The dialogue of the past and the present in the innovative trends of the works of pottery of Qinzhou Nixing

Van Gan ORCID: 0009-0001-0558-1671 Postgraduate student; Department of Cultural Theory, Ethics and Aesthetics; Southern Federal University 344006, Russia, Rostov region, Rostov-On-Don, Bolshaya Sadovaya str., 105, office 42 WangGang2024@yandex.ru

The current state of the design of the works of pottery of Qinzhou Nixing

Modern China is a rapidly developing society. But the speed of the changes taking place in him is combined with a reverent attitude to the preservation of traditions and the best examples in all aspects of life, including in the subject of creativity. The intertwining of the traditions of artistic craft with the determination to express modern moods can be traced on different subject matter; in this case, an attempt is being made to fix this combination on the material of pottery art.

Qinzhou Nixing ceramics is a traditional folk craft in the Beibu Bay area of Guangxi, China. It originated during the Tang Dynasty and flourished during the Qing Dynasty. The widespread use of Qinzhou ceramics during the Xianfeng period of the Qing Dynasty caused the residents of Qinzhou to call these works of pottery Nisin ceramics, which means the following: "people like to use this kind of ceramics made by mixing two clays."

Nisin pottery has a history of more than 1,300 years. Today it is one of the "four famous pottery workshops of China" and is a national intangible cultural heritage. Nisin ceramics has been awarded the UNESCO World Outstanding Handcraft Badge certificate, as well as the national product certificate, and is protected by the National Geographic Indication of China. Nisin ceramics are represented in more than 20 national museums, and its products have been exported to more than 30 countries and regions such as Europe, America, Southeast Asia, as well as to China, Hong Kong, Macau and Taiwan ^{[1, pp. 74-76]}.

Thanks to the great attention and strong support of the Qinzhou Municipal Government, the Nixing pottery in Qinzhou City continues to develop. However, today there is a need for a certain updating of the design of Nisin's works. The lack of innovation in the design of Nisin ceramic products has become a major factor limiting its development. Updating works of pottery is important not only from a highly professional art criticism standpoint, but above all from the standpoint of preserving culture as a whole. In this regard, the purpose of this article is to understand possible innovations in the design of Nisin ceramic products. Considering the current practical problem of the lack of innovation in the design of Nisin ceramic products, ways are proposed to integrate regional cultural elements into the works of Qinzhou Nisin pottery.

The permissibility of innovation in the context of regional theory

The current circumstances of clarifying the cultural and civilizational interaction of various countries and peoples actualize the problem of interpenetration of global and local not only at the level of political and economic processes, but also at the cultural level. The most important part of these processes is decorative and applied art. Should DPI works only copy proven samples, or is it acceptable to introduce some new elements into them? Let's answer this question based on regional theory.

Regional theory was first used in the field of architecture and public art. It allowed us to theoretically substantiate the connection between works of art and the culture of the region in which they are created. In the 1990s, the British globalization theorist Roland Robertson coined the term "glocalization" and proposed the concept of "glocal identity", emphasizing that globalization itself has not only an economic dimension: "... I especially insist on the multidimensionality of globalization. Without comprehending the latter in the form of neoliberalism and at the same time giving it a clearly economic interpretation, I consider it as having political, social and cultural dimensions" ^{[2, p. 19]}.

Analyzing the interaction of global and local cultures, Robertson highlights the key role that regions play in this process, emphasizing that the identity and cultural characteristics of each region are the result of both internal self-awareness and the influence of global processes. R. Robertson's regional theory can be applied to study the dynamics of interaction between global and local cultures through the prism of local features and identities that are formed under the influence of globalization. Indeed, global and local processes proceed in mutual opposition and directly or indirectly condition each other.

The formation of global public relations, relations and structures taking place in all spheres of society is encountering opposition from countries, individual regions and cultures that are aware of their otherness. This allows us to conduct research not only from the point of view of the dominance of global trends, but also with an emphasis on how local cultures adapt, transform and integrate these influences, creating a new synergistic cultural product. Thus, R. Robertson's regional theory provides tools to better understand the mechanisms of glocalization – and this, in turn, is important for the study of the modern cultural field, its openness and diversity, especially in the framework of restoring the relationship between regional culture and innovation in modern cultural discourse.

