Most people, if asked to define the word "artist", might give some vague reference to an artist's work, or just list the names of some representative artists. This is because they have probably had little contact with artists in their day-to-day lives.
But a "real" artist is concerned with the quality of life as well as the search for artistic values. He seeks such entities as nature, beauty, goodness, romance, and honesty. For an artist to be appreciated by the public, his works must not only be meaningful but his life must also be artistic.
Connoisseurship of ceramics, painting, and calligraphy; enjoyment of old jade and antiques; appreciation of good food; and the study Tai Chi Chuan (shadow boxing), these are the basics of the artistic life of Liu Lang-you. In August he was invited by the University of Geneva's art department to teach ceramics and Chinese art history, and at 38, has become the leading exporter of Chinese ceramic techniques.
Liu Lang-you has been studying and experimenting with porcelain for only four years. After graduating from the University of Chinese Culture's Graduate School of Art, he began to teach a wide variety of courses there, while at the same time documenting works of art in the National Palace Museum. He also wrote several books on Chinese art. Since 1971 he has held two painting and three ceramic shows in Taipei and held three exhibitions in the U.S. and the Netherlands.
"Ceramics chose me, I did not choose ceramics," the artist explains. While studying cloisonne at the Palace Museum, he developed a deep interest in the authentication of antiques. But because authentication is not just a value judgment, but must also be based on scientific analysis, he began to conduct experiments. Without a workshop of his own, however, he felt he was making little progress. Later he was able to carry out his own experiments in a friend's ceramic factory while continuing to teach art. After two years of independent study, he was given his own workshop.
With his researcher's sensitivities and grounding in traditional Chinese art, he began to study Sung Dynasty green ware, Ming Dynasty Ching Hwa ware and glazes, Ching Dynasty cloisonne vases and ancient glaze and firing techniques. His background enabled him to understand the real problem of modern Chinese ceramics: How to select and assimilate tradition.
Ceramics is the art of representation by putting earth through fire, and the meaning of fire is especially important. The appearance of pottery is based on kiln temperatures and firing times. Liu uses high temperatures when firing, averaging 1280-1300℃. His works are covered with many layers and he places them back in the kiln many times as he strives for perfection. Some pieces are fired up to five times.
Many people who go to his exhibitions are confused by his work. There are refined pieces and coarse pieces. There are works which combine ancient and modern and Eastern and Western techniques. There seems to be something of everything, but a lack of individuality. Liu explained: "Actually I don't want to be a ceramicist. My work is all the result of experimentation and I don't know what direction I am heading in. Since I don't know where Chinese ceramics is heading, why should I put limitations on myself?"
"Ceramics is Chinese culture in a nutshell, not only from the scientific point of view but from the social point of view as well. From pieces of ceramic art, we can perceive the Chinese philosophical view, world view, and even lifestyle."
Liu feels that to promote modern ceramic art, not only do ceramic classes have to be opened to the public, but also art history must be carefully studied by experts so that the aesthetics, color, production techniques and other aspects will be understood. Then and only then will real progress be possible. At the same time, cultural progress is also dependent on publications. Histories of ceramics and other works must be written and also translated from other languages for the reference of ceramicists. Museums and galleries within the Republic of China should also put on more exhibitions of traditional and modern ceramics from China and foreign countries.
Although Liu Lang-you has been researching ceramics for only four years, his background of study and practice in art has made it easy for him to achieve progress. Still, he feels he has suffered many defeats and encountered great frustration. He feels that he produces very few satisfying pieces each year.
"There is a lot of suffering in joy." This phrase adequately describes the price Liu Lang-you has had to pay for the development of his creativity.
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