刘传自幼体质孱弱，10岁时，父母节衣缩食送他进私塾读书，但刘传对"之乎者也"兴味索然，转学三家私塾，所得甚微，却迷恋于听讲古、看粤剧、读公仔书，受到民间艺术耳濡目染的熏陶,12岁开始学习陶塑。

 1928年，因家境困窘，刘传入古玩行当学徒，后人陈奇记当长工，在备受煎熬的艰辛劳作中，刘传摄习了炼泥、配土、烧釉等整套的石湾陶瓷工艺技术，并以"窥师习艺"的方法，学习前辈名家潘玉书，钻研各名家的作品，且敢于创新、勇于拓展，初具粗犷、豪放的艺术雏形，塑造了"张飞"等成名作，在石湾艺坛崭露头角，是年二十挂零。刘传以自强不息的精神，饱含爱国主义深情，创作了一批富有高度民族性的传世杰作。如“铁拐李”、“钟馗”、“达摩”、“水浒”人物等。这些作品以炉火纯青的技艺，表现了除暴安良、扶正却邪的民族精神，其思想性和艺术性的高度统一，使不到而立之处的刘传成为石湾陶艺公认的一派宗师。

青年时期已享负盛名，其作品曾在英国伦敦博览会上获得好评。抗日战争后，刘传的艺术生命步步迈向辉煌期。他度过了商业化的洋庄公仔危机，刻意创新，使其作品不仅在国内，而且在港澳专区和东南亚以至美、英、日诸国渐享盛誉。“芭蕉罗汉”、“观音像”和“受苦受难的耶稣”等代表作蜚声海外。

20世纪60年代刘传归纳总结出富有创见的陶艺理论，提出了“宜起不宜止，宜藏不露”、“十浊一清，十清一浊”、“奇而不怪，丑而不陋”等美学原则。刘传大师于2001年逝世。

 刘传的陶艺佳作逾以千记，其中不少被海内外有影响的博物馆和知名鉴赏家收藏。他的作品曾在《人民日报》、《人民画报》、《美术》、《连环画报》等刊载介绍，且参与国家对外文化交流，饮誉海内外。刘传脍炙人口的佳作很多，有李白醉酒、东坡赏观、关羽、屈原以及瘦骨仙等都是民间广为传颂的佳作。30年代他的李铁拐、瘦骨仙、芭蕉罗汉等就被选送到伦敦的世界博览会，并获得很高的评价。

 Liu Chuan, formerly known as Liu Yongchuan. Born on January 16, 1916 in Shiwan Town, Foshan, Guangdong Province. In his lifetime, he was the director of China Artists Association, the director of China Arts and Crafts Society, the consultant of Guangdong Arts and Crafts Society and the vice-chairman of Foshan Wenlian. He was honored as the master of Chinese arts and crafts. When Liu Chuan's ancestor moved to Shiwan, the prosperity of Shiwan pottery industry coincided with the prosperity of Shiwan pottery industry. His grandparents all made pottery to support their livelihood.

Liu Chuan was born in a weak physique. When he was 10 years old, his parents cut back on clothes and food and sent him to private schools to study. However, Liu Chuan had little interest in "those who care about it", and transferred to three private schools. He was fascinated by listening to ancient times, watching Cantonese operas and reading male books. He was influenced by folk art and began to study sculpture at the age of 12.

In 1928, Liu was introduced to the antique industry as an apprentice because of his family's dilemma, while Chen Qiji was a longtime worker. During his hard work, Liu Zhuan studied the whole set of Shiwan ceramic technology, such as clay-smelting, clay-mixing and glaze-burning. He also studied Pan Yushu, a famous forerunner, and dared to study the works of various famous artists by "peeping master's art". Innovation, courage to expand, initial rough, bold art prototype, shaping the "Zhang Fei" and other famous works, in the Shiwan art circle emerged, is 20 years old. Liu Chuan, in the spirit of self-improvement and full of patriotism, has created a number of highly national masterpieces. Such as "Tieguai Li", "Zhongkui", "Damo", "Water Margin" and so on. These works show the national spirit of eliminating violence and peace, upholding righteousness but evil with pure skill. Their ideological and artistic characteristics are highly unified, which makes Liu Chuan a recognized master of Shiwan ceramics.

In his youth, he has enjoyed a great reputation and his works were well received at the London Expo. After the War of Resistance Against Japan, Liu Chuan's artistic life stepped into a glorious period. He has survived the commercial doll crisis of Yangzhuang, deliberately innovated, making his works not only at home, but also in Hong Kong and Macao, Southeast Asia and even the United States, Britain, Japan and other countries gradually enjoy a high reputation. The representative works of "Bajiao Luohan", "Guanyin Video" and "suffering Jesus" are well known overseas.

In the 1960s, Liu Chuan summed up the creative theory of ceramics and put forward some aesthetic principles such as "not to stop from rising, not to hide, not to reveal", "ten turbidity and one clear, ten clear and one turbid", "strange but not strange, ugly but not ugly". Master Liu Chuan died in 2001.

Liu Chuan's pottery works are more than a thousand, many of which are collected by influential museums and famous connoisseurs at home and abroad. His works have been introduced in People's Daily, People's Pictorial, Fine Arts, and Lianhua Pictorial. He has participated in the country's foreign cultural exchanges and enjoyed a good reputation both at home and abroad. Liu Chuanxun's famous works include Li Bai's drunkenness, Dongpo Appreciation, Guan Yu, Quyuan and Skinny Immortals, which are widely praised by the people. In the 1930s, his Li Tieguan, Skinny Fairy, and Bajiao Lohan were selected to the World Expo in London and received high praise.

In 1979, Liu Chuan was awarded the honorary title of the first batch of "Chinese Masters of Arts and Crafts" at the National Congress of Arts and Crafts Creators and Designers. In 1983 and 1985, Liu Chuan held individual exhibitions in Macao. In 1992, Foshan City, in order to promote the development of Shiwan Ceramic Art, held the "Liu Chuan Ceramic Sculpture Art Seminar" on the 63rd anniversary of Liu Chuan Congyi. At that time, more than 160 people from the provincial and municipal cultural circles participated in the seminar. Liu Chuan's outstanding contribution to the art of pottery sculpture earned him honor. He was a deputy of the Provincial People's Congress, a member of the Provincial Political Consultative Conference, a director of the Chinese Artists Association, and a chairman of the Foshan Artists Association.

Liu Chuan's rich creative experience directly guides the progress of a new generation of ceramic artists. The crops, Liu Zemian, Liao Hongbiao and Huang Songjian, which were greatly influenced by them, later became outstanding artistic masters of ceramics from generation to generation.

Liu Chuan's sons Liu Guibing, Liu Guibiao, Liu Guile, Liu Guifang and his daughter Liu Yuee'e are also his apprentices. Now they have established their own doors, vigorously exploited the traditional pottery art of Shiwan, and continuously glorified the art circle of pottery and sculpture. Liu, a master of Chinese arts and crafts who has struggled for art for half a century, has passed away, but his pottery art will last forever. Ren Liu, the honorary chairman of Foshan City Literary Federation, wrote the elegy couplet for him: "The iron bone, through the storms of the world; Sang Sang Danxin, Yonghe pottery epic."