郑祎：当代中国二百五陶艺家联盟宣言
当代中国二百五陶艺家联盟宣言（又名二百五宣言）//郑祎
奋起反抗中国陶艺的平庸化！
序言
“当代中国二百五陶艺家联盟”这个在当时条件下自然只能是秘密团体的全国陶艺工作者组织，在2008年10月景德镇的联盟会议上由联盟成员起草了一个准备公布的周详的理论和实践纲领。
毋庸置疑，这份纲领是成员们一种强烈的，愤世嫉俗的呐喊，它代表了我们对于那些卖弄学问；不切实际，粗俗平庸，狂热崇拜过去的一切旧势力的极端的蔑视，彻底的厌恶和奋起反抗。
宣言
一个幽灵，在中国陶瓷艺术界游荡，这个幽灵就是“当代中国二百五陶艺家联盟”（以下简称二百五）。为了驱逐这个幽灵，陶瓷艺术界及其艺术家；学术界；所谓的大师陶艺家，一般的工匠，陶瓷方面的编者以及博物馆馆长在内的中国陶艺界的所有旧势力都联合在了一起，组成了一个“神圣的同盟”。
而我们对中国陶艺界的这些旧势力控制陶艺发展，把传统手工艺引向绝望的深渊的行径感到忿痛。我们必须奋起反抗，保卫陶瓷艺术，把艺术的自发性，趣味性和敏感性再次带入到陶艺中来。
从这一事实中可以得出两个结论：
第一，二百五已经被中国陶艺界所认可，成为中国陶艺界的重要智囊团和榜样。
第二，现在是二百五向全世界说明自己观点，目的和意图并且拿自己的宣言来反驳关于二百五幽灵的神话的时候了。
为了这个目的，许多技艺非凡的陶艺家聚集到景德镇，草拟了如下宣言，用中文，英文两种语言公布于世。
在中国陶瓷的历史就是与旧思想，拙劣手工艺斗争的历史：
有技术有能力的艺术家和不称职的老师，校领导，策展人，编辑和所谓的陶艺大师之间的斗争。一句话，压迫者和被压迫者，始终处于相互对立的地位，进行不断的、有时隐蔽有时公开的斗争，而每一次斗争的结局是整个社会受到革命改造或者斗争的各阶级同归于尽。
在中国过去的陶瓷历史的各个时代，我们会发现社会完全被划分为各个不同的等级，艺术也被划分为不同的等级。在古代中国，有皇帝，宫廷设计师，泥料供应商和各种拉坯，修坯，烧窑和装饰的手工匠人，而在这些阶级内部又有一些特殊的等级。
从封建社会废墟上萌发的中国特色社会主义社会并未消除阶级之间的对立。它只是用新的阶级、新的压迫条件、新的斗争形式代替了旧的。腐败的艺术家分级系统应该被取消，儒家思想的包袱应该被抛弃，所谓的“搞关系”应该被彻底的禁止。
在中国，陶艺家大多数情况下仅仅被“教”如何制作“现代”作品而不重视其中的文化感觉；学校找来越来越多的外国艺术家向中国艺术家展示如何制作真正的艺术作品；学校甚至相信有某种教学计划是适合所有中国研究生的最好的教学计划；这种情况下中国艺术家对本民族传统文化和手工技术认知的逐渐丧失，再加上境外机构以及大量来自美国的艺术家的影响使得中国的陶瓷艺术长期处在不良的状态下。
我们作为和陶瓷艺术息息相关的艺术家，誓言捍卫急剧下降的陶瓷艺术，誓言坚持我们的传统以及技术和思想的创新！
1，陶瓷技术应当被反复实践并被熟练掌握。
2，年轻人应该反抗旧思想和陈腐的学习方法！
3，所有学院都应该提倡批判性思维，这种教育应该从幼儿园开始。
4，在大学里的教师应该按照艺术思维划分级别，而不是按照什么贿赂和所谓的关系。
5，政府的政策也必须改变，作为政府必须要大力支持优秀的艺术家，对于国内广泛存在的不良艺术家更要及时的批判。
中国陶瓷艺术万岁！
Manifesto of The Contemporary Chinese Er Bai Wu Ceramic Artists’ League (aka The 250 League)
Rise Up To Fight Against Ceramic Mediocrity in China!
Preface:
The Contemporary Chinese Er Bai Wu Ceramic Artists' League, a Chinese national association of ceramic workers, which could of course be only a secret one under the conditions obtaining at the time, commissioned the undersigned, at the meeting held in Jingdezhen in October 2008, to draw up for publication a detailed theoretical and practical manual of the movement. It was a violent and cynical cry, which displayed our sense of rebellion, our deep-rooted disgust, and our haughty contempt for vulgarity, for academic and pedantic mediocrity, for the fanatical worship of all that is old and rotting.
Manifesto:
A spectre is haunting the Chinese ceramic art world – the spectre of the Contemporary Chinese Er Bai Wu Ceramic Artists' League (The 250 League for short). All the Powers of old China ceramics art world have entered into a holy alliance to exorcise this spectre: Ceramic art academia and its artists, self-proclaimed masters and mediocre craftsmen, ceramic editors and museum curators.
