Liu Runfu

Doctor’s degree from Tokyo University of the Arts

Postdoc at Tsinghua University

Associate professor & postgraduate supervisor

Person in charge of the Ceramic Art & Design Laboratory

Additional Academic Positions:

Secretary-General of the International Society for Ceramic Art Education and Exchange (ISCAEE)

Member of the International Academy of Ceramics (IAC) of UNESCO

Ceramic Curator of the “International Emerging Artists Group Exhibition”

Teaching Experience:

Jul 2017 till present Associate professor & postgraduate supervisor at the Department of Ceramic Design of the Academy of Arts & Design, Tsinghua University

Jun 2016-Jun 2017 Assistant professor at the Department of Ceramic Design of the Academy of Arts & Design, Tsinghua University

Dec 2009-Jun 2016 Lecturer at the Department of Ceramic Design of the Academy of Arts & Design, Tsinghua University

Apr 2006-Mar 2007 Teaching Assistant at the Department of Pottery of the Faculty of Fine Arts of Tokyo University of the Arts

Research Area:

  1. 1.Theoretical research: comparative study of traditional crafts (pottery) in China and beyond

2.Practice and creation: study on the inheritance and innovation of handicrafts (pottery)

Academic Proposition:

1.Chinese traditional crafts are created based on practical needs and manifested by handicrafts. They aim to serve humanity and society, and emphasize the feelings shared between makers and users.

2. Chinese traditional crafts are primarily committed to the intrinsic concept of “soul” and look for a harmonious integration between modelling and decoration. They lay stress on “using the soul to determine the form” and “using stillness to capture activity”.

3. Chinese traditional crafts start with beautiful nature and fine materials, and uphold the philosophy of pursuing “harmony between men and nature”. They are about the philosophical thinking of the aesthetic principles of “dào (a social or a natural path)” and “dé (inherent character; inner power; integrity)” as embedded in Chinese culture and tradition.

Based on the reflections above, in today’s colorful world where the east and the west converge, we should boost our cultural confidence and advocate eastern aesthetics and values reflected by Chinese tradition. We should pay equal attention to the “material (cái)” and the “texture (zhì)”, and fit in both the “form (xíng)” and the “state (tái)” during art and craft creation. “Skills (yì)” and “techniques (shù)” have a profound history, while “objects (qì)” and “natural path (dào)” last long. Only with the harmonious integration between natural materials and craft techniques can we achieve an excellent state of dignity and elegance where men and nature accommodate each other in harmony in the context of eastern philosophy.

The pride of a nation is also the pride of the world. Inheritance and innovation based on Chinese aesthetics are the most effective complement of China to the diversity of world’s craft.

We should absorb our tradition and integrate it into the present to demonstrate the vitality of handicrafts in modern times. We should learn from foreign outstanding traditions and carry forward eastern aesthetics and interests. It is the only way to ensure a sound development of craft arts.


Jul 2013, Gold Award for Creation of the Asia-Pacific Craft Exhibition (by Asia-Pacific Craft Expo)

Jun 2010 Award of the China Postdoctoral Science Foundation (Arts) (by China Postdoctoral Science Foundation)

Jul 2003, Japanese Government (Monbukagakusho) Scholarship (by the Ministry of Education, Culture, Sports, Science and Technology of Japan)

Jul 2000, Bronze Medal for “Chinese Artists at the Exhibition of Chinese Artists Around the World in 2000” (by the Ministry of Culture of China and the China Federation of Literary and Art Circles)

Academic Teaching:

National level excellent course: Traditional Pottery

Specialized courses: Pottery Creation, Inquiry into Pottery, Ceramic Art, Pottery Firing, Professional Inspection, Professional Practice, and Dissertation Supervision.