泥火境象
　　IMAGERY OF CLAY AND FIRE
　　中央美术学院·雕塑系
　　陶瓷工作室教学研究展
　　Teaching&Research Exhibition of the Ceramics Studio
　　Sculpture Department,CAFA
　　展览时间|Exhibition Duration
　　2026.06.16-2026.08.08
　　展览地点|Exhibition Venue
　　中央美术学院陶溪川美术馆
　　Taoxichuan Art Museum of Central Academy of Fine Arts（CAFA）
　　展览概述|Exhibition Overview
　　泥火境象——中央美术学院雕塑系陶瓷工作室教学研究展,由中央美术学院、景德镇陶文旅控股集团主办；中央美术学院雕塑系、景德镇陶邑文化发展有限公司、中央美术学院陶溪川美术馆联合承办。徐扬、林茂担任艺术总监，吕品昌担任展览总监，张伟、孙璐担任学术主持，胡泉纯、周思旻担任展览统筹，安然、黄镇担任策展人，谭斌、李志杰担任展览助理。
　　本次展览全方位呈现中央美术学院雕塑系推行近三十年“造型基础＋材料基础”双基础教学改革以来，陶瓷材料教学的发展历程与教学成果。展览系统梳理了中央美术学院雕塑系陶瓷工作室的历史沿革、教学体系、教学理念、教学创新以及教材建设脉络，介绍了雕塑系陶瓷必修课程和全院陶瓷选修课程教学概况，同时展示了校外课堂、课程展览及国内外交流活动的基本情况。现场展出本科学生初次接触陶瓷材料的部分课程作品。未来，工作室将继续深耕陶瓷教学与创作，培养兼具扎实造型功底和创新材料思维的艺术人才，为中国陶瓷艺术的未来持续赋能。
　　Exhibition Overview
　　“IMAGERY OF CLAY AND FIRE---Teaching&Research Exhibition of the Ceramics Studio，Sculpture Department,Central Academy of Fine Arts(CAFA)”is hosted by the Central Academy of Fine Arts and Jingdezhen Ceramic Cultural Tourism Holding Group;This exhibition is co-organized by the Sculpture Department of CAFA,Jingdezhen Taoyi Cultural Development Co.,Ltd.,and Taoxichuan Art Museum of the CAFA.Xu Yang,Party Secretary of the CAFA,and Lin Mao,President of the CAFA,serve as Art Directors;LyüPinchang,Dean of the Ceramic Art Research Institute of the CAFA,serves as Exhibition Director;Zhang Wei,Chair of the Sculpture Department,and Sun Lu,Party Branch Secretary of the Sculpture Department,serve as Academic Moderators;Hu Quanchun,Deputy Chair of the Sculpture Department,and Zhou Simin,Director of the Foundation Studies Department,serve as Exhibition Coordinators;An Ran,Director of the Ceramic Studio of the Sculpture Department,and Huang Zhen,Curator of Taoxichuan Art Museum of the CAFA,serve as Curators.
　　This exhibition fully illustrates the developmental course and fruitful teaching outcomes of ceramic material education since the Sculpture Department of the Central Academy of Fine Arts(CAFA)launched its dual foundational teaching reform of"Sculptural Foundation+Material Foundation"nearly thirty years ago.It systematically sorts out the developmental context of the Ceramic Studio of CAFA’s Sculpture Department,including its historical evolution,teaching system,educational philosophy,pedagogical innovation and textbook construction.The exhibition also outlines the teaching profile of compulsory ceramic courses for sculpture majors and school-wide ceramic elective courses,while displaying off-campus field classes,curriculum exhibitions,and domestic and international exchange events.Selected coursework works created by undergraduate students during their first engagement with ceramic materials are on view.Going forward,the Studio will further advance ceramic teaching and artistic creation,cultivate artistic talents with solid sculptural capabilities and innovative material thinking,and continuously fuel the future development of Chinese ceramic art.
　　策展前言|Curatorial Statement
　　序言Foreword
　　林茂中央美术学院院长Lin Mao President,CAFA
　　序言
　　雕塑的本质，是物质与精神的辩证统一，是文明基因在时空中的镌刻印记。中央美术学院秉持“尽精微、致广大”的校训精神，助力学子在艺术之路上砥砺前行，夯实基础、厚植底蕴、滋养才情，培育他们在艺术语言、材料、技艺等多维度上的深度与广度，成就广阔的艺术格局。
　　中央美术学院雕塑系作为中国现代雕塑教育的核心阵地，始终肩负着熔铸民族精神图谱、回应时代命题的使命。自新世纪以来，雕塑系凭借先进的教育理念和持续革新的教学模式，在全国各大美院的材料教学领域始终占据引领地位。雕塑系以石雕、木雕、金属、陶瓷、铸造、3D这六大材料工作室为依托，构建起贯通东西方造物文脉、连接传统与未来的物质实验场。2012年，该体系荣获中央美术学院唯一“国家级实验教学示范中心”称号，彰显其在国内雕塑专业基础教学中的开创性与示范性。这一体系不仅是对材料物理属性的深入挖掘，更是对中华文明基因的创造性转化。六个材料工作室所形成的物质语言体系，以“多元、开放、包容”的姿态，书写着中国艺术教育的崭新篇章。
　　今日，当我们在展厅中见证学生们以多样材料为媒介的创作成果，看到的不仅是技艺的传承与突破，更是中华美育精神在物质维度上的当代表达。六个材料工作室以“尽精微”的态度深耕材料物性；以“致广大”的格局，在传统技艺实践与审美哲思的辩证交融中，搭建未来创新的学术坐标。通过多维度探索拓展雕塑语言，在“技”与“道”的统一中成就通往大师之路的起点。
　　未来，中央美术学院将始终深入学习贯彻习近平新时代中国特色社会主义思想，以习近平《在文艺工作座谈会上的讲话》精神为指引，以服务国家文化战略、滋养社会美育生态为己任，培育兼具民族精神与全球视野的艺术人才，以“大美术”的能动力淬炼民族复兴的物质载体与时代精神华章。
　　林茂
　　中央美术学院院长
　　Foreword
　　Sculpture is,at its core,a dialectical unity of matter and spirit,and an enduring imprint of civilizational genes across time and space.Guided by its school motto,“Pursue subtlety;embrace boundlessness,”the Central Academy of Fine Arts(CAFA)supports students as they advance on their artistic journeys.Through solid foundational training,deep cultural grounding,and refined artistic sensibility,the Academy cultivates in them both depth and breadth in artistic language,materials,craftsmanship,and other dimensions,enabling them to develop expansive artistic visions.
　　As a core institution of modern sculpture education in China,the Sculpture Department of CAFA has long shouldered the mission of shaping a national spiritual landscape and responding to the questions of the times.Since the beginning of the new century,guided by progressive educational ideas and continuous innovation in teaching models,the Department has remained at the forefront of material-based teaching among art academies nationwide.Rooted in its six specialized material studios—stone carving,wood carving,metalwork,ceramics,casting,and 3D technology—the Department has built a material experimentation platform that bridges Eastern and Western creative traditions and connects heritage with the future.In 2012,this teaching system was designated a National Experimental Teaching Demonstration Center,the only one of its kind at CAFA,bearing witness to its pioneering and exemplary role in foundational sculpture education in China.This system entails not only an in-depth exploration of the physical properties of materials,but also the creative transformation of the cultural genes of Chinese civilization.The material language system forged by the six studios embodies a spirit of diversity,openness,and inclusiveness,writing a new chapter in Chinese art education.
　　Today,as we encounter in the exhibition hall students’works created from a rich range of materials,what we see is far more than the inheritance and breakthrough of craftsmanship.It is also a contemporary expression of the spirit of Chinese aesthetic education through tangible media.Guided by the pursuit of“subtlety,”the six studios delve deeply into the inherent properties of materials;inspired by the vision of“boundlessness,”they establish an academic benchmark for future-oriented innovation through the dialectical integration of traditional craft practice and aesthetic philosophy.Through multidimensional explorations that expand the language of sculpture,they bring together technical skill and artistic insight,laying the foundation for the master artists of tomorrow.
　　Looking ahead,the Central Academy of Fine Arts will continue to thoroughly study and implement Xi Jinping Thought on Socialism with Chinese Characteristics for a New Era,and to follow the guiding principles of General Secretary Xi Jinping’s important speech at the Forum on Literature and Art.With serving national cultural strategies and fostering a vibrant ecosystem of social aesthetic education as its mission,CAFA will cultivate artistic talents with both national spirit and global vision.Drawing on the transformative power of a comprehensive fine arts framework,the Academy will continue to create tangible carriers and enduring spiritual odes for the great rejuvenation of the Chinese nation.