Wu Jinxi, analyzing the meaning of the term "regionality", showed that it is associated with both globalization and local features ^{[4, p. 5]}. Chen Xihuan believes that "regionality" emphasizes the connection of the subject creativity itself with the land on which it is carried out, as well as with local culture, customs and other regional characteristics ^{[5, pp. 14-17]}. In the current era of the contact of many cultures, the importance of the regional factor and regional differences is dramatically increasing. "Regionality" is the reaction of the subject art to the "region", since art is rooted in the region and exists thanks to it. Art is nourished and grows by the "region", it can conduct a friendly dialogue with everything around, thereby gaining great vitality ^{[6, pp. 24-26]}.

Features of the Qinzhou Nixing pottery and the possibility of its development

Some researchers have proposed to apply traditional Chinese cultural elements, such as tea culture (Rongzhou, 2018) and folk culture (Zhou Ping, 2021), in the design of Nisin pottery, as well as creatively transform traditional culture to achieve innovation in this art ^{[8, pp. 168-169; 9, pp. 85-86]}.

Other researchers have proposed integrating modern design concepts into Nisin pottery works. For example, Dan Fanfang (2023) believes that modern ceramic design concepts can ensure the sustainable innovative development of Nisin pottery ^{[10, pp. 52-54]}. Yang Xiongyan et al. (2017) applied methods of combined design, cultural implantation and image modification to implement the practice of designing cultural and creative products of Nisin pottery ^{[11, pp. 197-202]}. Huang Shujie (2022) analyzed the principles of application and measures of minimalism in the design of Nisin pottery tea sets ^{[12, pp. 42-44]}.

There are also researchers who have applied innovations in the design of pottery Nisin at a methodological level. For example, Guo Xiumin (2021) and Liu Jiamin (2019) proposed integrating the design theory of the morphological semantics of the product into the design of the Nisin pottery products ^{[13, p. 5; 14, p. 13]}. Song Haimin (2021) and Zhang Qianyu (2020) proposed to apply gestalt theory, product image theory, etc. to the design and development of cultural and creative products of Nisin pottery ^{[15, p. 3; 16, p. 4]}.

Some scholars have also held in-depth discussions on the methods of integrating and design methods of Guangxi national culture into the design of Nixing pottery. For example, Hong Ye (2021) proposed using elements of Guangxi Zhuang brocade in the design of ceramic tea vessels of Nixing ^{[17, pp. 101-102]}; Wang Jinping (2021) conducted a study on the use of elements of ethnic Guangxi costume in the decorative design of Nixin ceramics ^{[18, pp. 116-117]}; Deng Fanfang (2023) analyzed the diversity of culture Huashan rock art and proposed to integrate it with the design of cultural and creative products of the Nixing potters ^{[19, pp. 119-121]}; Huang Hui (2021) proposed to adopt the style of Guangxi bronze drums in order to update the ceramic products of Nixing ^{[20, pp. 130-131]}.

The above-mentioned research has improved the current situation with the design of Nisin pottery products to a certain extent and provided links to the innovation and development of Nisin pottery product design.

The relationship between regional culture and innovations in product design by Goncharov Nisin

The bay area of Beibu faces the ocean in the south and Southeast Asia. It is the only coastal and border area in southern China with unique location advantages. The area is a multi-ethnic settlement inhabited by 12 ethnic groups, including Zhuang, Han, Yao, Miao, Dong, Mulao, Maonan, Hui, Jing, Shui and Gelao. Due to its multi-ethnic composition and special geographical location, the Baybu Bay region has experienced the long-term influence of foreign cultures such as the culture of the Central Plains and maritime culture. It continues to inherit, develop, innovate and integrate from generation to generation, thus forming a rich and unique regional culture. The regional culture of Beibu Bay is rich and colorful. In general, it mainly includes the ethnic culture of the peoples inhabiting it, natural ecological culture, culture of work and nutrition, folk literature, music and dance, folk drama, decorative and applied arts, architecture, etc.

