Exhibitions Now On
Taiwan Ceramic Art Heritage Achievement Award - Pioneer of Modern Ceramics - Lee Mao-tsung (李茂宗) Special Exhibition
Opening Ceremony: May 2nd, 13:30
The rise of modern ceramic art in Taiwan can be traced back to the early 1960s, and it now has a history of over thirty years. Between 1960 and 1965, Lee Mao-tsung (李茂宗) attempted to infuse personal subjective color into the forms of traditional Chinese ceramics. After 1965, he continued to seek new realms in the forming function of hand-thrown pottery like bottles and jars, achieving certain breakthroughs in traditional forms. Simultaneously, he attained a degree of innovation in form, glaze, and texture. At the end of 1972, after holding a solo exhibition in the United States, he settled there. The change in environment and perspective gave Lee Mao-tsung (李茂宗) a completely new understanding of ceramic art. Ceramic art was no longer just 'pottery,' but an art of concept. From then on, his creations were reborn, 'form broken by intent, intent established by form,' shifting from visual imagery to imagery of the mind. After 1980, Lee Mao-tsung's (李茂宗) works further 'captured the essence and forgot the form,' exploring sculptural space, using both pottery clay and porcelain clay, establishing both 'form' and 'sculpture.' The application of glaze was free and expressive, naturally unified, creating forms that were rugged yet finely textured. Lee Mao-tsung (李茂宗) loves nature but is not limited by it; he contemplates all things in heaven and earth, the workings of the universe, and self-reflection. Through the universal material of clay, he attempts to present the conflict and harmony between the internal and external, transcending the temporal and spatial flow of objects and scenery. He gives clay a form beyond clay, and a life beyond clay.
The rise of modern ceramic art in Taiwan can be traced back to the early 1960s, and it now has a history of over thirty years. Between 1960 and 1965, Lee Mao-tsung (李茂宗) attempted to infuse personal subjective color into the forms of traditional Chinese ceramics. After 1965, he continued to seek new realms in the forming function of hand-thrown pottery like bottles and jars, achieving certain breakthroughs in traditional forms. Simultaneously, he attained a degree of innovation in form, glaze, and texture. At the end of 1972, after holding a solo exhibition in the United States, he settled there. The change in environment and perspective gave Lee Mao-tsung (李茂宗) a completely new understanding of ceramic art. Ceramic art was no longer just 'pottery,' but an art of concept. From then on, his creations were reborn, 'form broken by intent, intent established by form,' shifting from visual imagery to imagery of the mind. After 1980, Lee Mao-tsung's (李茂宗) works further 'captured the essence and forgot the form,' exploring sculptural space, using both pottery clay and porcelain clay, establishing both 'form' and 'sculpture.' The application of glaze was free and expressive, naturally unified, creating forms that were rugged yet finely textured. Lee Mao-tsung (李茂宗) loves nature but is not limited by it; he contemplates all things in heaven and earth, the workings of the universe, and self-reflection. Through the universal material of clay, he attempts to present the conflict and harmony between the internal and external, transcending the temporal and spatial flow of objects and scenery. He gives clay a form beyond clay, and a life beyond clay.
Event Details
- 2026-05-02 — 公館鄉（苗栗縣）