　　Lin Mao
　　President,Central Academy of Fine Arts
　　前言Preface
　　张伟中央美术学院雕塑系主任Zhang Wei Director,Sculpture Department,CAFA
　　前言
　　中央美术学院雕塑系的六个材料实验室基础教学体系的确立，是学科发展进程中具有里程碑意义的教学改革成果。这一体系根植于对雕塑本质认知的深化，体现了央美在基础教学理念与实践范式上的成熟与自信。
　　20世纪90年代，雕塑领域实验性探索与观念变革日益活跃，青年雕塑家对材料语言的直接运用趋势显著。面对以单一泥塑写实训练为核心的传统基础课程体系的局限，系内教学改革诉求迫切，亟待打破材料处于从属工艺地位的局面，确立其作为独立艺术表达语言的重要性，这一认知变革，成为推动材料教学体系形成的根本动力。
　　以隋建国为代表的第三代雕塑系教员主导了这场教学的关键转向。他提出“两条腿走路”理念，即在原有写实雕塑教学体系基础上并行发展材料教学系统。1995年7月，吕品昌主持创建“陶瓷工作室”，这是国内美术院校雕塑专业中首个以材料教学为目的的陶瓷工作室；1996年9月，“文楼工作室”的创立，又首次在国内美术院校中开创了直接金属材料创作教学。以这两者为突破口，中央美术学院雕塑系“直接材料教学”真正系统性进入基础课程序列，实现教学逻辑从“通过泥塑习作掌握造型规律再转换材料”，向“在材料特性约束下直接构思创作”的根本转变，为中国现代雕塑教学奠定了学理基础。
　　进入花家地校区后，随着教学空间和设备的增加，继陶瓷、金属工作室，雕塑系又建立起四个国际美术院校一流标准的石雕、木雕、铸造及3D数字实验室。2002年为了更有效地利用教学时间、空间以满足此时因扩招急增的学生人数需求，我们构建了一个由石雕、木雕、金属、陶瓷、铸造和3D数字六大材料工作室同时上课运转组成的九周教学平台，二、三年级同学在六间工作室按每三周轮转并行上课，尤其是二年级同学，“材料基础”甚至成为入系的＂第一课＂，然后才是“泥塑造型基础”，形成了真正的“双基础”教学结构。20多年运行下来，这套教学系统理念科学、搭配紧密、循序渐进，成为至今最受学生欢迎的课程之一。
　　回望20世纪90年代，这样的变革实属不易。今天，我们必须郑重地肯定这一历史性转向的开创性意义——它不仅突破了泥塑写实训练为核心的单一传统基础课程体系，更成为全国美术院校雕塑专业的范本，各大院校雕塑系纷纷效仿建立材料工作室，其影响之深远已深刻重塑了中国雕塑教育的格局。
　　未来一年间，石雕、木雕、金属、陶瓷、铸造、3D六大材料实验工作室的教学成果，将陆续于景德镇陶溪川中央美术学院美术馆向公众呈现。正是得益于材料教学改革中陶瓷从特色媒介向主体创作语言的范式转型，景德镇的艺术家群体凭借其自身优势将陶瓷作为核心载体广泛实践，进而塑造了今日独特的城市艺术面貌与产业优势。选择景德镇作为展地，其深层逻辑与这座城市的艺术生态密不可分。
　　可以说，这一系列展览既是对材料教学历史脉络和学术成果的系统梳理，亦是对教学专业的深层研究，同时又承载着对未来发展路径的前瞻性思考。作为中央美术学院雕塑系材料教学体系生命力的鲜活印证，它昭示着材料语言探索在连接传统工艺与当代艺术、推动雕塑教育革新中的永恒价值，为中国雕塑学科在全球化语境下的持续突破提供源自本土实践的精神资源与方法论启示。
　　张伟
　　中央美术学院雕塑系主任
　　Preface
　　The establishment of a foundational teaching system comprising six material studios within the Sculpture Department of the Central Academy of Fine Arts(CAFA)marks a milestone in the development of the discipline.Rooted in an in-depth re-examination of the essence of sculpture,this system embodies the maturity and confidence of CAFA’s foundational teaching philosophy and practice.
　　In the 1990s,experimental exploration and conceptual transformation gained momentum in the field of sculpture.Young sculptors increasingly began to employ material language as a direct medium of artistic creation.The traditional foundational curriculum,centered primarily on clay modeling and realist training,gradually revealed its limitations.Within the Department,there emerged an urgent call for pedagogical reform:to move beyond the subordinate,craft-based status of materials and to establish their significance as an independent language of artistic expression.This shift in understanding became the fundamental driving force behind the formation of the material-based teaching system.
　　Led by three generations of faculty members represented by Sui Jianguo,the Department spearheaded this pivotal transformation in teaching.Sui put forward the philosophy of“walking on two legs”:developing a parallel material-based teaching system alongside the existing curriculum in realist sculpture.In July 1995,LüPinchang founded the Ceramic Studio,the first ceramics studio in China’s art academies dedicated to material-based teaching for sculpture majors.In September 1996,the Wen Lou Studio was established,pioneering the pedagogy of direct metal creation in art schools nationwide.With these two studios as breakthroughs,the Sculpture Department formally incorporated“direct material teaching”into its core foundational curriculum.This reform brought about a fundamental shift in teaching logic:from“mastering formal rules through clay studies before translating them into other materials”to“conceiving works directly within the inherent constraints and possibilities of materials.”It laid an important theoretical foundation for modern sculpture education in China.
　　After the Department relocated to the Huajiadi Campus,expanded teaching spaces and improved equipment made it possible to build four additional world-class studios for stone carving,wood carving,casting,and 3D digital sculpture,complementing the existing ceramics and metal studios.In 2002,in response to the need to optimize teaching time and space amid the rapid expansion of university enrollment nationwide,the Department launched a nine-week teaching platform in which all six material studios operated simultaneously:stone carving,wood carving,metal,ceramics,casting,and 3D digital sculpture.Second-and third-year students rotated through the six studios in three-week cycles.For second-year undergraduates,Fundamentals of Materials even became their first core course upon entering the Department,preceding Fundamentals of Clay Modeling.This gave rise to a genuine dual-foundation teaching framework.After more than two decades of operation,this logically rigorous,well-coordinated,and progressively structured curriculum remains one of the most popular courses among students.
　　Looking back to the 1990s,such a transformative reform was far from easy.Today,we must fully recognize the groundbreaking historical significance of this pedagogical shift.It not only broke away from the single traditional curriculum centered on realist clay-modeling training,but also set a benchmark for sculpture programs in art academies nationwide.Sculpture departments across China have since followed suit by establishing their own material studios,and the far-reaching influence of this reform has profoundly reshaped the landscape of sculpture education in China.
　　Over the coming year,the teaching achievements of the six material studios—stone carving,wood carving,metal,ceramics,casting,and 3D digital sculpture—will be presented to the public in succession at the CAFA Art Museum in Taoxichuan,Jingdezhen.Thanks to the paradigm shift brought about by the reform of material-based teaching,ceramics evolved from a relatively specialized medium into a primary language of artistic creation.Drawing on the city’s distinctive regional strengths,artists in Jingdezhen have placed ceramic art at the center of their practice,forging the city’s unique contemporary artistic identity and industrial advantages.The choice of Jingdezhen as the exhibition venue is therefore deeply connected with the city’s distinctive artistic ecosystem.
　　As a whole,this series of exhibitions systematically traces the historical lineage and academic achievements of the material-based teaching program,conducts in-depth reflection on its pedagogical practice,and extends forward-looking thinking on its future development.As vivid testimony to the enduring vitality of the material-based teaching system of CAFA’s Sculpture Department,the exhibitions illuminate the lasting value of material language research in bridging traditional craft and contemporary art,and in advancing innovation in sculpture education.They also provide practical experience rooted in China’s own context,as well as methodological insight and spiritual resources,for the sustained development of China’s sculpture discipline in a globalized era.
