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【Review】Chinese handicraft exhibition "Integration of Organs and Taoism"Time:2022-08-15

 

【Review】Chinese handicraft exhibition "Integration of Organs and Taoism"

中意设计交流中心中意设计交流中心
2022-08-15 12:00:00

 

 

 

 

 

 Artists and Works 

 
Li Keming

City-level representative inheritor of the national intangible

cultural heritage Ru Porcelain Firing Skills Project

Founder of Ru Shanming Brand, Researcher of China Intangible Cultural Heritage Art Design Institute of China People's Association, Director of China Arts and Crafts Industry Innovation and Development Alliance, Consultant of China Traditional Culture Promotion Association. "Ruzui" products were included in the "Thirteenth Five-Year Plan" textbook case for art design majors in national colleges and universities; "A Box of Ru Pig" tea set as a case has been included in the "Traditional Craft Revitalization Case Compilation Series" of the Intangible Cultural Heritage Department of the Ministry of Culture and Tourism of the People's Republic of China; "Craftsmanship in the Times: Case Study of Traditional Craft Revitalization"; "Large Lacquer Tower Hat Jar" was included in the first Beijing Ceramic Artists Collection; The Ru porcelain works developed and designed by him have won more than 20 national gold and silver awards in the past.

 
 
Ru Porcelain

"Like the blue of the sky in a clearing amongst the clouds after the rain." This citation of poetry is the ultimate pursuit of the ideal color of celadon of Emperor Huizong of Song. Nine hundred years ago in the Northern Song Dynasty, Ru kiln craftsmen used agate glaze to produce Ru porcelain with "blue as the sky, jade-like surface, cicada-wing pattern, rare as morning stars, and little unglazed oval spots 'sesame seeds' left on the 'all-over' glazing".

 
 
 
Four-goat Square Zun
18.5 ×12.7cm, Ru porcelain
 
Ceramics have been imitating other kinds of utensils since ancient times, and primitive celadon has many precedents of imitating bronze ritual utensils. The prototype of the Ru porcelain piece by Li Keming comes from the national treasure bronze ritual vessel Four-goat Square Zun. This Ru porcelain shows the supreme atmosphere in wine rituals with four sheep and four dragons facing each other. The works integrate line carving, relief carving, and round carving in one piece, integrating plane decoration and three-dimensional sculpture. The porcelain retains the banana leaf pattern, triangular Kui pattern, and animal face pattern on the bronze square statue.
 
 
Amphora with dragon-shaped handles
28.5 ×19.5cm, Ru porcelain
 
The shape of the Ru porcelain Amphora with dragon-shaped handles is modeled on the Tang Dynasty version, with symmetrical double dragon handles on both sides of the vase. The prototype of the vase derives can be traced back to ancient Greece in 1500 BC. It was introduced into the Central Plains through West Asia along the ancient Silk Road and became popular in the Sui and Tang Dynasties. The double-handled single-belly double-dragon statue was first seen in the period of Emperor Gaozong of the Tang Dynasty. During the period of Emperor Xuanzong of the Tang Dynasty, this type of vessel gradually disappeared, until a thousand years later, it was re-fired in the Jingdezhen kiln during the Yongzheng period of the Qing Dynasty. This work of Li Keming is like the Amphora Vase in The Cleveland Museum of Art, which not only retains the classic shape of the Tang Dynasty but also presents the stunning glaze of the Song Dynasty.

 

 

String-Pattern Zun
9.5 ×13.5cm, Ru porcelain
 
It's the reproduction from Li Keming of the Ru porcelain String-Pattern Zun, which was based on the light azure glaze string pattern incense burner with three cabriole legs of Ru kiln in the Song Dynasty, and the whole body was covered with light azure glaze. During the Song Dynasty, a large number of bronze wares and Ding Furnace utensils from the Shang and Zhou Dynasties to the Han Dynasties were excavated. This Ru porcelain doesn't have the heaviness of the three-generation utensils, but retains the ancient meaning, and is full of literati poetry, fully demonstrating the unique aesthetic taste of Emperor Song Huizong. There are only two Ru kiln Three Cabriole Legs in existence today, one large and one small. The big one is in the British Museum, donated by the Percival David Foundation of Chinese Art; the small one is in the Palace Museum in Beijing, which was the collection of the Qing royal court.

