Based on lime sculpture, inlaid porcelain is a craft applying tessellation with cut pieces of porcelains to build images. This craft originates from Ming Dynasty and culminates in Qing Dynasty. Inlaid porcelain is an essential part of architecture in Chaozhou region, especially in temples and clan halls. Despite threats of natural disasters through time inlaid porcelain maintains its brightness in color. Therefore it is called “the ever-bright folk plastic arts”. In 2012 it was enlisted the Intangible Cultural Heritage. Mr. Lu Zhigao is the successor of this ancient craft.

　　Folk arts refer to the art forms executed by laborers and could be passed down from generation to generation. Named craft, folk arts generally are practiced among family members, who gradually set rules and models. In “Gao Zi from Meng Zi” Master Meng Zi says, great craftsman teaches rules and the trainees follow them. He admits the advantage of craft in the perspective of standardization. Correspondingly, ingenuity refers to skills. Ingenuity and originality are one of the ancient idioms for compliment of such technical accomplishment. However there seems an intangible line between craftsman and artist. Wang Fuzhi writes in “Words in Jiang Hause”: Li Qiao ( in Tang Dynasty) values the technical accomplishment. But neat and symmetric arrangement in articles pales the vitality. Therefore skill leads to craftsmanship only.”  “Follow the shape and color to imitate the object requires skills, but it is craftsmanship still.” Craft is synonymous to stiffness, lacking aesthetic style and innovation. Hence works with craftsmanship could hardly become high culture or elitist culture.

　　If one breaks the rule, his works could no longer be categorized in folk arts. But if all rules are strictly followed, craftsmanship will entail. How to seek a balance in between? How to be innovative through inheriting?This used to be the dilemma Mr. Lu faced, who had gained virtuosity through practical experience. Finally he decided to explore it in two aspects after contemplation: On one hand he studied Chinese painting to enhance aesthetic accomplishment and assimilate it into inlaid porcelain, in which the aesthetic taste was improved. He employed the skills of lime sculpture, porcelain sculpture and gauze lantern on the other hand. Different from the traditional inlaid porcelain on roof treasures decorative effect, Mr. Lu selected the most attractive plot and most vivid figures as his motif and executed ornament and hanging panel. As a result the spectrum of inlaid porcelain was extended. He has changed the rough artifact could be seen through an upward view into delicate art piece that could be appreciated at close range.

　　Mr. Lu has made profound achievement through practice and exploration. In his artworks all figures, such as Zhong Kui, a god with hideous appearance, Buddha and literati, look natural and vivid. Zhong Kui’s hard, prickly beard and bulging eyes terrify the ghosts and devils; the benign and smiling face of Buddha converts demons. Despite various shapes and poses, all figures, like the refreshed literati and the potbellied Buddha, gain vitality. Further more, Mr. Lu has been studying mural painting from his father since his childhood. His virtuosity enables him to depict wrinkles of clothes in just one smooth stroke. The free strokes in shaping clothes and meticulously depicted faces of figures stand in a sharp contrast. The dense and sparse strokes tactfully build a complementary and seamless relation with each other, and the figures acquire vitality and reflect a refined and immortal temperament.

　　Mr. Lu blends his aesthetic achievement of painting into inlaid porcelain. The stiff and lifeless figures become vigorous and vivid under his little spoon. In his imitational works “Fifteen Bunches of Coins” and “Beauty Qiu Xiang”, which were originally executed by the master Lin Hongxi, Mr. Lu adds two buckteeth for Thief Lou to outstand his obscene personality. His Beauty Qiu Xiang squints and her wit is mirrored through her expression, while the two brothers from Hua Family stare lasciviously at her, reflecting their foolishness. The vividness of figures wins plaudits and Mr. Lu’s virtuosity that takes reference from predecessors and yet surpasses the old obtains admiration.

　　After this successful experiment Mr. Lu’s passion in execution could no longer be restrained. Recently he has executed the series of "24 Stories of Filial Piety" (24 pieces) in a row. Each piece is the essence of the combination of traditional Chinese painting, inlaid porcelain and other artistic elements. The innovative and dizzying art form should be hailed for its splendor!

　　Mr. Lu merits the title of “painter of Chinese painting” in view of his high achievement. And he has been the leader in inlaid porcelain. His status as the successor of “The Intangible Heritage” is well deserved. So when he kindly invited me to preface his “Collection of Inlaid porcelain and Chinese Painting”, I, as an old friend of him, was more than happy to write on his works. Besides, it offers an opportunity for me to express my admiration for his incessantly endeavor, albeit my unprofessional views on art.

　Zeng Chunan

　　6 Apr. 2013 at home

　　(The author is consultant of Han Yu Research of Literature in Tang Dynasty of China)