http://s2/middle/690ce141t74a875ced5b1&690女性风情/ 《Femininity》" TITLE="◎ 女性风情/ 《Femininity》" />

                Black Pottery. Creating at the Longshan of Shandong in China (2004)

                黑陶，2004年创作于山东龙山

               ●2006年10月28日作品《女性风情》入选第八届全国陶瓷与设计评比，并获得安迪（Dr.Andrew Maske）博士、美国波士顿亚洲陶瓷学者给予的评委特别奖。

            Xue Huizhi： About the Ceramic Work “Femininity” 

　　　                           by Dr. Andrew Maske

    Xue Huizhi’s piece Femininity is a sophisticated work that appeals on many different levels, incorporating elements of sculpture, vessel-work, historical ceramics, metaphor, and humor.

    The first impression of the piece is one of elegant shape and striking black color. This is no accident. Xue has taught for nearly twenty years in Shandong province, the heartland of an amazing neolithic black pottery called Longshan ware. Longshan ware, with its thinly-thrown stem cups and beakers, is without a doubt among the ancient world’s most skillful and refined ceramic types. Xue has taken the essential characteristics of Longshan ware and created a work that appeals to the twenty-first century intellect.

    On second glance it is evident that this work is not simply a straight-forward vessel using the techniques of ancient Shandong potters. This polished black, hourglass-shaped vase seems to have taken on a life of its own, as if the sheer feminine nature of the form and its decoration has caused the development of breasts. Xue has cleverly made this to appear to be an organic process, giving the impression that one is watching a transformation take place. To ensure the viewer gets the idea, the mouth (neck?) of the piece is shaped somewhat like the collar of a blouse. This is humorous, to be sure, but at the same time it makes sense on a subliminal level.

    The descriptive language for vessels in many languages is based upon the human body. The lower curve of a bowl is called the “hip,” while the central area of a vase is its “torso.” A protruding edge is referred to as a “lip,” and so on. The compelling aspects of “Femininity” are its subtle concept and its juxtaposition of skillful refinement with the rough and unfinished. Combining intricate and unrefined elements in a single piece is a particularly difficult operation, and requires great sensitivity to do successfully.

    In her finely-executed decoration, Xue also invokes her heritage as a native of Yixing, home to the wonderful unglazed teapot tradition. The facility with clay she shows in this piece demonstrates that the ability to create intricate detail did not end with her grandmother, a skilled Yixing teapot maker who passed away at a tragically young age.

    In “Femininity,” Xue Huizhi has created a piece that stimulates both the eye and the intellect. Like the “little black dress” that is appropriate for any occasion, this work is a masterpiece of elegance and simplicity.

Translator：Xue Hongzhi

     ● 安迪博士的这篇评论文章发表在陶艺杂志《Ceramics: Art & Perception, 2009》，Dr. Andrew Maske 为美国哈佛博士后、美国肯德基大学亚洲艺术史教授、著名亚洲陶瓷专家。

     Link to this page 

     http://www.thefreelibrary.com/Xue+Huizhi:+about+the+ceramic+work:+Femininity.-a0216897014
<a href="http://www.thefreelibrary.com/Xue+Huizhi:+about+the+ceramic+work:+Femininity.-a0216897014">Xue Huizhi: about the ceramic work: Femininity.</a>

    Xue Huizhi's piece femininity is a sophisticated work that appeals on many different levels, incorporating elements of sculpture, vessel-work, historical ceramics, metaphor and humour.

[ILLUSTRATION OMITTED]

    The first impression of the piece is one of elegant shape and striking black colour. This is no accident. Xue has taught for nearly 20 years in Shandong Province, the heartland of an amazing neolithic black pottery called Longshan ware. Longshan ware, with its thinly-thrown stem cups and beakers, is without a doubt among the ancient world's most skilful and refined ceramic types. Xue has taken the essential characteristics of Longshan ware and created a work that appeals to the 21st century intellect.

    On second glance it is evident that this work is not a straightforward vessel using the techniques of ancient Shandong potters. This polished black, hourglass-shaped vase seems to have taken on a life of its own, as if the sheer feminine nature of the form and its decoration has caused the development of breasts. Xue has cleverly made this appear to be an organic process, giving the impression that one is watching a transformation take place. To ensure the viewer gets the idea, the mouth (neck?) of the piece is shaped somewhat like the collar of a blouse. This is humorous, to be sure, but at the same time it makes sense on a subliminal level.

The descriptive language for vessels in many languages is based upon the human body. The lower curve of a bowl is called the 'hip', while the central area of a vase is its 'torso'. A protruding edge is referred to as a 'lip', and so on. The compelling aspects of Femininity are its subtle concept and its juxtaposition of skilful refinement with the rough and unfinished. Combining intricate and unrefined elements in a single piece is a particularly difficult operation and requires sensitivity to do successfully.

    In her finely-executed decoration, Xue also invokes her heritage as a native of Yixing, home to the unglazed teapot tradition. The facility with clay she shows in this piece demonstrates that the ability to create intricate detail did not end with her grandmother, a skilled Yixing teapot maker who passed away at a tragically young age.

    In Femininity, Xue Huizhi has created a piece that stimulates both the eye and the intellect. Like the 'little black dress' that is appropriate for any occasion, this work is a masterpiece of elegance and sophistication.

    Dr. Andrew Maske is a specialist in Asian ceramics and is an assistant professor of Asian art history atat the University of Kentucky, US.