This monograph features Liu Jianhua's porcelain work between 2008 and 2011. 'Liu's constant media, ceramics, has a natural connection with history, while it simultaneously has some specific preception of beauty formed through history. This makes his art aloof when it comes to social topics. Liu consciously converts the self-contained cultural forms into visual representations, which were showcased as celadon sculptures in his first solo exhibition at Beijing Commune: 'Liu Jianhua: Untitled.' The works on show apparently asserted a non-narrative and anti-symbolic attitude, with an awareness of avoiding any references to personal socialisation, which is undoubtedly differentiated from the past circumstances. [...] Liu's perspective were clearly embodied in his recent artwork End of 2012 which appropriated the window style in Suzhou gardens that is originated from the ice crack of the surface of Geyao kiln chinaware glaze. Craftsmen of Song Dynasty (A.D. 960-1279) applied the crack form to woodiness pane, while Liu endowed the traditional style with new interpretations by utilising ceramic. Consequently, a specific artwork on the basis of fact was realised, new meanings generated accordingly due to different materials, as well as different time and space.' (Excerpt from 'Preface' by Leng Lin and Zhang Xiyuan, p. 6)
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