Guangzhen Zhou on mon 19 nov 01
CHINESE CLAYART, Nov. 2001, Vol. 24.
New Patented Clay Tools, Chenlu Adventures, Chinese artist Pinchang Lu.
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"CHINESE CLAYART" is a newsletter emailed bi-monthly to professional
artists, curators, collectors, writers, experts, educators and students in
the ceramic field, who want to know about ceramic art in China and things
related. This newsletter will be a bridge between China and Western
countries for the ceramic arts. Comments and suggestions are very welcome.
(Copyright 2001, The Chinese Ceramic Art Council, USA. All rights
reserved.)
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The Chinese Ceramic Art Council, USA
P.O. Box 64392, Sunnyvale, CA 94088, USA
Tel. 408-245-6271, Fax. 408-245-8756
Email: editor@chineseclayart.com
Web: www.chineseclayart.com
Chief Editor: Guangzhen "Po" Zhou
English Editor: Deborah Bouchette
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FEATURE
New Patented Clay Tool-Plastic Texture Mat.
Patent #01210116.8 P.R. China, Pending International Patent.
ã 2001, The Chinese Ceramic Art Council, USA, All Rights Reserved.
Plastic Texture Mat - Bricks. 11 3/4" x 7 3/4". Plastic Texture Mat is a
new patented clay tool for making textures on the surface of wet clay.
Artist or student can use the textured clay to build many architecture
forms. The textures are including "Bricks", "Rocks", "Fish Scales", or
"Wood", etc.
Plastic Texture Mat - Bricks.
1. Roll out a slab of clay, place on the top of Texture Mat, pound the clay
evenly, and let the texture impress into the clay surface.
2. Peel off the clay from the Texture Mat, the texture will show out all
over the clay surface. Then, cut the clay into shapes as you desired, build
them into castle, house, or other kind of architecture.
This product will be available in the US with 60 days.
(Please see attached picture).
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Chen-Lu Town, Shaan'xi Province
It is called "Town," but actually it is an ancient ceramic village in the
mountainous area of Shaan'xi Province, between the Guan-Zhong Flatlands and
the North Shaan'xi Plateau.
Chen-Lu is approximately 20 kilometers (about 11 miles) southeast of
Tongchuan, and about two hours' driving from Xi'an. In Chinese, Chen means
display, and Lu means oven or kiln. So, the town is a kiln-displaying
village. The kiln sites have been laid one after another since the Song
Dynasty.
The living houses are unique in this part of China. The style is called
Yao-Dong. Yao means kiln, Dong means cave. The brick-built houses usually
are built half way into the hillside. The ceilings are usually curved like
an arch. This design is cooler in summer and warmer in winter. The bed the
residents use is called Kang, which is a brick-built bed
with a fireplace underneath. The walls around the yards are usually made
out
of broken jars or pots.
Chenlu Adventures - Annie Schliffer
(From the Editor Guangzhen Po Zhou: Annie Schliffer is the head of the
Rochester Folk Art Guild Pottery Studio in Middlesex, New York. She was one
of the members of the American Delegation on the China trip in June 2001.
She decided to spend two weeks in Chenlu. I received this letter from
Annie,
and titled it. Let us share her experiences.
Annie left us in Xi'an, and I felt very nervous. What is going to happen to
her? I told her when our bus was going to leave, "It is still okay if you
decided Not to stay here, and you may just come with us.")
On that muddy overcast afternoon when your bus drove off, my heart sank,
what have I gotten myself into? Which part of me wanted to have this
experience? And did that part understand the immensity of the cultural and
language gap, the squalor of the privies, the dirt, mosquitoes and flies
that bred from who knows what water? An interpreter who spoke only
intermediate English, and not another westerner for over 100 miles. What
have I done to myself?
Well, yes, I got sick a few times and yes, at times I felt lonely and
isolated, even in the worst moments indulged in self-pity, but the main,
strongest and most lasting impressions are of the incredible warmth, love,
and humor and the wonderful family that we stayed and worked with - their
kindness, generosity and mastery of clay work in the Song dynasty style.
We were quickly moved form the dirt and noise of the "hotel" room to an
extra room of Dama's - Mr.Li's mother - who is a wonderful eighty-six year
old woman. She was up gardening, sweeping, cleaning in her quiet way every
morning at 5. The room was the traditional housing - an old kiln, naturally
air-conditioned, very cool and a little damp. Our bathroom facilities
consisted of a fairly clean firebrick outhouse and a little bucket with
rainwater from which we would take our "bath" twice a day and then rinse
some laundry. So this was our quiet refuge, and we became fast friends with
Dama, who, within a week of our stay was showing my pictures to all her
friends and relatives (she has 50 great-grandchildren) and telling them all
about my life in America! A great lady with a wonderful sense of humor. My
interpreter and I became good friends, able to laugh uproariously at the
various ridiculous and difficult aspects of our life there. It was perhaps
even harder for her in Chenlu than me, being used to a city, lots of
activities, and running water!
The learning and study were intense and relentless, and very thorough. It
was not just pottery, but everyday events such as how to hold chopsticks
correctly, how to make their Jiaozi (Chinese dumpling), which paths lead
where in the meandering maze of footpaths through the town, and how to
become good friends with the shy 5 and 9 year old granddaughters without a
common language. By the end of our visit the 9 year old led me all through
town, up the mountain on precarious dirt paths, including me in her child's
world.
