「One object per period」Gao Zhenyu comprehends the Tao that transcends form through clay vessels

In the Sotheby’s Hong Kong space, Gao Zhenyu’s “Clay Nirvana” works, using clay as the medium, initiated a profound dialogue between art and philosophy. While visiting the exhibition, the philosophical thought from the “I Ching” that “what is above form is called the Tao, and what is below form is called the vessel” resonated strongly with the objects, allowing me to have a more vivid understanding of the connection between the Tao and the vessel.

The spherical vessel: round and full, inherently inclusive, like a miniature of the universe, is a tangible and visible “vessel” of the “material” realm. However, it is precisely this concrete form that connects to the abstract “principle” of the “metaphysical” realm. When gazing at it, one is easily reminded of the infinite cycle of the universe and, without realizing it, begins to introspect on oneself.

Other forms of objects that cannot be precisely described present the chaos and tension of natural growth through unique folds and cracks. This is the external form of “vessel”. The impermanence and change of form are the normal state of life. This kind of reflection on the laws of life is precisely the core of “Tao”.

Clay is a gift from nature. Through creation, it becomes a carrier where the “Tao” and the “Vessel” blend. When viewers gaze at the shape and touch the texture, they gradually move from the perception of the “Vessel” on the surface to the spiritual realm of “understanding the Tao”, getting lost in meditation in the interweaving of introspection and observation of the world.
Ultimately, in the simple vitality of the clay, we explore the boundaries between form and meaning, vessel and Tao, and complete an artistic practice that ascends from material perception to spiritual elevation.

The tea for today is all gone. Next time, I’ll brew a fresh pot and enjoy art with you again.