　　Zhang Wei
　　Director,Sculpture Department,CAFA
　　前言Preface
　　安然陶瓷工作室主任An Ran Director,
　　Ceramic Studio,CAFA
　　前言
　　中国传统陶瓷以“器以载道”的哲学深度与“巧夺天工”的工艺高度，成为前工业时代东方造物文明的卓越代表，是中华文明献给世界的物质诗篇，更以“China”的印记，将中国之名永久镌刻于世界文明版图之上。传统陶瓷绵延万年的文化遗产，既是历史的馈赠，也是当代创造的根脉。二十世纪中叶的国际陶瓷艺术现代变革，突破陶瓷“器用”的藩篱，将陶艺从实用功能中解放，成为表达精神世界的独立艺术。二十世纪晚期中国改革开放文化观念的解放，使中国现当代陶艺快速步入当代表达的语境之中。
　　艺术的现代变革，使中央美术学院雕塑系于二十世纪90年代进行“造型基础+材料基础”的双基础教学改革。此框架下，陶瓷工作室于1995年成立，并确立“立足当代陶艺创作前沿，赓续陶瓷传统文脉，拓宽国际视野，创造时代陶艺语言，培养具有多维创作能力和国际视野艺术人才”的教学宗旨。标志着陶瓷材料课程纳入雕塑系教学体系中。
　　陶瓷材料课教学贯穿始终的核心，是对学生材料感知力、造型意识与艺术语言表达力的悉心培养。这些能力建构于“泥、釉、火”三位一体的物质性逻辑之中，彼此关联，共生共荣。
　　泥为骨肉，重在感知与触觉的唤醒。泥土每一寸肌理都呈现着自然的性格特征。尊重泥土性格，在理解的基础上找寻材料语言表达的可能。引导学生用指掌去感知泥的粗细干湿、软硬厚薄……，手与泥的接触是情感的传递。泥的记忆使手语之痕、工具之痕、混合泥土之痕等印记得以留存，蕴含了人的观念与感情。在泥条、泥片的盘筑拼合中，感受形式意味与结构构成的无声交响……。触觉塑造力的养成，使学生学会心手相应地感知、思考与表达，建立起与材料共生的对话之功。
　　釉为肌肤，意在情感的温度。釉料是覆盖于形体骨肉上的色彩之诗，蕴含着精神的交响。引导学生提高对釉质的敏感觉察，凝视釉在高温下的多样变化与流淌轨迹，捕捉釉色与思想的契合之缘。培养学生对色相、光泽、质感的精微辨别力，感受釉层交叠的层次韵味，每一层覆盖都是心绪的交融……。让目光读懂火的预言，使视知觉归于文化的关照。
　　火为魂魄，是对天意的参悟，重在心灵的敬畏。窑火是最难捉摸的合作者，也是作品最终的定论人。感受氧化与还原的火焰性格，亲历高温窑火将泥的胚胎与施于其表的原始釉层，幻化为坚硬如石的作品永恒的过程，完成“土——石”的嬗变。体验窑变的“天意语言”和不可复现。火，引导学生在“人力”与“天工”之间寻找平衡，在必然与偶然的辩证中领悟“道法自然”的真谛。
　　作品的终极追求是“境象”的营造——一种超越物质实体，凝聚着过程记忆与文化感知的精神场域。境象理论根植于中国美学“立象以尽意”的哲学传统，学生在泥性中体察“质有而趣灵”的触觉温度；在釉语中捕捉“似与不似之间”的意象神韵；在火性中领悟“自然天成”的造化玄机；在灵感不断的升华中去追寻“由象生境”的至高境界。
　　教学实践中，工作室形成清晰的探索路径：传统美学的当代转译、材料语言的边界拓展、精神表达的深度建构、境象营造的不舍追求。本展呈现的正是这一理念下的思想轨迹与实践尝试。展出作品均为初次接触陶瓷材料的雕塑系本科三年级学生课程作品。
　　“泥火境象”作为本展名称，既是创造的过程，也是抵达的彼岸。在泥与火的永恒对话中，我们将继续探寻那些既植根千年文脉、又直面当代精神的陶瓷艺术话语表达。
　　安然
　　中央美术学院陶瓷工作室主任
　　Preface
　　Traditional Chinese ceramics represent an outstanding achievement of pre-industrial craftsmanship in the East.Embodying the profound Chinese philosophy of“artifacts as carriers of the Dao”and a peerless mastery of craft,they are material odes that Chinese civilization has offered to the world.Through the very word“China,”ceramics have inscribed China’s name onto the map of global civilizations.The millennia-old heritage of traditional ceramics is both a gift from history and a foundational source for contemporary artistic creation.The global modern ceramic art movement of the mid-twentieth century broke the confinement of ceramics as merely utilitarian wares,liberating the medium from practical function and transforming it into an independent art form capable of expressing the inner spiritual world.The cultural emancipation brought about by China’s reform and opening-up in the late twentieth century soon brought Chinese modern and contemporary ceramic art into the discourse of contemporary artistic expression.
　　Amid the modern transformation of art,the Sculpture Department of the Central Academy of Fine Arts initiated a reform of foundational teaching in the 1990s,centered on the dual foundations of“form”and“material.”Within this framework,the Ceramic Studio was established in 1995.Its core teaching mission was defined as follows:to stand at the forefront of contemporary ceramic creation;to carry forward the cultural lineage of traditional ceramics;to broaden international perspectives;to forge a ceramic artistic language of the times;and to cultivate artistic talents with multidimensional creative capacities and a global vision.This marked the formal incorporation of ceramic material courses into the teaching system of the Sculpture Department.
　　The core thread running through all ceramic material courses lies in cultivating students’sensitivity to materials,awareness of form,and ability to articulate an artistic language.These capacities are built upon the interconnected and interdependent material logic of the triad of clay,glaze,and fire.
　　Clay is flesh and bone;its essence lies in awakening sensory and tactile perception.Every texture of clay carries the innate character of nature.We teach students to respect the natural properties of clay and to explore the expressive possibilities of material language through understanding the material itself.Students are guided to feel,with their palms and fingertips,the coarseness and fineness,dryness and moisture,softness and hardness,thickness and thinness of clay.The contact between hand and clay becomes a transmission of emotion.Clay retains the imprints of hand gestures,tool marks,and blended clay bodies,each trace carrying human thought and feeling.Through the coiling and assembling of clay strips and slabs,students come to perceive the silent interplay between formal meaning and structural composition.The cultivation of tactile sculptural sensibility enables them to perceive,reflect,and express in harmony between hand and mind,forming a reciprocal dialogue with the material.
　　Glaze is the skin,carrying the warmth of emotion.A layer of glaze covering the sculptural body becomes a poem of color resonating with spiritual overtones.Students learn to sharpen their subtle perception of glaze textures,to observe the diverse transformations and flowing traces of glaze under high temperatures,and to capture the correspondence between glaze hues and personal conception.They develop a refined sensitivity to color,luster,and texture,appreciating the layered charm of overlapping glazes,where every layer embodies an intermingling of inner moods.Through learning to read the traces left by fire with their eyes,their visual perception becomes rooted in cultural contemplation.
　　Fire is the soul,demanding reverence for the unpredictable forces of nature.Kiln fire is the most elusive collaborator and the ultimate judge of every artwork.Students witness the distinct temperaments of oxidation and reduction atmospheres,and experience how intense kiln heat transforms raw clay bodies and unfired glazes into stone-hard,enduring works,completing the metamorphosis from earth to stone.They encounter the unrepeatable and serendipitous language of kiln transformation.Fire teaches students to strike a balance between human craft and natural providence,allowing them to grasp the profound meaning of“the Dao follows nature”within the dialectic of certainty and chance.
　　The ultimate pursuit of all artistic creation lies in the shaping of artistic conception:a spiritual realm that transcends material substance and is woven from memories of the creative process and cultural awareness.Rooted in the ancient Chinese aesthetic philosophy of“forming images to convey meaning,”this understanding of artistic conception guides students to experience,through clay,the tactile warmth of“substantial form imbued with subtle charm”;to capture,through glaze,the ethereal vitality of“hovering between likeness and unlikeness”;to comprehend,through fire,the ingenious spontaneity of natural creation;and,through continuous inspiration,to move toward the highest state of“deriving artistic conception from tangible forms.”
　　In its teaching practice,the studio has forged a clear path of exploration:the contemporary reinterpretation of traditional aesthetics,the expansion of the boundaries of material language,the in-depth construction of spiritual expression,and the persistent pursuit of evocative artistic conception.This exhibition presents the conceptual trajectories and practical explorations born from this philosophy.All works on view are course-based creations completed by third-year undergraduate students of the Sculpture Department during their first encounter with ceramic materials.
　　Titled Imagery of Clay and Fire,this exhibition encapsulates both the creative process and the ultimate artistic destination.In the eternal dialogue between clay and fire,we will continue to seek a language of ceramic art that is deeply rooted in millennia of cultural heritage while responding to the spiritual landscape of our contemporary age.
　　An Ran
　　Director,Ceramic Studio,CAFA
　　展览现场|Exhibition Views
　　学生作品|Student Artworks
　　陶瓷艺术的未来，不仅在于陶艺作品持续创新、陶艺新技术持续应用，也在于陶艺教学的持续研究与提升，更关键的是新生代陶艺人才的不断涌现。
　　本次《泥火境象》展出的作品，全部是中央美术学院雕塑系本科生初次接触陶瓷材料的课堂原创作品。作品虽略显青涩稚嫩，但他们是种子，是蓄势待发的种子……
　　我们需要做的，就是给他们多一点点施肥与浇水，多一点点环境和鼓励。
　　The future of ceramic art hinges on ongoing innovation in artworks,the adoption of new ceramic-making technologies,continued research and refinement in ceramic arts education,and above all,the steady emergence of new generations of young ceramic talents...
　　All pieces featured in this exhibition are classroom creations by undergraduate students from the Sculpture Department of the Central Academy of Fine Arts,marking their first foray into ceramic media.Though the works bear traces of youthful inexperience,these students are seeds brimming with untapped potential—growing together in clusters,poised to sprout...
　　All we need to do is give them a little more fertilizer and water,craft a gentler creative ground,and shower them with heartfelt encouragement...
