陶瓷是中国古代劳动人民的伟大发明之一，早在八千年前的新石器时代，我国人民就已开始了陶器的制作。在清朝的前半期，即康熙、雍正、乾隆三朝的制瓷技艺达到了历史的高峰，是我国封建社会瓷业的黄金时代。晚清时期陶瓷生产开始每况愈下，到了民国时期陶瓷更是日见萧条。虽然中国陶瓷发展到现在历经了不少沧桑，但由于陶艺语言正是中国文化的载体，所以它在中国的内在文化价值是永远不会改变的。

本文揭示了陶艺语言的文化符号特征，通过在公共艺术中的表现来向世人弘扬中国文化的内在特征，通过中西陶艺公共艺术作品的比较，强调中国传统文化符号，论证中国公共艺术中发展陶艺的必要性。

泥土是孕育生命的基本，给人带来一种母性的情怀，其母性符号正是陶艺的材质符号特征。陶艺不但在材质上具有一定的优势，而且拥有丰富的语言特征，陶艺是中国文化内在特征的一种表现，中国文化的内在特征使陶艺语言产生了文化载体的价值，通过此载体借助公共艺术这个传播媒介的作用，弘扬了中国文化的内在特征，此逻辑关系体现了陶艺语言价值所在。

在二十一世纪的今天，人们经历过社会动荡及经济危机，加上天灾人祸的频率越发增加，人们更需要得到社会的关怀与支持，艺术家们应多关注社会大众，从作品中把关怀带给大家，然而大众也会自然地关注作品。在中国公共艺术中发展陶艺时，多关注社会，多聆听大众的声音，大众很自然就会把目光投在作品上，这样一来，要提升中国陶瓷文化符号的影响力在不久的将来才有可能实现。

 在中西陶艺公共艺术作品的比较中，让我们了解到中国的陶艺在公共艺术的发展还在被动状态之中。公共艺术在中国的发展虽然比西方发达国家迟缓，但这证明了中国在公共艺术领域上还有很大的发展空间。随着中国经济贸易对外开放，世界各地许多人士纷纷到中国经商、贸易、旅游，使中国成为世界上受人注视的国家。而西方的传统文化虽然比不上中国那么深厚悠久，但却带领着现代文明的走势，因此，中国更应强调自身的文化内在价值，然而发展陶艺自然就可摆脱这种被动的现状，所以必须用公共艺术这个平台来很好地展示中国的内在文化特征，把中国的传统文化更好地传承下去。

Ceramics is one of the great invention of ancient Chinese working people. As early as the Neolithic eight thousand years ago, our people had already begun the production of pottery. In the first half of the of the Qing Dynasty, Kangxi, Yongzheng and Qianlong Dynasty porcelain art reached a historical peak, is the golden age of the feudal society of China Porcelain. The late Qing Dynasty ceramic production deteriorating, to the Republic of ceramics is an increasing depression. Although the development of Chinese ceramics and now after many vicissitudes, pottery language is the carrier of Chinese culture, its intrinsic cultural value is never to change.

This article reveals the characteristics of the pottery language cultural symbols, to the inherent characteristics of the development of Chinese culture to the world through public art, through comparison of Chinese and Western pottery public works of art, emphasizing the traditional Chinese cultural symbols, the demonstration of public art in China in the development of pottery necessity.

Soil gave birth to the basic life, brings a maternal feelings, characteristics of the material symbols of sex symbol is the pottery of the mother. Ceramics not only has certain advantages in the material, and has a wealth of language features, pottery is a manifestation of the inherent characteristics of Chinese culture, Chinese culture, the inherent characteristics of ceramic art language to produce the value of the carrier of culture, this carrier with the public art in this the role of the media, promote the inherent characteristics of Chinese culture, this logical relationship reflects the pottery language value.

In the twenty-first century, people have experienced social unrest and economic crisis, coupled with the frequency of natural and man-made disasters to increase more and more people need to get the care and support artists should pay more attention to the community, care and concern from the works. However, the public will naturally focus on work. The goal of the development of the Chinese public art pottery, and more concerned about society, more than listen to the voice of the public, the public very naturally the spotlight in the works, to establish Chinese ceramic culture symbols in the near future be possible to achieve .

In the comparison of Chinese and Western pottery works of public art, we learned that the Chinese ceramics in the development of public art is still passive state. Public art development in China than in Western countries slow, but it proved in the field of public art there is still much room for development. With the Chinese economic and trade opening, many people around the world have come to the Chinese business, trade, tourism, become the world's people watching the country. The traditional culture of the West, although not China so deep and long, but led the trend of modern civilization, therefore, should emphasize the intrinsic value of their own culture, however, the development of natural pottery can get rid of this passive status quo, it must be public art in this platform to show the inherent cultural characteristics of China, China's traditional culture heritage.