The theme of this exhibition is inspired by the classical Chinese poet Tao Yuanming's work "The Peach Blossom Spring,", which represents the ancient Chinese longing for an idealized life. In the West, there are similar concepts such as "Eden," "Utopia," and Shakespeare's “Lotusland." The phrase "falling flowers in profusion" in the text describes a dreamy paradise where colorful flowers fall gracefully. In the context of classical Chinese aesthetics, flowers that fall to the ground mix with the earth and become mud, which is the fundamental material for ceramic artists. Hence, this inversion leads to the exhibition's theme, "Vibrant Hands Shaping Petals." Here, "shaping" refers to the handcrafting work of ceramic artists, and "petals" (which also means "flowers" in Chinese) symbolize beauty, elegance, and brilliance, suggesting meanings like "fine" and "bright." The theme thus signifies that artists use earth's soil to create a vibrant variety of ceramics.The participating artists—Rudolf van Eden, Wu Jingwen, and Deng Dandan—although from different countries and working with ceramics in different lands without having met each other, are all masters of ceramic techniques. Through materials and processes that have evolved over thousands of years, they create ceramics with diverse textures and rich colors, using their craftsmanship to explore the meaning of life.The English theme, "Colorful above the clay", draws from the New Testament, specifically Matthew's "Salt of the Earth." Salt has been an essential resource throughout human history, and the phrase "above the salt" in the West directly implies a person of high status. The English theme thus conveys that ceramic artists, using clay as their material, create a wide variety of exquisite ceramics. "Colorful" in Chinese implies not just "color" but the "myriad forms" of existence.