　　2002至2025年部分学生的陶瓷作品（课程时间排序）
　　Partial Ceramic Works by Students,2002–2025(Arranged in Chronological Order of the courses)
　　安然《Pupa》46×20×19cm陶2002
　　An Ran,Pupa,46×20×19 cm,Stoneware,2002
　　孟福伟《吃酒席》120×100×50cm陶2003
　　Meng Fuwei,Banquet,120×100×50cm,Stoneware,2003
　　郑冬梅《刺痛》30×10×5cm瓷金属玻璃2003
　　Zheng Dongmei,Sting,30×10×5cm,Stoneware,Metal,Glass,2003
　　黄镇《泥片塑型-儺舞之变》45×55×65cm陶2007
　　Huang Zhen,Nuo Dance,45×55×65cm,Stoneware,2007
　　郭雪洁《籽》53×30×28 cm瓷2008
　　Guo Xuejie,Seed,53×30×28cm,Porcelain,2008
　　朱若麟《乘风归处》230×68×66 cm陶2009
　　Zhu Ruolin,Homeward on the Wind,230×68×66cm,Stoneware,2009
　　莫磊《堂吉诃德》55×40×18cm陶2009
　　Mo Lei,Don Quixote,55×40×18 cm,Stoneware,2009
　　王伟《小马》42×38×18cm瓷2009
　　Wang Wei,Little Horse,42×38×18cm,Porcelain,2009
　　李智敏《潜规则》72×33×22cm陶2009
　　Li Zhimin,Unspoken Rules,72×33×22cm,Stoneware,2009
　　王猛《雪麓早行》220×80×5cm陶2010
　　Wang Meng,Snowy Dawn Journey,220×80×5cm,Stoneware,2010
　　王川《新生》130×120×35cm陶瓷2011
　　Wang Chuan,New Life,130×120×35 cm,Stoneware,2011
　　王洋洋《X年X月X日》230×100×90cm陶2011
　　Wang Yangyang,XYear XMonth XDay,230×100×90cm,Stoneware,2011
　　马峥《百态》400×500×200cm瓷2011
　　Ma Zheng,All Lives,400×500×200 cm,Porcelain,2011
　　夏理佳《宿命》310×220×6cm陶2011
　　Xia Lijia,Fate,310×220×6 cm,Stoneware,2011
　　刘军《中国风》80×56×3cm瓷板画2011
　　Liu Jun,Chinese Style,80×56×3 cm,Porcelain Plaque,2011
　　吕相勃《回响》222×138×53cm陶金属2012
　　Lyu Xiangbo,Echo,222×138×53 cm,Stoneware,Metal,2012
　　陈麓旬《带刺的崇拜》180×48×46cm陶2012
　　Chen Luxun,Thorny Worship,180×48×46 cm,Stoneware,2012
　　孙域钦《档案袋》77×40×38cm陶2012
　　Sun Yuqin,File Bag,77×40×38 cm,Stoneware,2012
　　向昱《我》57×50×5cm陶2012
　　Xiang Yu,Myself 57×50×5cm,Stoneware,2012
　　刘天龙《虚张声势》216×208×30cm陶2013
　　Liu Tianlong,Empty Bluff,216×208×30 cm,Stoneware,2013
　　孙国城《无题》41×40×20cm陶2013
　　Sun Guocheng,Untitled,41×40×20 cm,Stoneware,2013
　　边霄萌《无题》220×220×40cm陶2013
　　Bian Xiaomeng,Untitled,220×220×40 cm,Stoneware,2013
　　薛照新《渡》220×150×80cm陶2014
　　Xue Zhaoxin,The Ferry,220×150×80 cm,Stoneware,2014
　　孟彬《心中的塔》265×28×30cm陶2014
　　Meng Bin,Tower in Heart,265×28×30 cm,Stoneware,2014
　　朱仲鱼《遗落的梦》93×40×40cm陶2014
　　Zhu Zhongyu,Lost Dream,93×40×40 cm,Stoneware,2014
　　张正《负体》130×50×50cm陶2014
　　Zhang Zheng,Negative Form,130×50×50 cm,Stoneware,2014
　　罗舜元《小意》65×43×15cm陶2014
　　Luo Shunyuan,Tender Thoughts,65×43×15 cm,Stoneware,2014
　　侯正阳《生命依然生长在忧愁的河上》123×85×50cm陶2014
　　Hou Zhengyang,Life Still Grows Upon the Sorrowful River,123×85×50 cm,Stoneware,2014
　　苗其昌《噩梦之枕》41×23×19cm陶2015
　　Miao Qichang,Pillow of Nightmare,41×23×19 cm,Stoneware,2015
　　张金宏《同根生》133×130×37cm陶2015
　　Zhang Jinhong,Same Root,133×130×37 cm,Stoneware,2015
　　郭兴悦《肉瘤爷爷》480×40×20cm陶2015
　　Guo Xingyue,Grandpa with Sarcoma,480×40×20 cm,Stoneware,2015
　　马子坤《浮世》135×66×32cm瓷2016
　　Ma Zikun,Floating World,135×66×32 cm,Porcelain,2016
　　时子媛《回响室》120×60×25cm陶2016
　　Shi Ziyuan,Echo Chamber,120×60×25 cm,Stoneware,2016
　　张宇捷《无题先生》130×88×15cm陶2016
　　Zhang Yujie,Mr.Untitled,130×88×15 cm,Stoneware,2016
　　华成《大选》80×60×20cm陶金属2016
　　Hua Cheng,General Election,80×60×20 cm,Stoneware,Metal,2016
　　梅若雯《不想说话》105×50×52cm陶2016
　　Mei Ruowen,No Desire to Speak,105×50×52 cm,Stoneware,2016
　　宁波《毛毛椅》80×50×50cm陶木2016
　　Ning Bo,Furry Chair,80×50×50 cm,Stoneware,Wood,2016
　　吕明岳《挣》80×45×43cm陶2017
　　LyüMingyue,Struggle80×45×43cm,Stoneware,2017
　　吴知生《12.5米》200×60×20cm陶2017
　　Wu Zhisheng,12.5 Meters,200×60×20 cm,Stoneware,2017
　　张时飞《极乐》51×45×12cm陶2017
　　Zhang Shifei,Paradise,51×45×12 cm,Stoneware,2017
　　张晗《她的形态》300×43×20cn瓷铜2017
　　Zhang Han,Her Form,300×43×20 cm,Porcelain,Copper,2017
　　毕成《我的衣服鞋和相机》102×60×35cm陶2018
　　Bi Cheng,My Clothes,Shoes and Camera,102×60×35 cm,Stoneware,2018
　　许飞翔《沿着》105×120×5cm陶2018
　　Xu Feixiang,Along,105×120×5 cm,Stoneware,2018
　　陈昭辰《生-靈》50×45×45cm陶2018
　　Chen Zhaochen,Living Spirit,50×45×45 cm,Stoneware,2018
　　黑强《何薄》200×180×4cm陶2019
　　Hei Qiang,Why Slight,200×180×4 cm,Stoneware,2019
　　程慧德《Ex Nihilo》180×67×70cm陶金属2019
　　Cheng Huide,Ex Nihilo,180×67×70 cm,Stoneware,Metal,2019
　　李佳《AlecD'Urberville》132×130×5cm瓷2019
　　Li Jia,Alec D'Uberville,132×130×5 cm,Porcelain,2019
　　滕修毅《北国的冬》110×110×47cm陶2019
　　Teng Xiuyi,Winter in the North,110×110×47 cm,Stoneware,2019
　　于诗月《异像》55×43×40cm陶2019
　　Yu Shiyue,Vision,55×43×40 cm,Stoneware,2019
　　张辰虓《冥器》83×53×50cm陶2019
　　Zhang Chenxiao,Burial Ware,83×53×50 cm,Stoneware,2019
　　王祚元《316-2号床》80×62×22cm陶2019
　　Wang Zuoyuan,Bed No.316-2,80×62×22 cm,Stoneware,2019
　　王雁书《免于窠臼》155×55×20cm陶木2020
　　Wang Yanshu,Free from Stereotypes,Stoneware,Wood,2020
　　李佳卿《房间》98×96×8cm陶2020
　　Li Jiaqing,Room,98×96×8 cm,Stoneware,2020
　　高琪雅《扑朔》85×20×23cm瓷2020
　　Gao Qiya,Mystery,85×20×23 cm,Porcelain,2020
　　赵一娇《清代花卉马甲》62×51×3cm瓷布2020
　　Zhao Yijiao,Qing Dynasty Floral Waistcoat,62×51×3 cm,Porcelain,Cloth,2020
　　王采薇《物看》21×8×6cm瓷2020
　　Wang Caiwei,Observation of Objects,21×8×6 cm,Porcelain,2020
　　王休闲《大团圆》150×150×12cm陶2021
　　Wang Xiuxian,Reunion,150×150×12 cm,Stoneware,2021
　　白云雅淇《她的世界》102×90×6cm陶（动画）2021
　　Bai Yunyaqi,Her World,102×90×6 cm,Stoneware(Animation),2021
　　杨菁《当时梦里如为蝶》140×85×60cm陶2021
　　Yang Jing,Dreaming of Being a Butterfly,140×85×60 cm,Stoneware,2021
　　曹洪伟《都市印象》500×30×28cm陶麻绳2021
　　Cao Hongwei,Urban Impression,500×30×28 cm,Stoneware,Hemp Rope,2021
　　浦哲嘉《乌鸢》100×80×10cm陶瓷2021
　　Pu Zhejia,Black Kite,100×80×10 cm,Stoneware,2021
　　鲁博文《对话》120×98×110cm陶金属2021
　　Lu Bowen,Dialogue,120×98×110 cm,Stoneware,Metal,2021
　　眭艺胧《璺》100×100×16cm陶瓷2021
　　Sui Yilong,Crack,100×100×16 cm,Stoneware,2021
　　王晨乐《荒诞城堡》115×45×42cm陶2021
　　Wang Chenle,Absurd Castle,115×45×42 cm,Stoneware,2021
　　伍紫琦《HI》82×80×8cm瓷2021
　　Wu Ziqi,HI,82×80×8 cm,Porcelain,2021
　　吴豪《渔民朋友》100×50×30cm陶2022
　　Wu Hao,Fisherman's Friend,100×50×30 cm,Stoneware,2022
　　吴林泽《呐喊》120×100×60cm陶2022
　　Wu Linze,The Scream,120×100×60 cm,Stoneware,2022
　　冯会玉《蘑菇椅子》80×55×50cm陶木2022
　　Feng Huiyu,Mushroom Chair,80×55×50 cm,Stoneware,Wood,2022
　　李昶霖《关系》160×20×25cm陶2022
　　Li Xulin,Relationship,160×20×25 cm,Stoneware,2022
　　季然《旧事》46×33×23cm陶2022
　　Ji Ran,Bygone Stories,46×33×23 cm,Stoneware,2022
　　温哲《巢》50×50×30cm陶2022
　　Wen Zhe,Nest,50×50×30 cm,Stoneware,2022
　　高宇《胀》42×33×23cm陶2022
　　Gao Yu,Distension,42×33×23 cm,Stoneware,2022
　　李航《昔年之春》140×80×20cm陶2022
　　Li Hang,Spring of Past Years,140×80×20 cm,Stoneware,2022
　　王健烨《泥诚》230×100×25cm陶2022
　　Wang Jianye,Sincerity of Clay,230×100×25 cm,Stoneware,2022
　　周静可《无题》42×35×33cm陶金属2022
　　Zhou Jingke,Untitled,Stoneware,Metal,2022