 

 

Liao Jianghua
Beijing Arts and Crafts Master 

Apprentice of National Arts and Crafts Master Song Jianguo, Industry Instructor at Beijing Union University School of Art, Visiting researcher at Beijing Union University Handicraft Research Institute. In the 2012 China Jade (Stone) Hundred Flowers Award, "Guanyin Decoration", "Dressing" and "Treasure" won awards; the 2013 China Jade (Stone) Hundred Flowers Award for "Night Tour of Chibi" and "Buddha Source"; 2014 "Dancing with Wolves" won the Gold Award in the first Chinese Jade Carving "Kowloon Award"; The 2017 Contemporary Jade Carving Artist Works Exhibition "Loulan Last Dream", "Butterfly", "Intention Series" won awards, and was awarded the title of "Chinese Young Jade Carving Artist" by the China Jade Culture Research Association; 2018 Appointed as a member of Beijing Arts and Crafts Museum by Beijing Arts and Crafts Museum.

 
 
Jade

Jade is the character of the Chinese nation. Jade ware occupies a core position in the secular life and spiritual world of traditional Chinese people, and is an object that connects "heaven, earth, and man". In "Poetry • Qin Feng • Xiao Rong", the sentence "A gentleman should be warm like a jade", well summarizes the fundamental reason why jade has maintained such a prominent position in China from ancient times to the present. From ancient ritual utensils to the symbol of the virtue of a gentleman as "comparing virtue with jade", to the gradually realistic jade carvings during the Song, Yuan, Ming, and Qing dynasties, jade has always been a precious token.

 

 

 
Tiger on the Snow Mountain
107×50×55mm, 504g, Hetian Jade
 
A friend once presented a piece of Hetian jade named Manpi, which has thick skin and many black stripes. The parts with poor jadeization look stiff and white, and the parts with good jadeization are slightly dirty and soft around, so it was a difficult working situation for many sculptors to control. But in Liao Jianghua's eyes, jade is a continuation of nature's life. Each with its own color and shape, cracks, and flocculence. This stone is as stiff and white as a glacier, as white as snow, and the dirt and white parts are even more magically crafted like frozen soil. Black markings appear on the yellow stone skin, which still hides fierce tigers. So he got a piece of "Tiger on the Snow Mountain" with the knife. The thickness of the stone skin perfectly expresses the tiger's muscle feeling, and the work is natural.

 

 
敦煌寻佛记
115×38×45mm,324g,和田玉籽料
 
用于创作《敦煌寻佛记》的石料,石皮古朴浓重。廖江华不愿破坏它的岁月感,便在上面以线条浅雕出一尊敦煌壁画风格的佛像。作品背面有寻佛之人穿行沙漠,他一路在山间、在空中、在石窟里遇见不同的佛像,最终与这座矗立在敦煌静如天地的大佛不期而遇。玉中人寻佛的过程,带领着观者在端详之间思索自己内心的信仰。

 

 
如来卿
77×45×3mm,135g,和田玉籽料
 
作品《如来卿》使用的是一块三彩的石料,廖江华就觉得它恰好能表达出仓央嘉措的诗句“世间安得双全法,不负如来不负卿”。这块料子一面有和田玉籽料典型的橘红色厚皮,中间沁有糖色,往里深入是细腻的白肉。廖江华选择用玉料纯白的一面雕刻手持经轮的藏族少女,她身骑白色牦牛从雪山中走来,如仓央嘉措心中圣洁的世间。仓央嘉措在诗中写,“美人不是母胎生,应是桃花树长成”,廖江华用玉料橘色厚皮雕成茂密的桃花林与少女相呼应。桃林深处是佛门弟子仓央嘉措,石料中的糖色正如他内心的深远宁静。

 

 

刘旭光

国家级非遗平遥推光漆器传承人

山西省漆器行业协会第二届理事会会员、平遥推光漆器学会理事、薛氏漆艺第三代传人。2015 作品《莲》在中国工艺美术协会漆器专业委员会、中国工艺美术学会漆艺专业委员会、山西省工艺美术集团、平遥县人民政府联合主办的第五届中国(平遥)漆文化艺术博览会中荣获优秀奖;2016 作品《绝境》获“漆塬2016山西省漆画作品展”入围作品;2018 作品《漆碗》在平遥推光漆器髹饰技艺创意作品大赛中荣获三等奖。

