The development of modern Chinese ceramics has gradually entered the fast lane. The "entry" emphasized here is the active entry of one's own cultural posture, the entry of foreign culture being absorbed, accepted and recognized, and the entry of higher ceramics education. The entry of talent strategy, which is widely implemented in the country, is also the entry of ceramic art emerging from the cracks of other arts. Looking back on the development of modern ceramic art in China over the past few years, the biggest difficulty is still the issue of establishing the cultural identity of ceramic art, rather than the issue of identifying the identity of Chinese ceramics. Because in the field of traditional ceramics, China's "right to speak" is a conclusion recognized by the world, but the "right to speak" of Chinese ceramics (modern ceramics or contemporary ceramics) is very little. How to look at the issue of "ceramic cultural identity", I would like to understand mainly through the following three points:

First, the uniqueness of Chinese ceramic culture in the context of global ceramic culture. Without this uniqueness, the development of Chinese ceramic art cannot find the inevitable blood connection and national cultural identity between tradition and contemporary times;

Second, the development of contemporary Chinese ceramic art and the development of world ceramic art maintain the same distance. This distance is not the difference caused by the barriers, contradictions, backwardness, hostility and culture, but the autonomy and independence of one's own culture. We must not only maintain synchronization with the development of world ceramic culture in terms of innovation consciousness, but also seize opportunities to seek breakthroughs and maintain the autonomy of our own culture;

Third, the marginalization of the language of ceramic art must be certain boundaries. Nowadays, various ceramic works are constantly improving and innovating on comprehensive materials under the banner of innovation of "seeking novelty and novelty". The charm of the works (the taste of mud, fire and glaze) is gradually diluted, and the creative content and form deviate from the The ontology of pottery art is moving towards the edge of pottery art, and the vague development language of pottery art will lead to the collapse and disintegration of cultural systems such as pottery art. This is also the bottom line of the cultural identity of pottery art.

The issue of cultural status and cultural identity in the development of modern ceramic art in China is a key issue in understanding and understanding modern ceramic art culture. It is also a focus issue in promoting traditional ceramic culture and promoting the development of contemporary ceramic art, especially in the current era. During the transition period of China's modern ceramic culture mechanism, research and discussion on such issues should be strengthened. After summarizing and analyzing the development status of Chinese ceramic art over the past 10 years, the following issues are worthy of discussion and reform. The main discussions are as follows:

1. The establishment of the academic position of modern ceramics needs to be given due attention. This kind of attention is not a simple establishment of an association organization, but should establish its position in the mainstream overall cultural framework system. At present, the research on the development of modern ceramic culture is still at a weak stage, and the understanding of modern ceramic culture also has certain one-sidedness and limitations. Not only does it lack a certain academic pertinence in the study of introducing Western ceramic culture, but it also lacks a proper strategy in sorting out the development of domestic ceramic culture. Increasing the construction and research intensity of this discipline is currently an important issue in the development of modern ceramic art in China. As a country with a profound accumulation of traditional ceramic culture, the research on modern ceramic art should be vigorously carried out from multiple angles, multiple disciplines, and multiple forms. For contemporary ceramic art, The development of ceramic culture under living conditions should actively advocate and implement the new ceramic culture development concept.

2. The exhibition mechanism lacks the flexibility it deserves. In the past ten years, several ceramic art exhibitions have been held in China. From the perspective of exhibition format and content, although they appear to be single, the main reason affecting their effectiveness still exists in the exhibition mechanism. For example, there are no fixed ceramic art exchange and exhibition venues and professional exhibition planning organizations in China, and there are no full-time ceramic art curators and companies promoting ceramic art culture. For example, the Guangdong Museum of Art, which pays more attention to modern ceramic art exhibitions, from the aspects of overall ceramic art exhibition planning, promotion activities, ceramic art cultural seminars, etc., the influence of its activities and the effect of its exhibitions are still limited to a kind of communication and exchange within the circle. A collision of ideas. Problems exist in many fields. For example, there are many traditional ceramic exhibition halls and collection exhibition halls in China, but there are basically no planned exhibitions with the innovative nature of traditional ceramic culture, exhibitions with special ceramic themes, and exhibition planning and activities for collections. It can be found that the lack of ceramic art (or ceramic art) curators has always been a major reason that has plagued the promotion of traditional Chinese ceramic culture and the development of modern ceramic art. Strengthen the status of independent curators and the breadth of ceramic art planning activities and exhibition activities.

“The art promoted by independent curators should be avant-garde, exploratory, and experimental in nature, and it should be social work that has not yet been fully understood and supported by the public’s usual traditional aesthetic way of thinking, so that it can move from the fringe to the mainstream. Challenging, practical and constructive value. "(Feng Boyi) The domestic demand of local independent curators and the effective intervention of foreign independent ceramic art curators are the prerequisite for international ceramic art cultural exhibition exchanges and academic exchanges. In terms of operation, various activities must be regulated from the perspective of "international" ceramic art development. The international exchange platform needs the intervention of the works of better ceramic artists, the constructive criticism of more ceramic art theorists, and the collaboration of transnational ceramic art organizations through "official" or "unofficial" institutions to create extensive and diverse A new green channel for ceramic art cultural exchanges. At present, the United States, Europe, South Korea, Japan and other countries all have large-scale ceramic art exhibitions and academic exchange activities that are relatively influential in the world. However, China has not learned from or carried out planning of this nature in the process of ceramic art cultural exchange and communication for more than ten years. Exhibitions and academic activities have seriously affected the development speed of domestic modern ceramics, and it is impossible to directly establish equal dialogue, exchange and cooperation opportunities with international ceramics organizations on a higher platform. From this point of view, the current cooperation with famous foreign ceramic art curators seems very urgent.