We are fed up that these people control the ceramic art world in China and are leading the traditional craft into depths of despair. We have risen up to defend ceramics and to bring spontaneity, fun and new sensitivities to this art.
Two things result from this fact:
I. 250 is already acknowledged by the rest of the world, to be a leading think tank and example for ceramic art in China.
II. It is high time that 250 should openly, in the face of the whole world, publish their views, their aims, their tendencies, and meet this nursery tale of the spectre of new ceramic art with a manifesto of the movement itself.
To this end, ceramic artists of various high quality training have assembled in Jingdezhen, and sketched the following Manifesto, to be published in English and Chinese.
The history of ceramics in China is a history of the struggle against bad ideas and unskilled craftsmanship.
Technically competent artists struggle against incompetent teachers, head of schools, curators, editors, and self proclaimed masters, in a word, oppressed and oppressor, stood in constant opposition to one another, carried on an uninterrupted, now hidden, now open fight, a fight that each time ended, either in a revolutionary reconstitution of society at large, or in the common ruin of the contending class.
In earlier epochs of ceramic history in China, we find a complicated arrangement of art making into various orders, a manifold gradation of social rank. In ancient China we have emperors, court designers, clay suppliers, and craftsmen such as wedgers, throwers, trimmers, tool makers, decorators, kiln firers; in almost all of these classes, again, subordinate gradations.
The modern socialist society with a Chinese flair that has sprouted from the ruins of feudal society has not done away with class antagonisms. It has but established new classes, new conditions of oppression, new forms of struggle in place of old ones. Corrupted systems of grading artists are in place, the burden of Confucian thinking should be abolished, guanxi should be banned.
Outside institutional influences, artists from America mostly, have perpetuated bad ceramic art in China by “teaching” Chinese ceramic artists how to make “modern” work without considering the cultural sensitivities, bringing in more artists to show the Chinese how to make real art work, convince them that certain academic program are the best for any Chinese student to do their masters degree in, and deplete the Chinese of any sense of their own culture and craft techniques.
We as concerned artist, pledge to do defeat such downward spiraling of ceramic art, have come up with a manifesto to uphold our tradition and innovation for techniques and ideas!
1. Ceramic techniques should be practiced and mastered!
2. Youth should rebel against bad ideas and decaying methods of learning!
3. Critical thinking should be taught all institutions, starting from kindergarten!
4. Teachers in universities should be graded according the artistic thinking and not by corruption or guanxi!
5. The government policies must change; they must support good artists and denounce the bad artists that have taken over the country!
Long Live Chinese Ceramics!
奋起反抗中国陶艺的平庸化！
序言
“当代中国二百五陶艺家联盟”这个在当时条件下自然只能是秘密团体的全国陶艺工作者组织，在2008年10月景德镇的联盟会议上由联盟成员起草了一个准备公布的周详的理论和实践纲领。
毋庸置疑，这份纲领是成员们一种强烈的，愤世嫉俗的呐喊，它代表了我们对于那些卖弄学问；不切实际，粗俗平庸，狂热崇拜过去的一切旧势力的极端的蔑视，彻底的厌恶和奋起反抗。
宣言
一个幽灵，在中国陶瓷艺术界游荡，这个幽灵就是“当代中国二百五陶艺家联盟”（以下简称二百五）。为了驱逐这个幽灵，陶瓷艺术界及其艺术家；学术界；所谓的大师陶艺家，一般的工匠，陶瓷方面的编者以及博物馆馆长在内的中国陶艺界的所有旧势力都联合在了一起，组成了一个“神圣的同盟”。
而我们对中国陶艺界的这些旧势力控制陶艺发展，把传统手工艺引向绝望的深渊的行径感到忿痛。我们必须奋起反抗，保卫陶瓷艺术，把艺术的自发性，趣味性和敏感性再次带入到陶艺中来。
从这一事实中可以得出两个结论：
第一，二百五已经被中国陶艺界所认可，成为中国陶艺界的重要智囊团和榜样。
第二，现在是二百五向全世界说明自己观点，目的和意图并且拿自己的宣言来反驳关于二百五幽灵的神话的时候了。
为了这个目的，许多技艺非凡的陶艺家聚集到景德镇，草拟了如下宣言，用中文，英文两种语言公布于世。
在中国陶瓷的历史就是与旧思想，拙劣手工艺斗争的历史：
有技术有能力的艺术家和不称职的老师，校领导，策展人，编辑和所谓的陶艺大师之间的斗争。一句话，压迫者和被压迫者，始终处于相互对立的地位，进行不断的、有时隐蔽有时公开的斗争，而每一次斗争的结局是整个社会受到革命改造或者斗争的各阶级同归于尽。
在中国过去的陶瓷历史的各个时代，我们会发现社会完全被划分为各个不同的等级，艺术也被划分为不同的等级。在古代中国，有皇帝，宫廷设计师，泥料供应商和各种拉坯，修坯，烧窑和装饰的手工匠人，而在这些阶级内部又有一些特殊的等级。
从封建社会废墟上萌发的中国特色社会主义社会并未消除阶级之间的对立。它只是用新的阶级、新的压迫条件、新的斗争形式代替了旧的。腐败的艺术家分级系统应该被取消，儒家思想的包袱应该被抛弃，所谓的“搞关系”应该被彻底的禁止。
在中国，陶艺家大多数情况下仅仅被“教”如何制作“现代”作品而不重视其中的文化感觉；学校找来越来越多的外国艺术家向中国艺术家展示如何制作真正的艺术作品；学校甚至相信有某种教学计划是适合所有中国研究生的最好的教学计划；这种情况下中国艺术家对本民族传统文化和手工技术认知的逐渐丧失，再加上境外机构以及大量来自美国的艺术家的影响使得中国的陶瓷艺术长期处在不良的状态下。
我们作为和陶瓷艺术息息相关的艺术家，誓言捍卫急剧下降的陶瓷艺术，誓言坚持我们的传统以及技术和思想的创新！
1，陶瓷技术应当被反复实践并被熟练掌握。
2，年轻人应该反抗旧思想和陈腐的学习方法！
3，所有学院都应该提倡批判性思维，这种教育应该从幼儿园开始。
