|Event Category||Seminar and Workshop|
|Event Date||July 24, 2003|
Archaeologists and collectors from China and Indonesia.
Government of Republic of Indonesia and & Embassy of The People’s Republic of China.
Jalan Medan Merdeka Barat, Central Jakarta
Throughout his research of Asian art and culture objects, Aminudin was trusted by government and public as a keynote speaker and trainer on Seminar and Workshop: Ancient Chinese Ceramics in Historical and Authenticity Perspectives. The event of seminar and workshop was hosted by The National Museum of Indonesia in Jakarta – Indonesia under patronage of government of The Republic of Indonesia and & The Embassy of The People’s Republic of China. The impressive event was attended by a wide range of collectors, government officials from China and Indonesia, and public. The seminar and workshop were covered by national and international mass media and television: RCTI, ANTV, SCTV (Ina) and China Central Television (CCTV).
As its long historical connection of both countries, the historical Chinese ceramics found and preserved in Indonesia must be reviewed and identified. Like the research and evaluation on other Chinese artworks, the beauty of the Chinese ceramic design is defined with the physical appearance, the intricacies, the imaginative structures, and colorations of decoration and glaze that are pleasant to the eye. The Westerner’s eye views that they are beautiful and unique, meanwhile to the Asian’s eye view they are far more beautiful and unique. For many Asian people, particularly Chinese, ancient artworks are considered as media used for religious ceremony appliances to worship the spirits of their ancestors. Thus, the vessels are much more used as the sacred medium than as only a decorative appliance. The Chinese descendants have still believed that they must preserve, commemorate and respect the artworks of their ancestors since the ancestors are living spirits who guarded and protected their offspring.
The speaker and trainer, Aminudin, also elaborated the Chinese ceramic on its culture and historical perspective that through thousands of years of its evolution. Many styles and forms of Chinese ceramics have been developed and established by respective Chinese dynasties in the different ways, either through its modification or improvement. Different style and design or decoration express different personality and taste, and it was produced in different areas of kiln and used for different purposes at different times. Although its beauty varies among different times and areas of production, it elaborates history as a foundation that was created by the artists or potters with a deep sense of spirituality. This sense of spirituality is frequently represented by themes and symbols, designs or decorations of ceramics in consonant with certain old beliefs that emerged along with the development of the oldest beliefs, Taoism, Confucianism, Buddhism, Islam and Christianity in China as well as its patrons or customers abroad.
Aminudin also affirmed that the trend of fake or modern Chinese arts, particularly Chinese ceramic in the market also boomed on a global scale recently. The forgery issues of Chinese ceramics roamed in the art markets. It is definitely not simple task for anyone to ascertain whether ancient Chinese ceramics are genuine for its respective period, fake or modern. Due diligence of authenticity of Chinese art has become more and more momentous not only for collectors or institutions, but also for influential piece of literature and culture in history of civilizations and humankind. By its historical influence, other Asia countries could color and share certain cultural, tastes for its strength and powerful aesthetics, fashion and customs on Chinese ceramics when they were exported. Some countries had influences of past culture and designs that linked China to the rest of Asia to the Mediterranean regions. Ancient Chinese ceramic art is elusive as it portrays various different ideas and creativities of potters or artists with different eras when Chinese imperials were in triumph and loss since centuries ago.
Therefore, the accuracy of research and comprehensive report on authenticity of pieces should be considered. The research of Chinese artwork’s authenticity is not a puzzle game or an illogical debate with another party, either it is conducted on online media or at first-hand inspection.