陶器似乎以男人的形象,顽强不屈地扛起长江与黄河,踏踏实实地走进生活的每一段平凡的、雄伟的、崎岖的层面。瓷器就像女人,以瑰丽的身姿,捧出铺天盖地的广告,成为一尊货真价实的花瓶。而大缸不愧为陶器的后裔,默默地奉陪着凡人生活。它的形象是横空出现的吗?上大下小来源于什么呢?从物体的形象角度来看,底盘大具有稳定性的普遍感受是一致的。陶器大缸以脆弱的身板,竟然塑造出 Pottery seems to be a man’s image, indomitable to carry the Yangtze River and the Yellow River, step by step into the life of ordinary, majestic, rugged level. Porcelain is like a woman, with magnificent posture, holding out overwhelming advertising, to become a real vase. The vat deserves to be the descendants of pottery, quietly accompanied by mortal life. Its image is the emergence of it? What is the origin of big and small? From the perspective of the object image, the chassis is generally consistent with the stability of the feeling. Pottery vat to fragile body, even shape out