按照佛教的說法，中國的藝術界處于一個末法時代。所謂末法，是指一個沒有秩序邪念叢生的時代，也可以被看作是一個重建秩序和價值觀的時代。在這樣一個時代，藝術的形式與內容在急速的轉變和發展之中，每一個藝術追尋者與創作者也被推到善與惡、欲望和理想的矛盾臨界點上。面對著身份、物質、金錢、欲望、形式、觀念等諸多對立與矛盾，藝術家們以自己獨有的方式將種種沖突展現在藝術創作之中。 劉力國的經典系列以陶瓷華麗脆弱的特性，向我們展示了他對于狂歡、流行、本能、惡俗和商業的“反人侵”，他將藝術看作是一種與末法時代短兵相接的游戲和自我救贖的方式。劉力國的陶瓷藝術主題實際上是關于救贖的，但不是關于對于社會的救贖，而是個人試圖回到面目全非的自我原生態，為自我救贖而進行一場預先的自我探究。最近幾年，劉力國精于制作瓷器雕塑，他在這些作品中容入了很多幽默的元素，并使用了非常華麗、濃重，精致的裝飾做法，其表達方式亦不再含蓄，以一種更直白的方式傳達信息并在有意無意間使這種信息具有某種挑釁性。更甚的是整個雕塑粘著數百朵色彩艷麗的花朵，色彩鮮艷，使人聯想到滿清時代傳統作品中充滿象征意義的著名的花朵。他對這些性感的符號進行嘲笑，暗示了中國最近的性自由現象。他對這種變化感興趣，并對之進行思考。其作品《花兒》、《找回記憶中的風景》、《千姿百媚》、《鳥語花香》，通過陶瓷的華麗，奇特的造型，以繁星般的手法， 濃重色彩的視覺沖擊將這些思想一一展現。他認為，“藝術是縮小的現實風景，藝術家在這縮小的風景中創造自己的世界。”他的作品不僅記錄了現實環境對他個人生活的影響，也反映了他對現實的態度。他認為隨著時間的推移和環境的變化，其作品將更真實地記錄不加修飾的生活。 劉力國，1961年生于黑龍江，畢業于北京中國戲劇學院美術系，1986年到2000年間舉辦過多次個展、聯展。從傳統的水墨畫到油畫，從前衛藝術到艷俗藝術，從攝影到經典陶瓷藝術，他天馬行空般穿行于藝術的世界。 摘自《品味生活》 （2005年） Fragile Beauty According to Buddist theory, Chinese artists are currently undergoing a period of “Mofa”, Which means chaos, ideological conflict, confrontation and evil. In this era, order and value are being re-shaped. Simultaneously artistic forms and content are changing and developing rapidly as artists struggle to find their own identity in the midst of the conflicts between good and evil, lust and asceticism, commercialism versus pure art .Liu Liguo, one of today’s leading Chinese artists, has managed to establish his own artistic concepts in the midst of the surrounding creative turmoil. Liu is exhibiting his latest ceramic series in the group exhibition at Factory 798, the area that has become famous as Beijing’s showcase of contemporary Chinese art. Liu’s classical pottery series reveals his strong antipathy to pop, basic instinct, and pure commerce .He views art as an interesting game in the Mofa Period and an effective way to save oneself. The theme of his work is rescue-not rescuing individual artists as they return to their elemental selves for purification. Liu has worked in many media, but in recent years he has shifted to clay. In his pottery pieces he uses great quantities of bright colours like red, blue, yellow and green, with decorative pottery flowers and accessories. The shape of sexual organs can easily be recognized. These gorgeous works are filled with humour and directly express very controversial meanings to indicate the phenomenon of sexual freedom in China today. Liu is increasingly pursuing this theme and he is keen to show this dramatic new departure in his work. “These sexual symbols in my art work are sarcastic”, he says. Pottery is one of the most enduring Chinese media, but now Liu is using it as a means to express ideas that are far from being accepted by the majority. According to Liu, “Art is a miniaturized version of reality. The artist creates his entire world within this miniaturized scenery.” These ceramic works sum up many years of Liu’s artistic endeavour, documenting changes in his life and environment. It is impossible to change things merely through an act of will, but the experience of a certain perspective reflects one’s attitude towards reality. Following the changes wrought by time on the world around us, these pieces will surely record the realities of life without compromise. Liu Liguo was born in Heilongjiang province in 1964. he graduated from the Stage Department of the Beijing Opera Institute. From 1986 to 2000 Liu showed his works in many solo and group exhibitions, covering a wide range of media including traditional Chinese painting, photography and ceramics. 《Life Style》 （2005）