Ceramic Culture and Religion

Quite close is the relationship between religion and the culture of ceramics. The fodders from Buddhism, Taoism, Christianity and Confucianism are frequently used as the contents of ceramic art, including religious people and stories-Sakyamuni, Avalokitesvara, arhats and Dharma in Buddhism, the eight deities, Laozi, Zhuangzi in Taoism, and Confucius and Mengzi in Confucianism, and the stories related to them.

However, the art works of religious contents are not necessarily religious art. My view is that many ceramic art works are not made for the purpose of publicizing the religious doctrines, but for representing the artists' aesthetic tastes, perspectives, feelings, relevant worldly preference and touch of folk art, by building up vivid figures within the religious contents. Therefore we cannot, upon first sight, determine the statues of Avalokitesvara, arhats and their like as religious art.

Of course the relationship between religion and art is very sophisticated. It is not difficult to understand the reason why the works of religious contents are oftentimes considered as religious sculptures. Hegel pointed out, "the field that is closest to and of a level higher than art is religion", "often making use of art, religion lets us better feel its truth, or explains it through some images to sharp our imagination; under this circumstance, art does serve a field different from itself."

The sensational work-the "Legendary Standing Turtle and Avalokitesvara of Dripping Water " -by Cai Jingbiao was popular not only because of its content-Avalokitesvara, but also because of its artistic success and the information of spiritual emancipation conveyed by its sophisticated design and graceful images. We should know that it was in 1978-the starting line of the reform and opening-up policy of China when it was exhibited in Guangzhou, and then in Hong Kong.

Mr. Liu Yuanchang's "Flying Apsarases Scattering Flowers" is also of Buddhist content, and thus has the same historical background. Flying apsarases are called "Goddesses of Fragrant Music" who, with colorful ribbons and fragrance, expert in playing musical instruments and dancing, and freely fly and dance between the heaven and the earth scattering fresh flowers and beauty to the earth. Inspired by "such beautiful images, great arts and brilliant traditions", the artist created the work. He created not only an image of Buddhist goddess of fragrant music, but also a goddess of beauty and beneficence. Another work of his-"Laughing Arhat" is also a vivid image of optimism and catholicity. "The Dream of the Three Monks" by Xu Bo represents the funny but upsetting scene-"One monk carries drinking water on shoulder with a pole, two monks carry drinking water by sharing the pole, and three monks have no water to drink" (meaning "everybody's business is nobody's business")-furthermore it contains warning philosophy on life. The "Interesting Arhat" by Gao Feng cannot be considered as a purely religious arhat, but a work expressing the aesthetic feelings of the artist and stirring up aesthetic sympathy in the audience. The works about the Darma do not focus on his religious respect, but on the power of his strong will and spirit of pride reflected in the ten years of his seclusion. The "Eight Immortals", of course, represent the charm of their personalities-detachment and transcendence, but more importantly they embody the artists' feelings and spirit, and aesthetic taste.

However, I cannot deny the existence of purely religious images, but we, in a modern world, should treat them in a more reasonable point of view. Though being religious, they are created "according to the aesthetic rules" and thus can become the objects of aesthetic appreciation. The biggest taboo of artistic creation is plagiarism, and of whatever content, the most important element in it is the artist's judgment of aesthetic appreciation and skills for representation. Works of religious contents can also be artistic treasures, for example, the works of He Chaozong, You Changzi, Zeng Longsheng, Cai Jintai, and so on.

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Ceramic Culture and Music, Dance and Architecture