　　刘月雯《喵哦---》38×36×31cm陶2022
　　Liu Yuewen,Meow,38×36×31 cm,Stoneware,2022
　　魏荟青《泯》150×120×16cm陶2022
　　Wei Huiqing,Vanish,150×120×16 cm,Stoneware,2022
　　叶骁逍《佯》170×43×33cm陶2022
　　Ye Xiaoxiao,Pretence,170×43×33 cm,Stoneware,2022
　　陈心宇《入梦来》200×80×4cm陶2023
　　Chen Xinyu,Coming into Dreams,200×80×4 cm,Stoneware,2023
　　单正然《白马牧场》120×120×28cm陶2023
　　Shan Zhengran,White Horse Ranch,120×120×28 cm,Stoneware,2023
　　杨堉《他存在的证明》160×160×10cm陶2023
　　Yang Yu,Proof of His Existence,160×160×10 cm,Stoneware,2023
　　李可嘉《进化论》55×40×20cm陶铜条2023
　　Li Kejia,Evolution Theory,55×40×20 cm,Stoneware,Copper Strips,2023
　　邵昕蕾《做梦的人在梦中醒来》147×70×5cm陶麻绳2023
　　Shao Xinlei,The Dreamer Wakes Up in a Dream,147×70×5 cm,Stoneware,Hemp Rope,2023
　　李久法《方寸之间-势》130×80×140cm陶金属木2023
　　Li Jiufa,Within an Inch-Momentum,130×80×140cm,Stoneware,Metal,Wood,2023
　　何佳盈《Attention!》300×50×20cm陶2023
　　He Jiaying,Attention!,300×50×20 cm,Stoneware,2023
　　张嘉欣《生长》60×60×60cm陶2023
　　Zhang Jiaxin,Growth,60×60×60 cm,Stoneware,2023
　　杨雯雅《几朵现代的云》尺寸可变瓷2023
　　Yang Wenya,Several Modern Clouds,Variable Size,Porcelain,2023
　　王怡萌《光荣榜》110×80×6cm陶2023
　　Wang Yimeng,Roll of Honor,110×80×6 cm,Stoneware,2023
　　周吴琼安娜《盈盈欢情》70×30×25cm瓷2023
　　Zhou Wuqiong Anna,Joyful Delight,70×30×25 cm,Porcelain,2023
　　赵俊男《迎霜》120×120×80cm陶2023
　　Zhao Junnan,Facing Frost,120×120×80 cm,Stoneware,2023
　　黄罗刚《熊猫表妹》65×48×35cm陶2023
　　Huang Luogang,Panda Cousin,65×48×35 cm,Stoneware,2023
　　杨远《花园》115×100×60cm陶2023
　　Yang Yuan,Garden,115×100×60 cm,Stoneware,2023
　　朱壮《也许我不那么擅长》50×30×25cm陶2023
　　Zhu Zhuang,Maybe I’m Not Very Good At It,50×30×25 cm,Stoneware,2023
　　张亚楠《成人奶嘴》54×26×25cm陶2023
　　Zhang Yanan,Adult Pacifier,54×26×25 cm,Stoneware,2023
　　宁鹏《Hopeor Pain》100×110×16cm陶2024
　　Ning Peng,Hope or Pain,100×110×16 cm,Stoneware,2024
　　戴盛杰《1449.8公里》276×83×50cm陶2024
　　Dai Shengjie,1449.8 Kilometers,276×83×50 cm,Stoneware,2024
　　郑印雯《摔了一跤》120×40×20cm瓷2024
　　Zheng Yinwen,Had a Fall,120×40×20 cm,Porcelain,2024
　　王楷博《上岸》尺寸可变陶瓷2024
　　Wang Kaibo,Go Ashore,Variable Size,Ceramic,2024
　　孙海天《仰望》110×120×65cm陶2024
　　Sun Haitian,Looking Up,110×120×65 cm,Stoneware,2024
　　聂士博《我们这一代》尺寸可变陶2024
　　Nie Shibo,Our Generation,Variable Size,Stoneware,2024
　　王小艾《淹没的状态》280×65×50cm陶金属2024
　　Wang Xiaoai,Submerged State,280×65×50 cm,Stoneware,Metal,2024
　　崔文慧《Oi!》65×15×10cm陶2024
　　Cui Wenhui,Oi!,65×15×10 cm,Stoneware,2024
　　徐璐瑶《蓝色瞬间》尺寸可变陶瓷2024
　　Xu Luyao,Blue Moment,Ceramic,2024
　　刘一龙《反正》65×40×40cm陶2024
　　Liu Yilong,Anyway,65×40×40 cm,Stoneware,2024
　　王哲《瘴》150×200×12cm陶2024
　　Wang Zhe,Miasma,150×200×12 cm,Stoneware,2024
　　肖潇羽《静默森林》88×80×50cm瓷2024
　　Xiao Xiaoyu,Silent Forest,88×80×50 cm,Porcelain,2024
　　毛琪《大大大象》86×30×45cm陶金属2024
　　Mao Qi,Big Big Elephant,86×30×45 cm,Stoneware,Metal,2024
　　崔石《蚂穹》220×220×5cm陶2025
　　Cui Shi,Ant Dome,220×220×5 cm,Stoneware,2025
　　彭李贤《土质拓片》200×60×6cm陶2025
　　Peng Lixian,Soil Rubbing,200×60×6 cm,Stoneware,2025
　　霍潇潇《放轻松》120×200×20cm陶2025
　　Huo Xiaoxiao,Take It Easy,120×200×20 cm,Stoneware,2025
　　何安琪《鱼生》500×150×15cm陶树脂2025
　　He Anqi,Fish Life,500×150×15 cm,Stoneware,Resin,2025
　　吕梦尧《冰花一丛》80×80×55cm陶2025
　　Lv Mengyao,A Cluster of Ice Flowers,80×80×55 cm,Stoneware,2025
　　乔亲涛《啄欲》200×200×50cm陶2025
　　Qiao Qintao,Pecking Desire,200×200×50 cm,Stoneware,2025
　　路靓雅《池中鱼镜中人》70×70×22cm陶树脂2025
　　Lu Liangya,Fish in the Pond,Figure in the Mirror,Stoneware,Resin,2025
　　刘津序《生生》160×40×45cm陶2025
　　Liu Jinxu,Endless Life,160×40×45 cm,Stoneware,2025
　　钟翔天《内耗》140×140×60cm陶木2025
　　Zhong Xiangtian,Internal Friction,140×140×60 cm,Stoneware,Wood,2025
　　刘若水《狗只俩》80×60×45cm陶2025
　　Liu Ruoshui,Two Dogs,80×60×45 cm,Stoneware,2025
　　樊佳轩《岗》180×40×40cm陶金属2025
　　Fan Jiaxuan,Unmarked Burial Ground,180×40×40 cm,Stoneware,Metal,2025
　　唐晓南《生肖开个会》180×80×16cm陶2025
　　Tang Xiaonan,A Meeting of Chinese Zodiac Animals,180×80×16 cm,Stoneware,2025
　　章心玥《Head Count》180×60×260cm陶2025
　　Zhang Xinyue,Head Count,180×60×260 cm,Stoneware,2025
　　严佳宜《荫》100×70×70cm陶金属2025
　　Yan Jiayi,Shade,100×70×70 cm,Stoneware,Metal,2025
　　朱贝尔《他们的口袋》300×130×13cm陶2025
　　Zhu Beier,Their Pockets,300×130×13 cm,Stoneware,2025
　　教学介绍|Teaching Introduction
　　中央美院雕塑系陶瓷工作室--历史沿革｜Historical Evolution
　　历史沿革
　　中央美术学院雕塑系早期教学，主要由“留法和留苏一代”雕塑教育家主持，教学范式基本以引进的学术方法为主导，他们为新中国雕塑事业做出了巨大的学术贡献和丰硕创作成果。由于艺术发展的客观因素，长达半个多世纪的中国雕塑教育一直没有真正将材料本体语言表达纳入教学内容。20世纪80年代改革开放，中国现代化的步伐不断加快，当代艺术多元化也在发展之中，中国雕塑对新的艺术形态、表达语言以及材料语言的运用倍加关注，迫切渴望艺术发展的新观念、新思想。20世纪90年代末，以隋建国为代表的雕塑系教员以前瞻性的眼光顺应时代发展，提出了教学改革的构想——把材料语言教学内容纳入教学结构。
　　1995年，在吕品昌主持下，中央美术学院雕塑系陶瓷工作室成立。陶瓷工作室成立之初，1995至2001年主要在中央美术学院位于大山子的过渡校区授课，这一时期硬件设备和教学空间有限，但已够支持学生进行基本的材料创作实践。2001年中央美院迁入望京花家地新校址后，陶瓷工作室的教学空间和硬件设备得到极大改善。吕品昌教授在陶瓷工作室践行了他的创作理念，学生思想解放受益良多，学习积极性空前高涨，学生作品成果丰厚，许多作品入展全国美展以及各类陶艺学术展并获奖，吕品昌教授是中央美术学院雕塑系陶瓷工作室的奠基者与开拓者。
　　2008年安然接任陶瓷工作室的专业教学工作，主要教授雕塑系陶瓷必修课程和全院陶瓷选修课程。多年来，陶瓷工作室的教学遵循因材施教、教书育人的教学宗旨，教师从理论层面讲授分析陶瓷作品的精神内涵和艺术技巧，并利用多媒体为学生提供观摩欣赏中外优秀陶艺作品以开阔眼界，了解艺术动态。教师亲自操作示范成型技巧，指导学生提高造型意识，鼓励学生探索精神，启发式教学和学生的探究式学习相结合，与学生共同探讨实验，解决学习中遇到的各种难点，使每位同学主动挖掘自我感受，结合材料特质，探索个性表达的方式方法。收到较好的教学效果，许多学生作品在历年的“雕塑系年度学生优秀创作展”中获奖，还有不少学生的课堂作品入选中国美协举办的国家级陶瓷展事。陶瓷材料课程获得中央美术学院教育教学奖。
　　雕塑系现代化材料教学的改革，使雕塑系教学理念紧随时代，这种“材料优先”的启蒙方式，旨在让学生更早地构建起材料思维，培养出对物质材料的本能敏感和探索热情。正如隋建国教授所言：“只有给学生更多方法、更多选择，他们才能找到更适合自己的成长道路”。这场与时俱进的教学改革，被认为是有史以来雕塑系最大的一次教学改革，不仅使中央美术学院雕塑系教学体系更为契合现代高等美术教育的育人宗旨，也为国内其他美术院校树立了标杆，起到了教学改革的引领作用，全国各地美术专业院校陆续建立陶瓷工作室，当代陶瓷艺术教育在国内得到快速发展。陶瓷工作室还面向全院学生开设选修课，让不同专业背景的学生在与泥土的对话中获得新的感知方式、思维方法与跨界创作能力，选修课评为学院优秀课程。陶瓷工作室也十分重视拓展学生作品的社会影响力，十多年来为《中国陶艺家》杂志撰写评论文章推介中央美术学院陶瓷材料学生毕业作品。
　　雕塑系陶瓷工作室位于雕塑系教学楼一层，工作室有约130平方米工作间一间，工作台12台，能够容纳多名学生同时进行创作实践。工作间配备泥板机、真空练泥机、气动泥管机、作品烘干柜、水帘喷釉柜、球磨机、转台、作品陈列架等。工作室有窑房一间约40平米，配备3台国产和进口电窑，1台大气窑，适应了教学需要。陶瓷工作室实行“专业教师＋课程技师”的双师配置模式。成立三十年来，陶瓷工作室以泥土为魂，培育了一代又一代面向当代的陶艺人才。他们走向全国艺术现场——或成为备受瞩目的陶瓷新锐，在全国范围产生了较大影响；或执掌教席，将材料共生的精神传递给后来者；或建立自己的工作室成为独立艺术家；或自我创业，推出自己的文创作品。无论身在何处，陶瓷工作室耐心、专注与创造的精神，那些与泥土对话、与火焰共处的岁月记忆，都已成为生命中不可磨灭的印记。
　　Historical Evolution
