Zhu Legeng ：In 1988, Zhu Legeng graduated from Jingdezhen Ceramic Institute where he stayed on to teach. In 2003, he transferred to Ceramic Research center of the Chinese Academy of Arts in Beijing. He is currently the director of the Art Research Center, a member of the CPPCC National Committee, a doctoral students’ advisor, and vice-chair of the Society of Arts and Crafts.

My Beloved Teacher and Guide Through the Realm of Art

by Zhu Legeng

The Chinese have a proverb that says, “He who is your teacher for a day will become your father for life.” Shi Yuren, my thesis advisor who chose just one or two students per year, was my mentor, and I, his first graduate student in the masters program, spent 3 years as his apprentice.

I always thought my teacher would live to a ripe old age. Even-tempered and mostly a vegetarian, Shi Yuren enjoyed singing and dancing in an almost child-like way. Such character traits and behaviors usually predict longevity. But an accident took away his life much too soon. Since then, every artistic and academic accomplishment that I have earned makes me miss him very much. As his first protégé, I have always felt the responsibility to live up to his expectations.

Shi Yuren loved the folk arts and respected the traditional artisan skills. He befriended almost all the Jingdezhen folk artists and particularly admired the technique called gucai or antique overglaze polychromes. I first got to know Shi Yuren while working at the Art Research Institute of the Ceramic Art Factory. When Zhu Danian took charge of the “Song of the Forest” tile mural for the Beijing Airport, he called together a team of ceramic art masters from Jingdezhen. Shi Yuren, who had been a student of Zhu Danian, and I were chosen to work on the project.

At that time, I was fairly young with a focus on gucai.  Being both hard-working and innovative, I received a number of Jingdezhen’s 100 Flowers prizes. During the time we worked together on the mural, Zhu Danian and Shi Yuren complimented me on my artistic talent and gucai-based painting style.

When the mural project was completed, I was recommended by Professor Zhu Danian to study at Central Yang Meiyuan for a year. In Jingdezhen, the Ceramic Institute had just inaugurated its masters program for which there were limited openings. Only Professor Zhou Guozhen and Shi Yuren were authorized at that time to accept MFA students into the Fine Arts Department; each professor was allowed to choose 2 students. I spoke to Shi Yuren and expressed my desire to be his student. In turn, he was delighted and supportive. He recognized my practical skills with gucai, my aptitude, and my family background, which included my father, Zhu Ming, a renowned Jingdezhen ceramic artist.

With Shi Yuren’s full support and warm encouragement, I began my MFA studies in the summer of 1985 in the Fine Arts Department of Jingdezhen Ceramic Institute. This was a turning point in my life as well as the beginning of my following in Shi Yuren’s footsteps. He advised me to establish a plan that would enable me to open my eyes to and become familiar with Chinese culture, history, and art. Shi Yuren took me to the West River Corridor where we visited museums along the way and to the Mogao Grottoes of Dunhuang, among others. He also took me to the southwest areas of China to see first-hand the ceramics made by various ethnic minorities such as the Yazhou kilns of Guizhou Province and the Jianshui blue-and-white porcelain of Yunnan Province.

Along the way, we made many sketches and collected raw materials. In addition, to ensure that I would not be limited to Jingdezhen’s perspective, Shi Yuren took me to the Shenyang Porcelain Factory where we painted ceramic murals that used completely different materials and processes, which established the foundation for my future work.

Under the influence of Shi Yuren and with his approval, I had my MFA show, which included a gucai columnar vase nearly 1 meter tall. In retrospect, that vessel was rather traditional, yet at the same time, it showed originality. In the Jingdezhen tradition, gucai began in the late Ming dynasty era and reached its apogee during the Kangxi reign of the Qing dynasty. Gucai features rich colors and ornate decorations, most of which depict traditional figures, landscapes of mountains and water, or bird-and-flower motifs. The theme, however, of my MFA show focused on contemporary minority culture. The non-traditional vessels shapes I chose were influenced by the south Chinese Miao ethnic group and represented both a minority and a contemporary theme. The shape of the vessel itself was derived from the shape of the Miao totem pole. This work garnered Jingdezhen’s 100 Flowers Award with a high numerical rating of 9.88. Praised by the media for its notable gucai style, it also won the National 100 Flowers First Prize Award. Thereafter, I joined the faculty of Jingdezhen Ceramic Institute. Needless to say, these successes would not have been possible without Shi Yuren’s guidance.

Time flies. My teacher has been gone for more than a dozen years; however, we will never forget him. Today, we have brought about this Memorial Symposium to honor him. Not only are his students, friends, and colleagues here, but also Carla Coch, from the United States, who has initiated this exhibition and organized these events. As Shi Yuren’s first MFA student, I am honored to be in charge of the organizing committee for which I am delighted to volunteer my service which is the best way to express my gratitude to my master, Shi Yuren, in heaven now, but with us in spirit here today.

Translated by Yenfen Huang and Carla Coch