Qinzhou Nixing ceramics is a typical craft from the Beibu Bay region of Guangxi. In 2008, it was approved by the General Directorate for Quality Supervision, Inspection and Quarantine as a "product protected by a national geographical indication". The "Regulations on the Protection of Products with Geographical Indication", promulgated and put into effect in 2005, clearly states: "Products with geographical indication refer to products manufactured in a certain region, and their quality, reputation or other characteristics significantly depend on the natural and human factors of the region" ^{[21, p. 3]}.

Thus, the ceramic products of Qinzhou Nixing themselves have "regional" attributes. From a "regional" point of view, the integration of the Beibu Bay regional culture to conduct innovative research in the field of Nixing ceramic products design is not only a living legacy of the Qinzhou Nixing pottery craft, but also the real development of regional culture.

An in-depth study of the regional cultural resources of Guangxi Bay from the point of view of folk culture, traditional crafts, national characteristics, historical heritage, natural landscapes, etc. allows you to preserve unique cultural practices and knowledge passed down from generation to generation. In turn, exploring the cultural resources of Guangxi Bay also opens up opportunities for interaction between different cultures, which promotes mutual understanding and respect, allowing people from different cultures to share knowledge and experience, which enriches society as a whole.

The organic integration of regional culture and Nisin ceramics not only provides a rich material for innovation in the design of Nisin pottery, but also enhances the regional characteristics of Nisin pottery culture, enriches the cultural meaning of pottery and improves differences with other similar products, thereby increasing the competitiveness of Nisin potters' products. On the other hand, Nixing pottery is used as a medium to promote the regional culture of Beibu Bay in Guangxi, which promotes the inheritance of regional culture and provides new ideas for its protection and development.

Integration and innovation of Guangxi Beibu Bay Regional Culture and Nisin Pottery design

The design elements of Qinzhou Nixing pottery mainly include patterns, shapes, textures, materials and functions. The integration of the regional culture of Beibu Bay and the design of Nisin pottery mainly takes two forms: the first is the direct application of visual symbols. Designers rationally use visual symbols of regional culture, such as graphics, colors and textures of materials, in product design in order to give pottery Nisin a cultural touch from a visual point of view and ensure adequate information transmission. The second form is the use of visual symbols indirectly, in a connotative sense. To do this, it is proposed to remove symbols and modeling elements and use other methods of expression to display non-specific elements of connotation, such as aesthetics, values and life customs, in order to form a unique cultural temperament and achieve the effect of transmitting its "meaning" ^{[22, pp. 126-127]}.

Integration of template elements

The Beibu Bay area in Guangxi has rich ethnic and cultural resources. At the same time, the unique geographical environment has generated abundant and diverse natural resources, including magnificent karst landforms and clean coastal beaches. These conditions create a variety of pattern elements. Thanks to the rational use of the design of the drawing, it is possible to accurately convey the concept and ensure effective communication of information, as well as emotional communication with the audience. Thus, extracting the design elements of patterns from the regional cultural elements of the Bay of Beibu and clarifying their main features will help to form the design elements of patterns with rich overtones. In real-world design applications, design techniques such as simplification, abstraction, and reconstruction can be used to achieve the organic integration of regional cultural elements of Beibu Bay and innovation in Nisin pottery design.

The integration of elements of ethnic patterns — such as Huashan rock carvings, local dramas and Zhuang brocade in the Beibu Bay area — into the design of Nisin pottery enhances the cultural meaning and aesthetics of these products. For example, the application of Huashan rock art patterns to the design of ceramic bottles with Nisin essential oil emphasizes not only the exquisite beauty of the bottles themselves, but also refers the viewer to a specific geographical location. At the same time, being a natural green material with good breathability, Nisin ceramics allows essential oils to evaporate naturally in the air, achieving the perfect combination of practical and decorative product functions. Another example is the integration of elements of local drama into the design of Nisin tea sets, subtly combining the artistic concept of drama perception with tea tasting and creating a unique cultural experience for users.

The integration of ocean landscapes, animal images and plant patterns of the Baybou Bay region into the design of Nisin pottery refers to the unique nature of the region. For example, when creating Nisin ceramic pots, such pattern elements as the rising sun, flying seabirds and waves artistically express the fresh morning landscape of Beibu Bay. In addition, when designing Nisin pottery tea sets, the thematic drawing of the Chinese white dolphin (a characteristic sea creature of Beibu Bay) not only demonstrates the good marine ecosystem of the bay, but also creates a simple artistic atmosphere. Thanks to such projects, the works of Nisin potters more vividly represent the colorful natural landscape and cultural charm of the Baybu Bay region.

