Research and Observation on the Small Social Units Formed by Taiwan Ceramic Artists and the Manner in Which These Communities Function – Subjects for community research selected from the small pottery communities found in Miaoli, Taichung, and Nantou

• Main Authors: Li Tsui-yu, 黎翠玉
• Other Authors: Huang Hai-ming
• Format: Others
• Language: zh-TW
• Published: 2007
• Online Access: http://ndltd.ncl.edu.tw/handle/03367817088978778235

碩士 === 東海大學 === 美術學系 === 95 === The purpose of this “Research and Observation” on the small social units formed by Taiwan ceramic artists, and the manner in which these communities function, demonstrates the many practices shared in common by Taiwan’s ceramic artists. In Taiwan art circles, ceramic artists are considered a borderline art form. They are not interested in proving their status as artists, nor is there any way this could be achieved. Many of them even doubt whether they should be considered artists. However, upon joining the pottery community, they either identify themselves as members of this group, or reject the idea that such a community exists. If they acknowledge one another and work together, they have the potential to become a very powerful art group, while still retaining their own identity. Small pottery comminutes in Miaoli, Taichung, and Nantou were selected for this community research, and the conclusions are presented in this thesis. The following factors are influential on the formation of these associations and have an effect on the manner in which they function: sharing land resources and equipment, family influence heritage, practicing the same trade, and business considerations. In art circles “pottery artists” are a comparatively low-key group. They often live away from the city, or 2 or 3 of them will get together to form a unit based on their common interest. They work in concert to form trade organizations, take part in contests, organize various activities, and hold joint exhibitions. Should a change occur in the art market, or should government social policy embark on a new path, they work together to suitably carve out their market niche and change the situation to their benefit. For example, “wood-fired ceramics art” has become very popular in recent years, and today all ceramic artists use this method. In order to cope with the present economic situation, a large number of private studios are jointly promoting “cultural tourism”. Seen from the standpoint of change in managing their activities, this phenomenon of “communal living and effort” is not found in other art categories. It is unique to the world of ceramic art and deserving of our attention.