曾几何时,全世界都把中国视为当然的陶瓷大国,历史上我们的制陶大家也层出不穷。在保护中华民族非物质遗产的呼声日益高涨的今天,尤其有必要介绍和研究当代中国的制陶大家。本期我们将顾景舟先生作为一位“时代人物”来定位,专门请高英姿女士撰文向大家作一个介绍,这也是一种纪念。同时我们也注意到今天中国陶瓷的生产领域中仍然存在不容忽视的问题。本期[案边点滴]特邀主持人连冕,就陶瓷作为一种材料在社会与人之视野中的真实属性这一话题,邀请了多位陶瓷生产与设计第一线的专家来展开笔谈,涉及的内容值得所有关心中国陶瓷未来发展的人们加以关注。作为岭南画派最重要的当代传人之一,林墉先生在[本期名家]栏目里向我们的读者展示了他赴印度写生归来后创作的一批作品。他强调西法的实践和对中国画笔墨的实践性经验,再次触及到当今中外文化在中国冲撞的焦点。不知读者诸君在本期着重介绍的油画家的作品中是否也注意到了同类问题? Once upon a time, the whole world regarded China as the great ceramic country of course. Historically, our potters have also emerged one after another. At a time of growing calls for the safeguarding of the intangible heritage of the Chinese nation, it is especially necessary to introduce and study pottery potters in contemporary China. In this issue, we will refer to Mr. Gu Jingzhou as a “personage of the times” and specifically invite Ms. Gao Yingzi to give an introduction to everyone. This is also a memorial. At the same time, we also noticed that there are still problems that can not be ignored in the production of Chinese ceramics today. The current [case dribbling] guest host Ren Mian, ceramic as a material in the field of vision of the true nature of this topic, invited a number of ceramic production and design experts in the forefront to start writing , The content involved worthy of concern to all people concerned about the future development of China Ceramics. As one of the most important contemporary descendants of the Lingnan School of Painting, Mr. Lin Yong shows our readers a series of works that he has made since returning to India for a sketching trip. He emphasized the practice of Western France and his practical experience in Chinese painting and calligraphy, which once again touched the focus of the clashes between Chinese and foreign cultures in China. I wonder if readers have noticed the same kind of problems in the works of oil painters who are mainly introduced in this issue?