　　In the early stage of teaching at the Sculpture Department of the Central Academy of Fine Arts(CAFA),instruction was primarily led by a generation of sculptors and educators who had studied in France and the former Soviet Union.The teaching framework was dominated by imported academic methodologies.These educators made tremendous academic contributions and achieved remarkable creative accomplishments in the development of sculpture in New China.Yet,due to objective limitations in the development of art at the time,Chinese sculpture education did not incorporate the material language of medium-based expression into its formal curriculum for more than half a century.With the reform and opening-up in the 1980s,China accelerated its modernization process,while contemporary art began to flourish in increasingly diverse forms.Chinese sculptors paid growing attention to new artistic forms,expressive vocabularies,and material languages,and actively embraced new concepts and ideas for artistic advancement.By the end of the 1990s,faculty members of the Sculpture Department,represented by Sui Jianguo,had anticipated the trends of the times and put forward a vision for teaching reform:to incorporate courses on material language into the core curriculum.
　　In 1995,under the leadership of Lyu Pinchang,the Ceramic Studio of the Sculpture Department at the Central Academy of Fine Arts was founded.From 1995 to 2001,shortly after its establishment,the studio conducted its courses at CAFA’s temporary campus in Dashanzi.Although facilities and teaching space were limited at the time,the site nevertheless supported students’foundational practice in material-based creation.After CAFA relocated to its new campus in Huajiadi,Wangjing,in 2001,the studio gained greatly expanded teaching space and upgraded equipment.Professor Lyu Pinchang put his creative philosophy into practice within the studio.Students gained tremendous freedom of thought and unprecedented enthusiasm for learning,producing a rich body of artworks.Many of these works were selected for national fine arts exhibitions and various academic ceramic art exhibitions,winning numerous awards.Lyu Pinchang is recognized as the founder and pioneer of the Ceramic Studio of CAFA’s Sculpture Department.
　　In 2008,An Ran took over the studio’s professional teaching duties,mainly offering compulsory ceramic courses for sculpture majors and university-wide ceramic art electives.Over the years,the studio has adhered to the teaching principles of individualized instruction and the cultivation of well-rounded artistic talents.Faculty members deliver theoretical lectures that analyze the spiritual connotations and artistic techniques of ceramic works,and use multimedia resources to introduce students to outstanding ceramic artworks from China and abroad,broadening their horizons and keeping them informed of current artistic developments.Instructors demonstrate forming techniques in person to sharpen students’sculptural awareness,encourage a spirit of exploration,and combine heuristic teaching with inquiry-based learning.Teachers and students engage in discussions and experiments together to address various challenges in the creative process,guiding each learner to delve into personal perception and explore individualized methods of expression in accordance with the characteristics of the material.This teaching approach has yielded remarkable results.Numerous student works have won awards at the annual Outstanding Student Works Exhibition of the Sculpture Department,and many classroom works have been featured in national ceramic art exhibitions hosted by the China Artists Association.The ceramic material curriculum has also received CAFA’s Teaching Excellence Award.
　　The reform of modern material-based teaching within the Sculpture Department has kept its pedagogical philosophy aligned with contemporary developments.This material-oriented pedagogy of enlightenment aims to help students develop material thinking at an early stage,while cultivating an innate sensitivity to physical media and a passion for exploration.As Professor Sui Jianguo once remarked,“Only by offering students more methodologies and more options can they discover the paths most suitable for their own growth.”This forward-looking teaching reform is regarded as the most transformative overhaul in the history of the Sculpture Department.It not only brought CAFA’s sculpture teaching system into closer alignment with the educational mission of modern higher art education,but also set a benchmark for art academies nationwide and led innovation in sculpture teaching across the country.Art schools throughout China subsequently established their own ceramic studios,fueling the rapid development of contemporary ceramic art education nationwide.The Ceramic Studio also offers elective courses to students across the Academy,enabling learners from diverse majors to acquire new perceptual perspectives,thinking frameworks,and cross-disciplinary creative abilities through dialogue with clay.These electives have been rated as Excellent Courses by the Academy.The studio also places great emphasis on expanding the social influence of student creations.For more than a decade,its faculty members have written critical essays for the magazine Chinese Ceramic Artists,introducing and promoting ceramic works by CAFA graduates.
　　Located on the first floor of the Sculpture Department’s teaching building,the Ceramic Studio has a 130-square-meter workshop equipped with 12 worktables,allowing multiple students to work simultaneously.The workshop is furnished with slab rollers,vacuum clay mixers,pneumatic clay extruders,drying cabinets for artworks,water-curtain glaze-spraying booths,ball mills,banding wheels,and display racks.Adjacent to it is a 40-square-meter kiln room equipped with three domestic and imported electric kilns and one atmospheric kiln,fully meeting the needs of teaching.The studio adopts a dual-instructor staffing model consisting of specialized faculty members and technical staff.
　　Over the past thirty years,the Ceramic Studio has centered its pedagogy on clay,nurturing successive generations of contemporary ceramic artists.Its alumni are now active across China’s art scene:some have emerged as influential young ceramic artists with nationwide recognition;others have joined academic faculties,passing on the spirit of material integration to new generations of students;some have established independent studios as professional artists;and others have launched creative cultural enterprises featuring original art products.Wherever their careers have taken them,the studio’s ethos of patience,concentration,and creation,together with their memories of working with clay and fire,has left an indelible mark on their lives.
