World-renowned. Asia-Pacific Volume 1

Author: Bai Ming
Publisher:
Publication Date: Not available
Features: This book differs significantly from my previous works:
1. Before submitting the manuscript, I deleted an article on Chinese and foreign ceramic research, nearly 20,000 words long. What I had to say has already been covered in several of my other books and articles. Upon review, these statements, though varied, seemed to delve deeper, yet they were essentially "old wine in new bottles" with little novelty. There was no justification for taking up readers' valuable time. As a member of the ceramic community, my emotional perspective likely led to biased views. In the context of Chinese higher education and contemporary art, where issues of concept and technique, tradition and modernity, theory and practice, and national and international identity are endlessly debated, it was even more unnecessary to elaborate on them. Therefore, apart from a short preface and afterword, no introductions written by me appear in the book. I wanted the outstanding works of ceramic artists from around the world to be the most important narrative subject, supporting the academic value of ceramics itself and minimizing the author's influence.
2. The book's substantial eight-volume format features 112 internationally renowned ceramic artists, most of whom are members of the International Ceramic Association of UNESCO. Many of them are celebrated figures in the global ceramic world, and several are masters whose works are indispensable to the history of modern ceramics. Most of the artists included have provided images and descriptions of their creative processes, which was one of the most challenging and labor-intensive parts of the solicitation and production process. Those in the industry know how difficult and almost impossible it is to convince so many influential artists to share their creative processes within a relatively short timeframe. Fortunately and proudly, ceramic artists from around the world, with their understanding, support, and selfless cooperation, have made it possible to showcase these magical and uniquely charming creative processes, allowing the world to explore the diverse techniques and materials used by ceramic artists from different countries. This book thus holds precious historical and documentary value and serves as a textbook for techniques and methods. Such a feature is rare and distinctive in contemporary ceramic publications, catalogs, and monographs worldwide. In today's era of frequent exchanges in the international ceramic community, decoding the creative processes of so many renowned artists will undoubtedly have a profound impact on promoting and enriching ceramic culture and inspiring new creative approaches.
3. The artist biographies reveal the economic and cultural environments in which they live and were educated, while their creative philosophies (or self-reports) reflect how they perceive the world and their inner selves. Although these are not the only ways to interpret their works, they provide direct insights into the artists and their creations.
4. All the works, demonstrations, and texts in the book are personally provided and signed by the artists, a practice uncommon in the domestic publishing industry. Each artist's works are presented in full, provided they meet publication standards, without any deletions. Strictly speaking, this is a self-selected collection of artists from around the world, and they are the true authors of the book.
5. Although the letters inviting these artists explicitly requested personal studio environment photos, creative process demonstrations and descriptions, artistic philosophies, biographies, and works, a small number of artists were unable to provide complete creative process demonstrations and some materials due to age, health conditions, or time constraints. This highlights the differences between compiling an international-scale art catalog and simply editing a collection of Chinese artists' works. Additionally, some of the text materials provided were not in the required English, necessitating translation from Chinese back to English, which inevitably led to some inaccuracies in expression. The reason we chose a more complex and challenging approach—adding bilingual text and numerous difficult elements—rather than a simple and conventional compilation was to enhance the book's academic content and international exchange impact. However, the labor and effort involved far exceed ordinary expectations.
6. More than half of the artists featured in the book are being systematically introduced to China for the first time. Some artists I have previously introduced are also featured here with new works and creative process content, giving the book a fresh and innovative appearance.
7. I invited several artists and art critics from different countries and backgrounds to contribute articles to the book. The sincerity, wisdom, and passionate attention they bring to Chinese ceramics, as well as their selfless support for the author, have not only enriched the book's academic perspectives but also infused it with vitality and a warm, caring spirit.