I worked every day, beginning with throwing tea bowls, moving to vases (all
off the hump) and finally large vases. Then trimming them all, using his
superb system of chucks of just the right size and consistency and
collection of trimming tools, each one for a different part and function.
Then I attempted their Song dynasty style of carving, both into the wet
leather hard clay, and through the black slip glaze that the pots are raw
glazed with. Intricate peony patterns, simple lines and curves that took me
so many attempts to imitate. Afternoons of sheer frustration when I
couldn't
come close at all to the simple, vigorous, and clear lines of this direct
style of carving. No fussing with it afterwards. Sometimes I felt anger and
frustration with my inability to learn. Always in these moments I could
take
a break, have some jasmine tea and watermelon, or go wander around town a
bit and come back with a fresh resolve to try again. But this direct, clean
way of working was so elusive. Every time I tried it seemed that I was
doing
it backwards or upside down. For example, the lines that they band the pots
with freehand seem simple - yes, on the wheel, but freehand? Oh, you're
doing it backwards is no easier!
One Saturday afternoon many relatives had gathered and were moving in and
out of the throwing room where I was working. The older men were amazed
that
I, a western woman, could throw large forms. Mr. Li's niece brought me
watermelon which she insisted on feeding me in the pauses while I was
throwing. Imagine an eleven year old girl feeding you as you work!
By the close of the two weeks I produced 3 small vases and 3 tea bowls. A
few had exploded in the fast firing they did for me in the end.
The mornings before work gave ample time for writing, exercise, and sitting
quietly while the strange sounding passenger pigeons whirred around the
mountainside and children canted monotone praises to China in their early
morning school. There was an incredible view from Dama's house - down the
entire valley. Wonderful evening sunsets. Some evenings Mr. Li walked us
around town, explaining its history, telling stories, stopping for tea at
neighbors and friends. One night he took us up the big mountain just at the
time that a lightening storm broke out right in front of us on an empty
ridge. The goats, cows, and the 3 of us all went running down. Oh, what a
funny scene! Other nights, craving solitude, I'd go for long walks up the
road to where they were harvesting and thrashing wheat, all by hand.
Usually
I was accompanied or followed, like a pied piper, by dozens of children,
all
shouting hello, hello, etc.
We journeyed down to Tongchuan together where Mr. Li's daughter Jiuling,
her
husband, and children have bought a large house and are in the process of
moving and setting up a pottery factory. Mr. Li and his wife wonder if they
should join them, leaving the beauty and community of Chenlu for a more
comfortable life in the city. He doesn't wish the life of a potter for any
of his sons - it's too difficult and the work is too hard. So his daughter
and son-in-law will carry on the pottery, but the son-in-law is not a
master
thrower. Perhaps it will be more mold work, with the fine carving. It's sad
to see that Mr. Li's fine throwing tradition - his mastery of the "Big
Pots"
will die out.
I collected enough Chenlu pottery to make an exhibition which I will mount
with photographs, perhaps next spring in our gallery. My friends suggested
I
pick it out and carry it all back. What a load going in and out of trains,
buses, and taxis! They accompanied us to Xi'an where I got the necessary
funds to pay everyone.
In Beijing, I visited the HAP studios where Ishi and a visiting Hawaiian
potter were firing the Anagama kiln for the first time.
I'm very happy to be home, healthy and safe with only a minor skin allergy
lingering from China. The wild cherry crop has never been so abundant, and
it's wonderful to be out walking in the quiet green countryside. We had a
successful opening of our pottery show. If only there had been time to make
some Chinese inspired pots! Next time.
I love meeting everyone and spending time with all of you. Let's try to
resume our friendships whenever time and space permits.
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PROFILE
Pinchang Lu, a well-known Chinese artist, will visit the U.S. in the spring
of 2002.
Pinchang Lu's web site: www.lpcart.com.
Mr. Lu is a professor of art, and vice director of the sculpture department
at the Central Academy of Fine Art, Beijing, China. His works are mainly
figurative, in either realistic or abstract depictions. These works are in
ceramic and other mediums, and he has exhibited and has work in collections
throughout the world. During the past ten years he has been invited by many
schools to do workshops, and during these travels he has visited Japan,
Korea, Australia, Italy, Russia, and other European countries.
Lu Pinchang is also a renowned author who has published many articles in
art
magazines, and has recently published books entitled "Chinese Contemporary
Ceramic Art" and "Modern International Sculpture."
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TRAVEL
The information for the Chinese Ceramic Cultural Travel Tour in 2002 is now
on the web: www.chineseclayart.com. If you interested in this trip, please
print out and fill in the application form, then mail it to us.
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Letter from the editor Guangzhen "Po" Zhou -To a Seattle collector.
Since my computer had problems and got fixed in last September, I lost some
files including many emails.
I remember that: A collector who lives in SEATTLE area, had a vase broken
that bought in Shanghai. Now, I got the replace one for you. Please contact
me ASAP.
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An earlier newsletter is on the Web at:
http://www.chineseclayart.com/news.html
THE END.
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