在大家都在积极地热衷于寻求文化身价的时候,我们陶艺家也在积极地寻找艺术身份。如果说我们中国的当代艺术是“后娘”的艺术,我们的陶艺家更是“后娘”的儿子。一个艺术家很不情愿把自己限定在陶艺家的身份上,而视陶艺为手艺。而我们的陶艺家们也一直热衷于从“手艺” 中解放出来,却又难从材料的本质主义的执着中挣脱出来。新一轮以贱卖老祖宗手艺的所谓“后现代主义”又成为陶艺家们“新鲜”的素材。我们不得不叹息,陶艺家们何时才能从“主义” 的追逐中解放出来,何时能观照自心,去感受心灵的声音和宇宙自然的律动。如果我们真心真意地热爱我们祖宗的手艺也不失为一种境界,问题出在我们既不安于祖宗的手艺,又不愿意失去艺术的身份。其实一个作品的创造是不是陶艺不重要,是不是艺术也不重要,是不是文化更无从判别, 只要是具备心智的创造,表达了社会、政冶、生态与自然的关系以及人的生存状态才是关键所在, 至于手段并不重要。 While everyone is actively engaged in seeking cultural values, our ceramic artists are also actively looking for artistic identity. If we say that the contemporary art of China is the art of “the bride”, our potter is the son of “the bride”. An artist is very reluctant to limit himself to the identity of the potter, while the art of pottery as craftsmanship. Our ceramic artists have also been keen to free themselves from “technology ”, but it is difficult to get out of the dedication of materialism. A new round of so-called “postmodernism” based on the sale of artisanal craftsmanship has also become the material of potters and “freshness.” We have to sigh when the potters can be freed from the chase of “Charisma ” and when they can look upon themselves and feel the voice of the soul and the rhythms of nature in the universe. It would be a realm if we sincerely and truly loved our ancestors ’craft. The problem was that we were not at ease with our ancestors’ craftsmanship and did not want to lose the identity of art. In fact, the creation of a work is not pottery is not important, is not art is not important, is not the culture even more difficult to distinguish, as long as it is with the creation of the mind, expressed the social, political, ecological and natural relations and human existence before Is the key, as far as the means are not important.