“中国首届新秀陶艺家双年展”在一种契合的时机举办,具有其特殊的文化机缘。陶艺文化在中国当代艺术领域相对于国画、油画、雕塑、版画来说,其参与创作的人数、年龄梯队结构以及人员的现代艺术观念都存在着巨大的反差。回顾中国现代陶艺发展的这几年,最大的难度依然是陶艺文化身份的确立问题,而非中国陶瓷身份的认同问题。因为在传统陶瓷领域中国的“话语权”是世界公认的结论,而中国陶艺(现代陶艺或者当代陶艺)的“话语权”却微乎其微。新秀陶艺家选拔的初衷,就是希望通过创造一个充分展示青年现代陶艺面貌的沟通平台,良好地引导、挖掘、扶植、鼓励一大批新秀力量参与中国现代陶艺改革的进程,来促进一种新陶艺文化的广泛普及与深度提升。 “China’s first rookie potters Biennale” held in a fit time, with its special cultural opportunities. Compared with Chinese painting, oil painting, sculpture and printmaking, pottery culture has a huge contrast with the number of people involved in creation, the structure of age echelon and the modern art concept of personnel in the field of Chinese contemporary art. Recalling the development of modern Chinese ceramics in recent years, the greatest difficulty is still the establishment of ceramic culture identity, rather than the identification of Chinese ceramics identity issues. Because the “right to speak” in China is a universally recognized conclusion in the field of traditional ceramics, the “right of discourse” in Chinese pottery (modern pottery or contemporary pottery) is negligible. The original intention of rookie potters selection is to promote a new pottery culture by creating a communication platform that fully shows the face of young modern pottery, guiding, digging, fostering and encouraging a large number of rookie forces to participate in the reform of modern Chinese pottery. The widespread popularity and depth of promotion.