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“经济全球化的过程使陶艺与本土文化间的文脉逐渐被割断,在不少地区陶艺的创作逐渐退出了本土文化创造的历史舞台,而仅仅只是作为一种手工艺被孤立于当代艺术创作之外,在现代化过程中出现的这一西方化误区,使得古老悠久的陶瓷媒介在理论上失去了它保存创作活力的逻辑。”[1]一方面西方的审美系统和价值主导着我们的认识;另一方面某些地域文化逐渐成为了被保护的遗产,失去了生命力。同样的问题在佛山也有所显现。
“The process of economic globalization gradually cut off the context between pottery and local culture. In many areas, the creation of pottery has gradually withdrawn from the historical stage of local culture creation and merely is isolated as a handicraft from the creation of contemporary art In addition to this Westernized misunderstanding in the course of modernization, the ancient ceramic medium has in theory lost its logic of preserving its creative vitality. ”[1] On the one hand, Western aesthetic systems and values dominate our On the other hand, some regional cultures have gradually become the legacy of protection and have lost their vitality. The same problem has also been revealed in Foshan.