关于天成窑
天成窑，不是一座窑。
它没有窑墙，也没有窑门，
是火与器物之间一次次自然生成的结果。
我们在各地的窑火中寻找不同的可能性，
将柴烧的烟痕、紫砂的气骨、古器的余韵
悉数带回到这片“无窑之窑”。
天成，不是人为之成，
而是火与泥在时间里自成其形。
我们所做的，是让器物回到它们自己的命运
阳羡盏
以紫砂回应建盏之后八百年的审美回声。
紫砂钵系
从新石器的原初器形出发，重建紫砂的“原始姿态”。
印象派紫砂
让紫砂在火中生出光影，如睡莲池塘般的色与气。
敦煌紫砂
从壁画与佛教视觉传统导引出的当代器物语言。
油灯《要有光》
用微光呈现器物的呼吸与紫砂的谨静。
诗句款盘子 · 鼎山诗社
让文字与器物并置，成为当代文房的延伸。
在天成窑，作品不被窑口限定，
不受技法拘束，
它们遵从火的安排与器物自己的意志。
天成窑，是作品的呈列之地
它不是工艺分类，不是产地归属，
更不是一种窑名意义上的标识。
天成窑，是器物以最自然的方式呈列自身的地方。
一件作品，一种光影，一段火的故事，
在这里得以被看见。
一个作品集，
也是一个独立的美学世界。
About · Tiancheng Kiln
Tiancheng Kiln is not a kiln in the usual sense.
It has no walls, no gate, and no fixed chamber.
It is the quiet space where fire and clay meet, again and again,
and form what they wish to become.
We travel across different kilns and firings,
gathering possibilities from the path of fire—
the smoke marks of wood firing,
the inner bones of Yixing clay,
and the lingering breath of ancient forms.
All of these return to this “kiln without a kiln.”
Tiancheng is not shaped by force; it is shaped by time—by the accord between fire and clay.
Letting Each Vessel Return to Its Own Destiny
Yixing Bowls
A contemporary response in purple clay to the aesthetics of Jian ware across eight centuries.
Zisha Bowls Series
Revisiting the primal silhouettes of the Neolithic era to rebuild the “original posture” of purple clay.
Impressionist Zisha
Where purple clay grows light and shadow in the fire, like a pond of water lilies trembling under dusk.
Dunhuang Zisha
Ceramic language informed by murals, Buddhist imagery, and the long arc from “formless” to “formed.”
Oil Lamps · “Let There Be Light”
Tender flames revealing the breath and quiet discipline of clay.
Poetry Plates · Dingshan Poetry Society
Where words and vessels stand together— an extension of contemporary literati culture.
In Tiancheng Kiln, works are not confined by kiln lineage,
nor limited by technique.
They follow only the trajectory of fire
and the will of the vessels themselves.
The Breath of Vessels
We believe the surface of a vessel is not an ending,
but the place where its breathing begins.
Fire writes its own poetry; clay remembers what time leaves behind.
The fall of ash is the vessel’s own decision.
The maker merely gives shape—
it is fire that completes it.
Tiancheng Kiln · A Place Where Works Present Themselves
It is neither a craft category nor a geographical label,
and it is never meant as a traditional kiln name.
Here, vessels present themselves in the most natural manner—
one piece, one shadow, one trace of fire—
all becoming visible in their quiet integrity.
A body of work,
and a world of aesthetics on its own.