　　中央美院雕塑系陶瓷工作室--教学体系｜Teaching System
　　中央美院雕塑系陶瓷工作室--教学理念｜Teaching Philosophy
　　中央美院雕塑系陶瓷工作室--教学创新｜Teaching Innovation
　　中央美院雕塑系陶瓷工作室--教材建设｜Textbook Development
　　中央美院雕塑系陶瓷工作室--选修课堂｜Elective Courses
　　中央美院雕塑系陶瓷工作室--校外课堂｜Off-Campus Classes
　　中央美院雕塑系陶瓷工作室--交流活动｜Exchange Activities
　　中央美院雕塑系陶瓷工作室--课程展览｜Course Exhibition
　　中央美院雕塑系陶瓷工作室--校外展览｜Off-Campus Exhibition
　　从课堂作品展开始，学生们的作品会连续不断的参加各种国内外展览，其中有雕塑展、陶艺展、实验艺术展等，还有同学的作品，投稿各类专业陶艺展事，包括中国美术家协会举办的各类陶瓷艺术大展。当学生们的作品入选，兴高采烈的发来微信，打来电话报喜时......
　　......从心底祝贺他们吧！
　　Starting with in-class exhibitions,students’artworks go on to feature in a steady stream of shows—sculpture exhibitions,ceramic art shows,experimental art displays,and more—held both domestically and internationally.Many students also submit their works to professional ceramic art exhibitions and competitions,including major national ceramic art events hosted by the China Artists Association.Whenever students excitedly text or call to share the good news that their work has been selected for an exhibition...
　　...Congratulate them from the bottom of my heart!
　　中央美院雕塑系陶瓷工作室--书籍&发表｜Books&Publications
　　教师介绍|Faculty Profiles
　　吕品昌Lyu Pinchang
　　吕品昌
　　1962年生于江西，现任江西美术家协会主席、中央美术学院特聘教授、景德镇陶瓷大学教授、博士生导师；国家社科艺术学重大项目首席专家。中国美术家协会理事、中国美协公共艺术委会主任、国家重大题材美术创作艺委会委员；中国城市雕塑协会副主席；中国雕塑学会副会长；国务院学位委员会、教育部和人力资源社会保障部“全国艺术专业学位研究生教育指导委员会”委员；中国非物质文化遗产保护协会陶瓷专委分会会长；中国文化艺术发展促进会陶瓷专委会会长；中国工艺美术学会学术委员会委员；国际陶瓷协会（IAC）会员；‘一带一路’国际陶瓷艺术教育联盟主席。1993年起享受国务院“政府津贴”；教育部新世纪优秀人才。担任中国文联“中国美术奖”、“中国工艺美术大师”、中国文旅部“千人计划”评审委员；中国国家博物馆特聘藏品收藏专家委员和中国美术馆展览与征集委员会主任委员。
　　2018至2021年领衔创作中国共产党历史博物馆入口大型户外群雕《信仰》。作品收藏于中国国家博物馆、故宫博物院、中国美术馆、中国共产党历史展览馆、中国国家军事博物馆、上海博物馆、天津博物馆、中央美术学院美术馆、四川美术学院美术馆、广东美术馆、美国阿奇布瑞基金会等等。
　　1995年至2020年10月曾任中央美术学院造型学院副院长、雕塑系主任、雕塑创作研究所所长；曾任中国美术家协会陶瓷艺委会副主任兼秘书长；中国美术家协会雕塑艺委会副主任兼秘书长。
　　Lyu Pinchang
　　Born in Jiangxi Province in 1962,Lyu Pinchang currently holds multiple positions,including Chairman of the Jiangxi Artists Association,Distinguished Professor at the Central Academy of Fine Arts,Professor and PhD Supervisor at Jingdezhen Ceramic University,and Chief Expert of a Major National Social Science Fund Project in Art Studies.He is a Director of the China Artists Association,Director of the Public Art Committee of the China Artists Association,and a member of the Art Committee for National Major Thematic Art Creation.He also serves as Vice Chairman of the China Urban Sculpture Association and Vice President of the China Sculpture Society.In addition,he is a member of the National Steering Committee for Postgraduate Education in Art under the Academic Degrees Committee of the State Council,the Ministry of Education,and the Ministry of Human Resources and Social Security;Chairman of the Ceramic Art Branch of the China Intangible Cultural Heritage Protection Association;Chairman of the Ceramic Art Committee of the China Culture and Art Promotion Association;a member of the Academic Committee of the China Arts and Crafts Society;a member of the International Academy of Ceramics(IAC);and President of the“Ceramic Road”International Ceramic Art Education Alliance.Since 1993,he has received the Special Government Allowance of the State Council and has been honored as a New Century Excellent Talent by the Ministry of Education.He has served as a juror for the China Fine Arts Award of the China Federation of Literary and Art Circles,for the selection of China Masters of Arts and Crafts,and for the National“Thousand Talents Program”administered by the Ministry of Culture and Tourism.He is also a specially appointed expert committee member for collection acquisitions at the National Museum of China and Director of the Exhibition and Collection Committee of the National Art Museum of China.
　　From 2018 to 2021,he led the creation of Faith,a monumental outdoor group sculpture installed at the entrance of the Museum of the Communist Party of China.His works are held in the collections of many prestigious institutions,including the National Museum of China,the Palace Museum,the National Art Museum of China,the Museum of the Communist Party of China,the Military Museum of the Chinese People’s Revolution,Shanghai Museum,Tianjin Museum,CAFA Art Museum,Sichuan Fine Arts Institute Art Museum,Guangdong Museum of Art,and the Archie Bray Foundation in the United States.
　　From 1995 to October 2020,he successively served at the Central Academy of Fine Arts as Deputy Dean of the School of Plastic Arts,Director of the Sculpture Department,and Director of the Sculpture Creation Research Institute.He also previously served as Deputy Director and Secretary-General of both the Ceramic Art Committee and the Sculpture Art Committee of the China Artists Association.
　　《现场no.2》180x130x60cm金属现成品发泡陶瓷2024
　　Scene No.2:180×130×60cm,Readymade and Foam Ceramic,2024
　　《现场no.1乾隆青花》130x130x60cm现成品发泡陶瓷2024
　　Scene No.1:Qianlong Blue and White Porcelain130×130×60cm,Readymade&Foam Ceramic,2024
　　《现场no.五代》140x80x50cm现成品发泡陶瓷2024
　　Scene No.Five Dynasties140×80×50cm,Readymades&Foam Ceramic,2024
　　安然An Ran
　　安然
　　1980年1月生于河北。2000年毕业于中央美术学院附中。2005年毕业于中央美术学院雕塑系，获文学学士学位。2008年毕业于中央美术学院雕塑系，获文学硕士学位。2018年毕业于中央美术学院研究生院，获艺术学博士学位。2008年至今任教于中央美术学院雕塑系。中国美术家协会陶瓷艺术委员会委员，中国美术家协会会员，联合国教科文组织国际陶艺学会（IAC）会员，中国文化艺术发展促进会陶瓷委员会委员。第十三届、十四届全国美术作品展评委。
　　作品《问天》、《无风》参加十一、十二届全国美展，《冰雨》入选首届全国综合材料绘画双年展，《都市草人》入选2010上海世博会，并永久落成于世博园，《都市丛林》获燕赵国际雕塑大赛“一等奖”，落成于石家庄市裕华路迎宾大道广场。作品被富乐国际陶艺博物馆，夏威夷Hamilton，北京今日美术馆，上海城市雕塑艺术中心，浙江美术馆，上海世博会世博局，石家庄市政府，江苏文化创意大赛，敦煌市政府，中央美术学院美术馆等艺术机构或个人收藏。
　　《陶瓷•当代雕塑》任副主编。与吕品昌教授合著中央美术学院规划教材《陶艺》（十一五国家级规划教材）获中央美术学院教育教学成果特等奖。《走进现代陶艺》、《文人+匠人》、《陶艺创作杂谈》、《陶艺创作-当代与传统》、《陶艺是一门综合性的艺术》、《意象的纯粹与精神向度的拓展》等文章与作品出版发表80余册。2010、2017年选修课被评为中央美术学院优秀课程。2021、2025年所授必修课程被评为中央美术学院教育教学成果一等奖。
　　An Ran
　　Born in Hebei Province in 1980,An Ran graduated from the Affiliated High School of the Central Academy of Fine Arts(CAFA)in 2000.He received his BFA in Sculpture from CAFA in 2005,his MFA from the Sculpture Department of CAFA in 2008,and his PhD in Art from CAFA in 2018.He has taught at the CAFA Sculpture Department since 2008.He is a member of the Ceramic Art Committee of the China Artists Association,a member of the International Academy of Ceramics(IAC),an NGO in official partnership with UNESCO,and a member of the Ceramic Art Committee of the China Culture and Art Promotion Association.Juror of the 13th and 14th National Fine Arts Exhibition.
