Wang Shiu-kung, described by critics as a pacesetter in the development of Taiwan's ceramic arts, recently held his second solo exhibition at Taipei's Spring Gallery. On display were more than 50 pieces of his latest works.
A graduate of the National Hang-chow Academy of Arts, Wang studied under such masters as Pan Tien-shou and Lin Feng-mien, and developed a preference for traditional Chinese painting. But on observing that Taiwan's pottery products continued to drift at a relatively crude level and remained dedicated primarily to practical use—as when he came to Taiwan in 1949—he determined to revive on Taiwan the best Chinese traditions of the ceramic arts. In 1957, he gave up painting and concentrated on his new quest.
Over the past 26 years, Wang has worked with such kilns as China Pottery Arts Company, China Artistic Pottery Co., Ltd., and China Pottery and Ceramics Artistic Works, Ltd., where he was joined in design work by other famous artists—Fu Hsin-yu, Shi Teh-chin, Wu Hsueh-jang, and Liu Kuo-sung.
Looking back, Wang recalls: "Over the period from 1957 to 1971, we had not made too much progress in our molding techniques. Most of our time and effort were spent on research into glazing methods. One step we took was to invite top contemporary painters to decorate our porcelains and potterywares. The results were beyond our expectations in terms of the warmth of customer response. Items designed by Shi Teh-chin and Wu Hsueh-jang, for example, were quickly sold out. Every week, these two worked at the factory just two days, but their monthly incomes reached more than ten times their school salaries."
A fine-necked flask glistens in the light
Items produced with the aid of the painters were especially welcomed, says Wang, because of the resulting artistic creativity and quality, as opposed to ordinary production. Also, their uniqueness kept the mass production ceramics non-competitive.
The first impression of Wang's own works is of an eventful combination of craftsmanship and artistry. Strict, traditionally-flavored styles combine with modern artistic concepts in new ways of presentation. Wang surpasses the younger generation, specialized in abstract presentations, with his command of molding, firing, and glazing; compared with the elder masters, he has a superior command of concepts.
Discussing a potter's burdens, Wang notes: "We often encounter unexpected difficulties and changes during the firing process ... not like painting, which we may control as we wish. We require much more time to experiment. Particularly, glaze colors, too often, are totally different after firing. Experience is important, yet results often depend upon good luck."
Soft, rounded shapes fill the studio shelves
He went on: "The 'three-color' Tang Dynasty pottery was fired at a temperature of 1,050°C. The temperature of my oxidizing flame for 'three-color' glaze can reach 1,230°C, the reducing flame still 50°C higher. Porcelains fired below 900°C easily fall prey to the ravages of accident, time, and the natural elements. The ceramics of the Ming and Ch'ing Dynasties were glazed at low temperatures, with the exception of the blue. My copper-red and green glazes are fired under high temperatures and completed at one time."
One of Wang's important glaze contributions is his creation of the unique golden brown and green glaze colors, seen in his newly exhibited work.
Another prominent feature of the exhibited items is "ceramic plate painting" -a blending of painting and ceramic art. Part of these "ceramic plate" items belong to traditional realism, but the majority are abstract, flowing landscapes.
Wang describes the technique: "I use a modern spray gun along with the techniques of ink-spreading used in traditional Chinese painting. On one hand, I try to free myself from the limitations of the mold, and on the other hand, to bring the glaze colors into full play by means of conflicting characteristics of simplicity and complexity."
The humor of the artist is evident in a cheerful creation
Discoursing on an development, Wang states: "It is very difficult, even impossible for a modern man to completely free himself of traditional bond age, because we are rooted in traditional culture. Although I am certainly reluctant to describe myself as an imitator of the ancient pottery arts, I dare not call myself a modern artist either. In my opinion, the attitude most suited to a modern practitioner of the arts is the determination to dig deeply into the tradition and then step out of the tradition. Don't be infatuated with the ancient styles, and don't ignore contemporary tastes; neither follow the set fashion, nor blindly admire Westernization. From my own comprehension of an, I mold my own individual language, spiced with unique glaze colors and emerging in differing forms. I am proud of speaking by myself."
In both 1972 and 1979, Wang's works were chosen by the National Museum of History for inclusion in the International Ceramic Exhibitions at Faenza, Italy. Last year, one of his pieces was incorporated in the 8th Biennial International Artistic Ceramics Exhibition at Vallauris, France.
In an autobiographical poem published at the time of the exhibition, he concluded:
Emerging from the oppressively
twisting, murkily dark lane:
We invade beautiful floral plains,
blazing with spring light.
Spring for China's ceramic arts is here, and the works of Wang Hsiu-kung help light the way.