Carved porcelain works are carried out through three steps: composition, engraving and coloring, and engraving is the intermediate link. Its technology is directly related to the quality of the work. If the carving technique is not too hard, it is not in place, and the painting is no matter how good, it is impossible to create good carved porcelain works. Therefore, it is an insurmountable stage to lay a good foundation for painting and sculpture before entering the creation. Even when we enter the creative stage, we should constantly improve these two basic qualities.

We should constantly carry out creative practice.

Painting foundation and carving technology are the basic skills of porcelain carving art, but the most important and fundamental basic skill is imagination. Whether there is imagination or not is the watershed that distinguishes artists from craftsmen. No imagination, no creation. Imagination needs to be exercised, that is, constantly discovering and summarizing from practice, accumulating more experience and providing a deep foundation for imagination. The practical activities of porcelain carving art creation mainly include copying and sketching. Copying and sketching are the means, and creation is the purpose. The more creative a work of art is, the more vital it is. Through copying and sketching, we can lay the foundation of creation, discover and distinguish, experience, feel and inspire, and get the impulse of creation. No discovery, no creation, no difference, no independence. We should capture feelings from life, find language from tradition and find ourselves from creation. These three factors are mutually causal and indispensable. Porcelain carving artists should always put creation first. Mr. Li Keran said, "We should read two books intensively: one is called tradition, and the other is called nature". So is our porcelain sculptor. On the basis of inheriting the tradition, they should continue to go deep into life, society and nature and obtain extensive first-hand information. Through the analysis and research of these original materials, as well as the materialization of artists' inspiration, we can gradually enter the creative process and immediately practice the porcelain. Only by practicing, knowing, practicing, knowing again, and persisting in this way for a long time can we continuously improve the creative level of porcelain carving art, and any artist can not do without practice. Only through long-term creative practice can he create more and better works. The key to creation is to discover beauty and create beauty. Finding beauty is the first element that an artist should possess. Porcelain carving is the art of shaping images, and it is also the process that porcelain carvers discover and create beauty. Mr. Wu Guanzhong pointed out: "A painter should have the ability to describe objects, but the key question is whether he can keenly capture the beauty of objects." Porcelain sculptors must constantly polish their eyes, constantly improve their aesthetic understanding, provide nutrition for creating beauty, and make their works come from life and be higher than life.

3. Love creation.

Art originates from impulse, which is the motive force of creation. Like other arts, porcelain carving should be inspired by anything you create. Feelings in life include praise, sentimentality, a bright future and a full moon. Grasping this feeling and expressing it is artistic creation. Inspiration and feelings need to be accumulated and stored. When you have feelings, you should pick up a brush and record your "feelings" so as not to let them slip away in vain. This is the real artist. Only in this way can we maintain the sensitivity and impulse of the artist's vigorous artistic creation. The works created are the understanding and generalization of nature and life, and the artist's confession and expectation of the inner world. In order to keep the impulse in the creative process, I often tell myself that I should try my best to express my thoughts and forget how to write with a pen, just like Rainbow Xizhi's Preface to Lanting and Yan Zhenqing's Nephew Sacrifice. When composing a composition, I only draw the general layout framework, and the details are always expressed according to my imagination. In this way, the language of porcelain carving is often more vivid. In the process of creation, if there is no impulse to create, or too much attention is paid to porcelain carving techniques, it is impossible to produce touching artistic effects. Especially the latter, when you are full of creative impulse, once you are restricted by knife method, your charm will be blocked, which will directly affect the effect of creation. For example, when I was writing Ode to the Sea, I directly created the passion I personally felt on the porcelain board, absorbed in the direction, radian, rhythm and momentum of the ebb and flow, and forgot the order of carving knives and expressions in my hands. The carving knife follows my imagination, the rhythm changes with my emotional impulse, and I get unexpected results at will. Here, I want to say that porcelain carving is just a method, not an end. We should change our emphasis on controlling the technical level of porcelain carving into an artistic level that emphasizes the content effect. We should not be a technician who can only use carving knives, but an artist who can use carving knives flexibly and express emotions through carving knives.