　　His works Quest for Heaven and Calm Wind were exhibited at the 11th and 12th National Fine Arts Exhibitions,respectively.Ice Rain was selected for the 1st National Mixed Media Painting Biennale.Urban Scarecrow was featured at the Expo 2010 Shanghai China and is permanently installed in the Expo Park.Urban Jungle won First Prize at the Yanzhao International Sculpture Competition and is permanently installed at the square on Yuhua Road Welcome Avenue in Shijiazhuang.His works are held in the collections of numerous institutions and private collectors,including the Fule International Ceramic Art Museum,Hamilton Gallery in Hawaii,Today Art Museum in Beijing,Shanghai Urban Sculpture Art Center,Zhejiang Art Museum,the Bureau of Shanghai World Expo Coordination,Shijiazhuang Municipal People’s Government,the Organizing Committee of the Jiangsu Cultural and Creative Design Competition,Dunhuang Municipal People’s Government,and CAFA Art Museum.
　　He served as Associate Editor of Ceramics·Contemporary Sculpture and co-authored the CAFA planned textbook Ceramic Art with Professor Lyu Pinchang.His essays and artworks have been featured in more than 80 publications,including Approaching Modern Ceramic Art,Literati and Craftsmen,Random Reflections on Ceramic Creation,Ceramic Creation:The Contemporary and the Traditional,Ceramic Art as a Comprehensive Art Form,and Purity of Imagery and Expansion of Spiritual Dimensions.His elective courses were designated Excellent Courses of CAFA in 2010 and 2017.The compulsory courses he teaches won First Prize in the CAFA Teaching Achievement Awards in 2021 and 2025.
　　Email-1310288038 qq.com
　　《地母》116x88x68cm陶2018
　　Earth Mother116×88×68cm,Stoneware,2018
　　《土像-囲》98x96x95cm陶2018
　　Earthen Statue-Enclosure98×96×95cm,Stoneware,2018
　　《都市草人》320x250x42cm陶不锈钢2010
　　Urban Scarecrow320×250×42cm,Stoneware&Stainless Steel,2010
　　教学掠影|Teaching Snapshots
　　中央美术学院雕塑系陶瓷工作室外景（安然摄于2008年秋）
　　Exterior View of the Ceramic Studio,Sculpture Department,CAFA
　　（Photographed by An Ran,Autumn 2008）
　　2003年吕品昌带本科生和研究生去周国桢先生工作室参观学习
　　In 2003,LyüPinchang led undergraduates and postgraduates
　　to visit and study at Mr.Zhou Guozhen’s studio
　　2007年吕品昌给学生上创作课
　　LyüPinchang teaching creative courses for students,2007
　　2004年在北京今日美术馆举办吕品昌工作室师生作品展
　　In 2004,the exhibition of works by faculty and students from
　　LyüPinchang’s Studio was held at Today Art Museum,Beijing
　　2009年安然幻灯授课
　　An Ran delivering a slide lecture,2009
　　2007年吕品昌率工作室学生应明尼苏达大学邀请赴美教学交流
　　In 2007,LyüPinchang led students from the studio to the United States for teaching exchanges upon the invitation of the University of Minnesota
　　2009年釉料基础教学课堂上
　　2009,Basic glaze teaching class
　　2007年吕品昌在美国苏必烈湖艺术学院授课示范
　　In 2007,LyüPinchang delivered teaching demonstrations at
　　the Lake Superior State University of Art,USA
　　2017年陶瓷工作室材料教学，老师辅导创作方案
　　Material teaching at the Ceramic Studio in 2017,
　　An Ran guiding students on creative proposals
　　2011年安然带三年级本科生在景德镇考察创作
　　In 2011,An Ran led third-year undergraduates on
　　a field research and creation trip to Jingdezhen
　　课堂上老师给同学们耐心讲解与示范做陶的工艺要领
　　In class,instructors patiently explain and demonstrate key
　　ceramic-making techniques to students
　　2025年陶瓷工作室陶瓷课堂纪实
　　2025 Ceramic Studio Classroom Documentary
　　窑房内忙碌的场景
　　A busy scene inside the kiln room
　　2011年景德镇陶瓷材料课堂上中美两国同学一起学习传统手工艺制作
　　In 2011,Chinese and American students learned traditional ceramic craftsmanship together in the ceramic material class in Jingdezhen
　　2011年谭平副院长、王晓琳处长、吕品昌主任来景德镇探望陶瓷材料课师生
　　In 2011,Vice President Tan Ping,Director Wang Xiaolin and Department Chair LyüPinchang visited teachers and students of the ceramic material course in Jingdezhen
　　2012美国蒙大拿州立大学国际陶瓷创作营教师合影
　　Group Photo of Faculty,International Ceramic Creation Camp,
　　Montana State University,USA,2012
　　雕塑系陶瓷材料课堂上的创作场面
　　Creation Scene in the Ceramic Material Class of
　　the Sculpture Department
　　2010安老师带领同学们一起装窑（劳动的汗水伴着成功的喜悦）
　　2010,An Ran leads students in kiln loading
　　(Sweat of labor mingles with the joy of achievement)
　　2012年在美国带学生访问著名艺术家John Buck与Deborah Butterfield的工作室
　　In 2012,students were taken to the United States to visit the studios of renowned artists John Buck and Deborah Butterfield.
　　2011年雕塑系三年级学生赴景德镇上陶瓷材料课程，雕塑系在景德镇成立陶瓷教学实践基地
　　In 2011,third-year students of the Sculpture Department attended ceramic material courses in Jingdezhen,where the department established a ceramic teaching and practice base.
　　2010年安然策划并率学生赴德化参加“月记窑国际师生创作营”
　　In 2010,An Ran curated and led students to Dehua to participate
　　in the Yueji Kiln International Teacher-Student Creation Camp
　　2012年安然在美国蒙大拿州立大学“国际师生陶瓷创作班”授课示范
　　2012,An Ran gave teaching demonstrations at the International Teacher-Student Ceramic Workshop,Montana State University,USA
　　2014年安然在798时代空间为学生们策划”陶思瓷语-青年艺术家陶艺展
　　In 2014,An Ran curated the exhibition"Clay Thoughts&Porcelain Voices:Ceramic Exhibition of Young Artists"at Times Space Gallery,798 Art Zone for his students.
　　2014年吕品昌、孙璐、刘礼宾、安然赴美考察各大艺术院校雕塑材料教学
　　In 2014,LyüPinchang,Sun Lu,Liu Libin and An Ran travelled to the United States to investigate sculpture and material teaching programs at major American art institutes
　　2010年中央美术学院雕塑系陶瓷材料课程上的忙碌场面
　　In 2010,Busy scene during the ceramic materials course of the Sculpture Department,Central Academy of Fine Arts(CAFA)
　　教研画册|Teaching&Research Catalogue
　　《泥火境象》精装大开本教学研究图文集，系统梳理了中央美术学院雕塑系陶瓷工作室的发展历程与教学成果。全书涵盖工作室的：历史沿革、教学体系、教学理念、教学创新、教材建设、学生作品、选修课堂、校外实践、学术交流活动、校内外展览、画册与文章发表等内容。
　　Imagery of Clay and Fire,a hardcover large-format teaching and research pictorial,systematically sorts out the developmental history and pedagogical achievements of the Ceramics Studio,Sculpture Department of the Central Academy of Fine Arts(CAFA).The volume covers all dimensions of the studio,including its historical evolution,teaching system,educational philosophy,pedagogical innovation,textbook development,student artworks,elective courses,off-campus practice,academic exchange events,on-campus and off-campus exhibitions,picture albums and published academic articles.
　　展览现场|Visiting Scene
　　中外嘉宾、专家、学者、’艺术家和观众参观展览
　　Chinese and foreign guests,authority,scholar,artists and visitors viewing the exhibition
　　2026年6月30日景德镇大雨过后的中央美术学院陶溪川美术馆门前
　　Front Gate of Taoxichuan Art Museum of the Central Academy of Fine Arts,Jingdezhen,after heavy rain on June 30,2026
　　展览信息|Exhibition Details
　　泥火境象
　　IMAGERY OF CLAY AND FIRE
　　中央美术学院·雕塑系
　　陶瓷工作室教学研究展
　　Teaching&Research Exhibition of
　　the Ceramics Studio
　　Sculpture Department,CAFA
　　主办单位|Exhibition Hosts
　　中央美术学院
　　Central Academy of Fine Arts(CAFA)
　　景德镇陶文旅控股集团
　　Jingdezhen Ceramic Cultural and
　　Tourism Holding Group
　　承办单位|Exhibition Co-organizers
　　中央美术学院雕塑系
　　Sculpture Department of CAFA
　　景德镇陶邑文化发展有限公司
　　Jingdezhen Taoyi Cultural Development
　　Co.,Ltd.
　　中央美术学院陶溪川美术馆
　　Taoxichuan Art Museum of CAFA
　　艺术总监|Artistic Directors
　　徐扬Xu Yang
　　林茂Lin Mao
　　展览总监|Exhibition Director
　　吕品昌Lyu Pinchang
　　学术主持|Academic Moderators
　　张伟Zhang Wei
　　孙璐Sun Lu
　　展览统筹|Exhibition Coordinators
　　胡泉纯Hu Quanchun
　　周思旻Zhou Simin
　　策展人|Curators
　　安然An Ran
　　黄镇Huang Zhen
　　展览助理|Exhibition Assistants
　　谭斌Tan Bin
　　李志杰Li Zhijie
　　视觉设计|Visual Design
　　向昱Xiang Yu
　　展览时间|Exhibition Dates
　　2026.06.16-2026.08.08
　　展览地点|Exhibition Venue
　　中央美术学院陶溪川美术馆
　　Taoxichuan Art Museum of CAFA

　　来源：主办方

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