Integration of morphological elements

Any kind of art is inseparable from the visual form, which is an important part of product design. For design, a form is both a visually perceived form and the internal state of a thing ^{[23, pp. 83-91]}. The design of the Nisin pottery product must take into account both the "external shape" and the "condition". The design of the "form" mainly expresses the function and structure of the product from a rational point of view, while the "state" focuses on the representation of emotions, culture and other aspects. The shape of Nisin ceramic products is a carrier of information. Designers use a unique modeling language to design the shape of Nisin ceramic products and use the unique shapes of Nisin ceramic products to convey the charm of their region to the outside world. In the design of Nisin pottery products, the introduction of typical morphological elements of the regional culture of the Bay of Beibu, the emphasis on local culture and the demonstration of a unique cultural style are among the important components of its innovation.

As an example of the integration of natural biological forms (such as animals and plants in the Bay of Beibu) with the forms of Nisin ceramics, one can cite forms on the theme of seabirds inspired by the species found here. With their help, a feeling of calmness, harmony and peace is transmitted. Another example is the design of the Nisin tea set on the theme of marine life, which integrates the general shape of tropical marine fish into the design of the kettle body, while combining morphological elements of shellfish to design the lid. These designs skillfully combine Nisin products with the shapes of natural creatures, demonstrating a unique beauty.

Typical human figures in the Beibu Bay area are abstractly generalized and used as morphological elements in the design of Nisin pottery products. For example, the Jing nationality is a unique ethnic minority in the Baybu Bay region. The design of tea sets on the theme of Jing nationality mainly uses graphic elements such as costumes and human figures of representatives of this ethnic group. The overall shape of the teapot resembles a Jing girl in a double-breasted form-fitting dress with a bamboo hat on her head and an elegant posture. The design of the tea jar is alive and reproduces the singing and dancing female figure of the Jing ethnic group. Decorative techniques on tea sets are mainly traditional carvings outlining the patterns of Jing women's clothing — simple and refined. This design conveys the unique cultural touch of the Jing ethnic group, allowing people to feel immersed in its customs and deeply experience its unique charm. Another example is the Nisin pottery called the Zhuang Impression, which uses the figure of a Zhuang girl dressed in national clothes as an element.

Another example of the innovative design of Nisin ceramics is inspired by the forms of traditional artifacts of the ethnic minorities of Guangxi, such as bronze drums (a percussion instrument of ancient China with a history dating back more than 2,700 years) and an embroidered ball (a common talisman among the Chinese, which in the traditions of the Zhuang people is considered a symbol of love). During the design process, all attention was paid to the combination of form and functionality, which not only reflects national characteristics, but also corresponds to modern fashion trends. This type of design enriches the artistic meaning of Nisin pottery, while preserving the cultural spirit of the Beibu Bay region artifacts and bringing new vitality to the heritage of local culture.

Integration of texture elements

The texture is formed by the organic structure of natural materials or the design of artificial ones. It appears on the surface of an object and can be perceived both visually and tactilely. Different materials create many different textures, and these textures evoke different psychological and physiological sensations in people through sight and touch. Texture, as one of the important components of fine art, along with color and lines, plays a key role in shaping shapes and expressing emotions.

The use of texture in the practice of Nisin pottery design can not only enrich artistic expression, but also increase the brightness and interest in the work. In the design of Nisin pottery, the texture can reproduce the rich and variable characteristics of an object's surface and have unexpected modeling effects. The Beibu Bay area in Guangxi is rich not only in animal and plant resources, but also has a large number of unique geological wonders that serve as sources of texture elements for design. The use of various materials, tools, techniques and other methods to create a variety of realistic and endlessly changing artistic textures has become a new visual design language for Nisin pottery products.

