attitude. It does not confine ceramics solely to traditional or modern formal expressions, but instead expands the connotations of ceramic material—something truly rare and valuable.
Q：Ceramic education has always been a field you care deeply about. In your view, in what concrete ways does a biennale of this caliber promote contemporary ceramic education, especially for young students?
A：This kind of promotion is direct and bidirectional. Essentially, it builds a bridge between teaching and frontier practice. For academic institutions, the Biennale functions like a “showcase of teaching outcomes.” Students’ works can enter into dialogue with top global creations, while teachers can grasp cutting-edge trends through the exhibition and, in turn, optimize their teaching content.
For students, the value is even more multidimensional. First, it broadens horizons. The exhibition brings together creative approaches from artists around the world—some combining ceramics with video, others exploring nano-ceramic materials. Students can see firsthand how artists globally understand and use ceramics, encountering diverse creative methods and material concepts. The impact of on-site viewing far exceeds that of textbooks. Second, it provides a ladder for growth. Many young people accumulate experience through participation and awards. Initiatives like the “Guozhong Emerging Artist Prizes” are specifically designed to pave the way for young creators, and such recognition is a powerful incentive to persist on the artistic path. Third, it helps build networks of exchange, enabling direct dialogue with peers at home and abroad and even opening opportunities for collaboration, which is crucial for long-term development.
Q：You have often emphasized that “Jingdezhen should have had such a biennale long ago.” Does this sense of urgency reflect deeper reflections on the development of contemporary Chinese ceramics? Could you share the origins of this expectation based on your past experience?
A：At its core, this expectation stems from the hope that contemporary Chinese ceramics can proactively construct its own discourse system. More than a decade ago, a British collector specializing in ancient Chinese ceramics came to Jingdezhen. He told me that he knew ancient Chinese ceramics inside out, but knew almost nothing about contemporary ceramics, and had come specifically to look for high-quality works. This deeply struck me: others were actively seeking to understand us, yet we lacked a high-level platform to present ourselves proactively. For a long time, what we exported to the outside world were mostly commercial products, and the international community could not see the true level of contemporary Chinese ceramics.
When I was serving as head of a teaching and research office at Jingdezhen Ceramic University, I had already hoped to promote such an international exhibition. As a millennium-old porcelain capital, Jingdezhen deserves an academic platform commensurate with its status—one that allows the world to see the vitality of contemporary Chinese ceramics and provides domestic creators with a concentrated space for display and exchange. Today, the Biennale has achieved this and has also become an important pillar of the National Ceramic Culture Inheritance and Innovation Experimental Zone. This is precisely the kind of “proactive voice” we had long hoped for.
Q：The 2026 Biennale focuses on the theme “The Future of Ceramics,” while AI, virtual technologies, and other new media are profoundly influencing artistic creation today. From a creator’s perspective, what challenges does contemporary ceramics face, and how should they be addressed?
A：The challenges are real, and the core issue is how traditional media can find their footing in the digital age. Immersive and interactive experiences brought by AI and virtual technologies do indeed challenge traditional static ceramic works in terms of attracting public attention. This is not a problem unique to ceramics; many traditional art forms face similar situations.
However, there is no need for excessive anxiety. Ceramics possesses irreplaceable strengths—the warmth of clay, the uniqueness of handmade creation, and its cultural attributes that transcend civilizations. These are things that cold digital media cannot replicate, and they are also the reasons why young people from around the world continue to gather in Jingdezhen.
The way forward, in my view, is to hold fast to essence amid change and seek dialogue amid impact. On the one hand, we must safeguard the material characteristics and cultural roots of ceramics—this is our foundation. On the other hand, we should actively embrace new technologies. Some creators are already experimenting with AI-assisted design or combining virtual projection with ceramic installations. This is precisely the direction encouraged by “The Future of Ceramics”: holding fast in the midst of change, and discovering new possibilities amid impact.
Q：In June 2026, the 3rd Biennale will be held concurrently with the World Ceramic Art Conference, drawing global attention to Jingdezhen. What specific expectations do you have for this grand event?
A：My core expectations are greater openness, greater diversity, and a stronger presence of emerging forces. First, I hope to see more “new faces,” whether artists of different nationalities and age groups, or cross-disciplinary creators. The special inclusion of cross-disciplinary practitioners in this edition is highly meaningful and may well bring unexpected synergies between ceramics and other fields.
Second, I hope to see more innovative works that respond to the theme “The Future of Porcelain,” especially those that break new ground in material exploration, technological integration, and conceptual expression—works that not only demonstrate the level of contemporary Chinese ceramics, but also offer new ideas for the global development of ceramic art. Finally, I hope the Biennale can further strengthen its platform effect, becoming not just a grand event during the exhibition period, but a long-term network of exchange, truly making Jingdezhen a core hub for global ceramic culture exchange and giving lasting vitality to “The Future of Ceramics.”
Q：Drawing on your own experiences of exhibiting when you were younger, what advice would you give to young creators eager to participate in high-level exhibitions like this? What is the long-term significance of participation for an artistic career?
A：My strongest advice is to “go out more, and settle down more.” Participating in exhibitions is not just about “showing work,” but more importantly about learning and exchange—studying the creative approaches of peers, listening to jurors’ feedback. Even if you do not win an award, these experiences are invaluable nourishment for growth.
For young creators, participating in a biennale offers, first, a chance to break through self-imposed limitations and avoid being trapped in a small circle, finding one’s own position through comparison; and second, spiritual support. Recognition from peers, feedback from audiences, and even setbacks encountered during participation can all help clarify why you persist in creation. When I was young, it was precisely through repeated participation and exchange that I gradually clarified my creative direction. Those moments of sincere recognition were like lights along the artistic road, illuminating the path ahead.
2026 “The Future of Ceramics” Jingdezhen International Ceramic Art Biennale
Registration Deadline：December 31, 2025
Registration Portal：
http://www.cjicb.com/News20251211.html