3. The imperfect selection mechanism of ceramic art has led to the current confusion and confusion in the development direction of ceramic art. At present, the national ceramic art competition has many restrictions on the independence of curators due to various reasons related to the funds and institutions involved in exhibitions. There is no independent academic curatorial space, resulting in great shortcomings in exhibition selection. The selection of awards lacks a certain objective basis and a certain academic orientation, which directly leads to various emotions such as blind selection, selection, organization, creation, participation in exhibitions and slackness among judges, selection agencies, organizational structures, co-organizers and ceramic artist groups. Academic exhibitions must increase fairness at the academic level, especially for researchers who have been engaged in this subject for a long time. Behind the awards may be more of a promotion of an excellent culture and the highest academic standard. regulations and norms, a correct direction for cultural development. In addition, other associations accept the evaluation of ceramic works, and the planning lacks thematic pertinence. There are many exhibitions, miscellaneous works, and chaotic selection, which greatly reduces the enthusiasm and innovation of creators. Ceramic art exhibitions have gradually become a recognition and accumulation of certificates and awards, and the selection is far more political than academic. Local ceramic art associations carry out various ceramic art academic activities more extensively, and more specifically intervene in ceramic art culture into all aspects of life. Local ceramics associations should formulate practical development plans to organically integrate ceramics culture with life culture, and demonstrate the special affinity and visual charm of ceramics culture in bedroom design and environmental space design.

4. The selection of “masters” of pottery (ceramics) lacks due moral and academic standards, and there are too many selection agencies. The selection of "masters" by various associations has not only caused the study of pottery (ceramics) culture to lose its due academic status, but also made the ceramic art collection market risky. At present, the selection of domestic ceramic arts and crafts masters is becoming more and more diverse, with various Associations and organizations are making profits in disguise under the banner of "Master" selection. Ceramics (ceramics) "Master" is a title recognized by non-governmental organizations for a group of people who have been engaged in ceramic creation for a long time in terms of craftsmanship, academics, prestige, moral character, etc. Driven by the interests of the market economy, some organizations and ceramics workers began to make a big fuss under this banner. The only result was the loss of the real ceramics market. At present, the top priority is to re-standardize the selection mechanism and create a clean space for true pottery (ceramics) "masters".

5. The establishment of the cultural identity of academic ceramic art has promoted the establishment and development of ceramic art disciplines in a certain sense, established a proper talent training mechanism for higher ceramic art disciplines, and also led to a large number of high-quality ceramic arts. The creative groups are over-concentrated, and the personnel strength of the original local ceramic research institute and other institutions has been weakened. China's large number of folk ceramic production areas have rich cultural resources and very strong market prospects. China's national conditions require ceramic culture to effectively intervene in life, the market, and the industrial chain reform of industrial culture. The excessive separation of local researchers and academic researchers has brought certain limitations to the development of Chinese ceramics. Over-concentration of academic research in institutions has led to the proliferation of useless academic research. The weakening of local researchers has brought irreparable losses to the innovation and promotion of scientific research in practical application fields.

6. The lack of criticism has led to the current silence of ceramic art exhibitions and various ceramic art activities. A harmonious and egalitarian tendency has created layers of fog for the development of ceramic art. The formation of new concepts and new thinking does not receive attention and promotion, and there is a lack of competition mechanism and fighting spirit. The ceramic art criticism system needs to quickly intervene in the entire development process of Chinese ceramic art. Only objective criticism and the intervention of normative critical mechanisms can ensure the vitality of the overall ceramic art academic and its ceramic art market. Exhibitions that lack a sense of criticism cannot stimulate the real growth of ceramic culture, nor can they summarize useful experiences and learn the painful lessons of backwardness in the development process. Establishing a proper theoretical system for ceramic art criticism requires professional critics to intervene in various ceramic art exhibitions and activities, comprehensively integrate exhibition information and feedback, and promote the establishment of various supporting mechanisms. Criticism must dare to guide exhibitions, promote exhibitions, improve exhibitions, and standardize sales channels. Using the subversive language characteristics of modern ceramic art culture, a ceramic art context with contemporary cultural characteristics is formed.

7. The research and development of ceramic economics lacks the guidance of professional talents. At present, not only does the ceramic market lack real economic talent guidance, but also there is a lack of talent mechanism guidance from the ceramic economics discipline system in colleges, enterprises, exhibition institutions, collection institutions and other links. Introduce the knowledge of economics discipline into the development trajectory of ceramic art culture as soon as possible, and bring certain norms and binding forces to the normal and stable development of the ceramic art market; a sound ceramic art market requires the guidance and restriction of a cultural system, which also fundamentally The independent awakening of market culture is needed. The incorporation of knowledge from economic disciplines into ceramic culture is not an individual act, but the creation and establishment of a truly great ceramic revolution era that includes the industrial field and folk ceramic production areas.

8. The gradual high-end, academic and pure artistic creation tendency of ceramic art culture has created conceptual troubles for the wider intervention of ceramic art into life to a certain extent. Advocate the development concept of new ceramic art. Encourage ceramic art creation groups to practice and create new materials, new concepts, new methods, new techniques, new perspectives, new forms, and new media. Traditional ceramic culture needs the infusion of new culture and new life creation concepts in contemporary times.

The development of modern Chinese ceramics requires a mature exhibition mechanism, more independent ceramic culture curators, complete exhibition venues, fair selection procedures, open school education, and the establishment of an international ceramic culture. Exchange mechanisms, talent introduction mechanisms, and talent training mechanisms create good international communication and exchanges. The practical solution to the above problems is not only based on thinking about the status and identity of modern Chinese ceramics, but also an organic strategy formulated to solve the rapid development of China's large ceramic market