Combining the natural plant texture of the Bay Bay region with the design of Nisin pottery products helps bring consumers closer to nature and at the same time expresses a humanistic orientation. For example, when creating a ceramic pot to raise the beam, the texture of trees growing on the coast of Beibu Bay was used, which creates a feeling of proximity to nature. Another example is the design of Nisin pottery vessels, which uses wood and bamboo textures; the semantics of wooden barrels and bamboo baskets as containers harmoniously combine with the storage functions of Nisin ceramic tea jars and other containers. The fusion of this design technique has the characteristics of image and concreteness, clearly expressing the intention of the design. These techniques not only give Nisin pottery a richer natural look, but also reflect the designer's respect and care for nature, bringing deeper humanistic feelings to the products.

The design language of Nisin pottery is based on the integration of the texture of marine animals and the geological features of the Bay area of Beibu with product design. For example, the design of the tea set "Fish and surplus" (in Chinese, "fish" and "surplus" are homophonic and are often seen as a symbol of harvest). Based on this meaning, the designer used flat carvings and semi-bionic techniques to apply fish patterns to the design of Nisin ceramic tea sets. This work expresses the joy of the harvest. Another example is the design of Nisin art ceramics called "Marine Ceramics", which uses the shape of sea urchins as a general shape, and a reef with an attached shell and lace patterns of national Jing costumes as a texture. This design is both delicate and daring; it expresses national customs and represents the rich maritime cultural atmosphere.

Complex use of various materials

Different materials evoke different tactile sensations, associations and psychological reactions in people, as well as meet different aesthetic tastes. People feel the beauty of materials through sight and touch, perception and associations ^{[24, pp. 148-149]}. That is why it is so important to convey the natural color of the materials. Equally important is the beauty of the texture of the material, manifested in its softness and hardness, weight, coldness, warmth, dryness, humidity, thickness, etc. The beauty of materials is an important aspect of modeling the beauty of Nisin pottery.

People in the Beibu Bay area of Guangxi have largely preserved the texture, color and other natural attributes of natural materials in the process of creating their works, reflecting traditional ecological concepts and the life wisdom of compatriots from ethnic minorities who worship, use and protect nature. When introducing innovations in Nisin ceramic products, designers not only inherit and develop traditional techniques, but also take into account the properties of various materials. For example, the Nisin pottery wine mug uses clay as the body, metal for the handle, and glass for the lid. In this design, the texture of ceramics contrasts with the luster of metal and the transparency of glass, creating a unique visual experience. Another example is the construction of the Nisin pottery vase, which also combines glass and clay. Glass is used as the body of the vase to ensure the growth of plants, and the lower and upper parts of the vase are made of clay. The combination of external heterogeneity with the isomorphic design of the product not only does not interfere with functionality, but also increases the pleasure of combining the natural simplicity of clay with the transparency of glass. In addition, bamboo material and clay are combined in the design of Nisin tea utensils, which also demonstrates the harmony between man and nature. These designs not only improve the naturalness of the products, but also greatly enhance the user experience.

Conclusion

The analysis of the scientific elaboration of the problems of the dialogue between the past and the present in the innovative trends of the works of pottery of Qinzhou Nix shows that this topic has become an object of attention both in cultural studies and in design and art criticism (G. Wang, F. Deng, K. Li, H. Liu, etc.). The importance of preserving cultural characteristics and identity of ethnic groups, such as Both Zhuang and Han emphasize works exploring the interaction of local culture with modern trends. Academic publications often focus on how modern designers adapt traditional elements to create works that resonate with modern consumers while preserving cultural roots. Also in recent years, there have been studies concerning the use of modern technologies and materials in the production of Nisin pottery. New design methods, such as minimalism and environmentally friendly technologies, are integrated into traditional forms, reflecting the desire to create a dialogue between history and modernity (p. Guo, C. Yin, C. Zhang, etc.)

In recent years, the Nixing pottery industry in Qinzhou has attracted increasing attention from various sectors of society. More and more designers are beginning to explore and practice innovations in the design of Nisin pottery, creating rich and colorful works of art. However, in the current context of cultural globalization, innovation in the design of Nisin pottery remains weak. The article suggests specific ways to restore the relationship between the regional culture of Beibu Bay in Guangxi and innovations in the design of Nisin pottery. Thus, the main feature of Chinese civilization continues – the preservation of its continuity. Reverence for ancestors, innate respect for history and the unique ability of the Chinese to combine traditions with innovations helped preserve the national culture in the most difficult times. These qualities continue to be supported by China today.