蝶中观音 Guan Yin in a cloud of butterflies

陶瓷，这一“火的艺术”，因具有美观、实用、耐用等特点，为古今中外的人们所疯狂追求，其传世完美无瑕者，更是被赋予了“圆满”的象征意义。但陶瓷的脆性导致在流传的过程中，难免出现破损，而当“圆满”变为“残缺”，陶瓷的收藏价值也大打折扣。

Ceramics, the "art of fire", has been crazy by people in all dynasties because of its beauty, practicality and durability. But in the process of using or storing, the problem of broken is inevitable. Ceramic products are mostly round, symbolizing "consummation", and when "consummation" becomes "incompleteness" or "destruction", the value of ceramics will be greatly reduced.

（左）玛姬·辛普森饰演观音慈悲女神

Marge Simpson as Guan Yin goddess of compassion, 2014

（右）生活是一个谜 Life is a mystery, 2017

人类喜爱圆满，认为残缺含有不吉利之意。但能工巧匠们通过锔瓷、金缮等修复技术，将那些已破碎、残缺的作品重新修复，将残缺归于圆满，最终实现陶瓷“不浴火的重生”。

Mankind preferrs consummation, and considers incompleteness to be unlucky. However, some craftsmen invented the Doweling and the Kintsukuroi techniques to reintegrate the broken  ones in order to bring the incompleteness into completion, and finally achieve "the beauty of destruction".

记忆容器/第八（十八世纪清代陶瓷）

Memory vessel/pair 8 

(18th century Qin Chinese porcelain and glass Diam), 2019

锔钉及金缮的本意在于正视破损，看见残缺中的生命力，从而用虔诚的态度面对生活，在不完美中追求完美，最终获得一种全新的认知境界。事物不断发展，残损在所难免，但新的“生命”也由此而诞生。

The original intention of the Doweling and the Kintsukuroi is to face the damage and see the vitality in the incompleteness, so as to use a pious attitude to pursue perfection in imperfection, and finally reach a new realm. Things continue to develop and damage is inevitable, but while it takes away old things, it also gives it new possibilities of rebirth.

逝去的自然 21 （十八世纪乌斯特瓷器，干水果和混合材料）

Dead nature 21 (18th century Worcester porcelain bowl, 

dried fruits and mixed media), 2019

陶溪川艺术中心-国际教育本期邀请到英国知名陶瓷修复师及艺术家Bouke de Vries，于2022年1月19日，周三晚8点，在“陶溪川国际教育—国际云讲座”平台带来主题为《不浴火的重生》的讲座。

Taoxichuan Art Center is very honored for the opportunity of having Bouke de Vries, a British ceramics conservator & artist as our guest speaker. He will be sharing his lecture “The Beauty of Destruction” with us and it will be held on Wednesday at 20:00(UTC+8), January 19th, at Taoxichuan International Education Platform—Master Online Lecture. 

狂饮者，18世纪梅森瓷和混合媒体

Binge drinker, 

(18th-century Meissen porcelain figure and mixed media), 2009

本讲座将介绍Bouke的职业生涯，以及当前作品中艺术形式的来历。同时，Bouke将分享他构思及创作的过程，以及艺术家本人的艺术哲学思想。讲座中，Bouke将逐步为观众展开瓷器破损与重生的画卷。

The lecture gives an overview of Bouke's career and shows how the work developed from the first ideas to the first pieces created. At the same time, Bouke will introduce the origins and the stories behind the fragments in his works. To create a structure for the lecture, the artist has divided the lecture in to chapters each representing a particular group of works.

战争碎片 War & Pieces,  2014-2015

Bouke 出生于荷兰乌得勒支，曾就读于埃因霍温设计学院和伦敦中央圣马丁学院。在时尚行业工作 6 年后，他转行选择陶瓷保护与修复道路。15 年后，他开始产生艺术创作的冲动，并决定以其陶瓷保护与修复的经历为创作原点。

Born in Utrecht, The Netherlands, Bouke de Vries studied at the Design Academy  Eindhoven, and Central St Martin’s, London. After working for 6 years in the fashion industry he worked as a self-employed ceramics conservator. 15 years later, the urge came to create art and decided using his practise as a ceramics conservator as a starting point.

（左）慈悲女神 Goddess of compassion, 2010

（右）母亲和孩子 Mother and child, 2020

作为一名私人修复师，他每天都面临着关于完美与价值的问题和矛盾：即使是几乎看不见的裂缝、微小的边缘碎片或断掉的手指也会使曾经有价值的物体变得一文不值，实际上这不值得花费巨额成本进行修复。但不可否认的是，无论作品规格大小，都凝聚着制作者的心血及技巧。

Every day in his practice as a private conservator he was faced with issues and contradictions around perfection and worth: where even an almost invisible hairline crack, a tiny rim chip or a broken finger render a once-valuable object pratically worthless, literally not worth the cost of restoring. There’s something incongruous about the fact that such an object still imbued with all the skills it took to make it.

玫瑰环绕的观音

（18世纪中国白色观音像，16、18和19世纪中国瓷器碎片）

Guan Yin encircled by roses 

(18th century Chinese blanc de chine figure of Guan Yin, 

16th, 18th and 19th century Chinese porcelain fragments), 2018

通过他的修复技术，Bouke 利用破损的瓶罐制作出新的作品，将“残损之美”体现得淋漓尽致。相较于类似锔钉和金缮技术的修复，他则采用了解构重建的手法。

Using his skills as a restorer , his artworks reclaim broken pots after their accidental trauma. He has called it "the beauty of destruction". Instead of reconstructing them like Doweling or Kintsukuroi, he deconstructs them. 

立于康熙款瓷瓶中的玫瑰

Rose in Kang Xi vase, 2019

（左）基督最后的激情 The last passion of Christ, 2016

（中）爸爸 Daddy, 2010

（右）2名唐兵 2 Tang soldiers, 2018

他没有隐藏陶瓷作品生命中这一最戏剧性事件的证据，而是强调它们的新地位，新的美德、新的价值观，并推动其故事向前发展。

Instead of hiding the evidence of this most dramatic episode in the life of a ceramic object, he enhanced their new status,  new virtues, new values, and pushing their stories forward.