4，在大学里的教师应该按照艺术思维划分级别，而不是按照什么贿赂和所谓的关系。
5，政府的政策也必须改变，作为政府必须要大力支持优秀的艺术家，对于国内广泛存在的不良艺术家更要及时的批判。
中国陶瓷艺术万岁！
Manifesto of The Contemporary Chinese Er Bai Wu Ceramic Artists’ League (aka The 250 League)
Rise Up To Fight Against Ceramic Mediocrity in China!
Preface:
The Contemporary Chinese Er Bai Wu Ceramic Artists' League, a Chinese national association of ceramic workers, which could of course be only a secret one under the conditions obtaining at the time, commissioned the undersigned, at the meeting held in Jingdezhen in October 2008, to draw up for publication a detailed theoretical and practical manual of the movement. It was a violent and cynical cry, which displayed our sense of rebellion, our deep-rooted disgust, and our haughty contempt for vulgarity, for academic and pedantic mediocrity, for the fanatical worship of all that is old and rotting.
Manifesto:
A spectre is haunting the Chinese ceramic art world – the spectre of the Contemporary Chinese Er Bai Wu Ceramic Artists' League (The 250 League for short). All the Powers of old China ceramics art world have entered into a holy alliance to exorcise this spectre: Ceramic art academia and its artists, self-proclaimed masters and mediocre craftsmen, ceramic editors and museum curators.
We are fed up that these people control the ceramic art world in China and are leading the traditional craft into depths of despair. We have risen up to defend ceramics and to bring spontaneity, fun and new sensitivities to this art.
Two things result from this fact:
I. 250 is already acknowledged by the rest of the world, to be a leading think tank and example for ceramic art in China.
II. It is high time that 250 should openly, in the face of the whole world, publish their views, their aims, their tendencies, and meet this nursery tale of the spectre of new ceramic art with a manifesto of the movement itself.
To this end, ceramic artists of various high quality training have assembled in Jingdezhen, and sketched the following Manifesto, to be published in English and Chinese.
The history of ceramics in China is a history of the struggle against bad ideas and unskilled craftsmanship.
Technically competent artists struggle against incompetent teachers, head of schools, curators, editors, and self proclaimed masters, in a word, oppressed and oppressor, stood in constant opposition to one another, carried on an uninterrupted, now hidden, now open fight, a fight that each time ended, either in a revolutionary reconstitution of society at large, or in the common ruin of the contending class.
In earlier epochs of ceramic history in China, we find a complicated arrangement of art making into various orders, a manifold gradation of social rank. In ancient China we have emperors, court designers, clay suppliers, and craftsmen such as wedgers, throwers, trimmers, tool makers, decorators, kiln firers; in almost all of these classes, again, subordinate gradations.
The modern socialist society with a Chinese flair that has sprouted from the ruins of feudal society has not done away with class antagonisms. It has but established new classes, new conditions of oppression, new forms of struggle in place of old ones. Corrupted systems of grading artists are in place, the burden of Confucian thinking should be abolished, guanxi should be banned.
Outside institutional influences, artists from America mostly, have perpetuated bad ceramic art in China by “teaching” Chinese ceramic artists how to make “modern” work without considering the cultural sensitivities, bringing in more artists to show the Chinese how to make real art work, convince them that certain academic program are the best for any Chinese student to do their masters degree in, and deplete the Chinese of any sense of their own culture and craft techniques.
We as concerned artist, pledge to do defeat such downward spiraling of ceramic art, have come up with a manifesto to uphold our tradition and innovation for techniques and ideas!
1. Ceramic techniques should be practiced and mastered!
2. Youth should rebel against bad ideas and decaying methods of learning!
3. Critical thinking should be taught all institutions, starting from kindergarten!
4. Teachers in universities should be graded according the artistic thinking and not by corruption or guanxi!
5. The government policies must change; they must support good artists and denounce the bad artists that have taken over the country!
Long Live Chinese Ceramics!