 
 
平遥推光漆器
平遥推光漆器与北京金漆、扬州螺钿以及福州脱胎并称中国四大漆器。漆器在战国时期就已进入山西人的生活。至唐朝,平遥彩绘工艺日趋成熟。贞观十二年,文成公主入藏和亲,陪嫁“百工”中就有木匠、漆匠、画匠三十余名来自山西平遥。平遥推光漆制作工艺非常复杂。其中最重要的一道工序是手掌推光。“推光”工序繁复,先薄薄地抹上一层豆油,再撒上瓦灰轻拍,然后用手掌最肉的地方去推光。反复推到手开始发热,漆胎面上亮,再用水轻轻擦拭一遍。最后再拿手在漆胎上细推半个小时到一个小时,如此反复推。这活正如老艺人常说的:“凭眼力,凭心细,凭感觉,凭次数,推得漆面生辉,光洁照人。”
 
 
 
大漆堆鼓描金山水画
40×60×2.5cm,松木,2021
 
描金彩绘是平遥漆器的另一特色。它是在红、黑、黄、蓝、绿、黑加红色的漆面上,用银珠红大漆以山猫尖子笔描线,再在其半干未干的时候贴金,描金彩绘类似国画中的工笔白描。这种工艺一般与堆鼓搭配使用,极具奢华气象,这种"浓墨重彩"十分具有山西地域漆器的特色。刘旭光爱好山水,尝试以平遥推光漆工艺描绘宋画山水,这件作品也展现了刘旭光这些年来的学艺所得。
 
 

大漆蛋壳镶嵌梅瓶
26×11cm,椴木
 
 

大漆蛋壳镶嵌现代漆盒

22×22×12.5cm

桐木,天然大漆

 

 

马宁

国家级北京雕漆技艺传承人

北京市工艺美术大师、京作核雕技艺传承人、继古斋第四代传人。马宁作品在中国美术馆、国家博物馆均有展出。他与恩师文乾刚大师合作品《百草屏风》被国家选为APEC会议北京雁栖湖会场的主背景屏风。另一件与文乾刚大师的合作作品《居庸叠翠》被评为工艺美术精品,现收藏北京工艺美术博物馆。作品《百合富贵》雕漆壶被北京非遗博物馆收藏为重要展品。
 
 
 
中国漆器
中国漆器工艺历史悠久。在河姆渡文化遗址中便有木胎红色漆碗出土。雕漆最早有文字记载于唐,唐朝时雕漆传入日本,曾令镰仓、室町时代的日本贵族万分着迷。宋代雕漆工艺得到长足发展,至元代已日臻完善。明代是雕漆工艺发展的重要时期,明代国姓为朱,国色尚赤,对朱漆器物爱重有加,雕漆由此成为皇家御用,并常被用作外交礼品。
 
 
 
水月观音造像
100×200cm,86KG,基座花梨,金属胎
 
雕漆人物开脸难度很大,想在不足八毫米厚度的漆面上准确地表现人物的面部表情,极其考验创作者的功力。但马宁就是想要通过雕漆表现人物造像。作品《水月观音》的形象源自北京法海寺明代壁画水月观音像。马宁结合了木雕、象牙雕刻的手法,使观音与其坐骑金毛犼无论从正面还是侧面看都栩栩如生,避免了雕漆垂直下刀产生“立墙”的问题。为了更好地呈现作品肌理,马宁特意保留了人物的肌肉、衣纹褶皱上的刀痕,只抛光作品需要表达圆润的地方。

 

 
安居图
100×80×3cm,天然大漆,2017-2018
 
《安居图》是马宁想要对剔彩工艺做出的变革。“剔彩,亦名雕彩漆”,最早见于明朝宣德时期。浮雕表现“实”的题材容易,向“虚” 十分困难。马宁却希望通过《安居图》表达出清晨雾气,以及菊下鹌鹑的淡影。挑战最终落在如何处理作品背景的锦地上。通常一块锦地是由成百上千相同的锦纹拼成,雕刻本身就有很大难度。而《安居图》表现影与雾气,锦纹还要分为完全雕刻和不完全雕刻:近处鹌鹑的影子清晰,锦纹只雕20%,大面积保留色彩层;远处鹌鹑的影子朦胧,则使用了100%全雕锦纹。
 
 

雕漆哈雷
230×120×77cm, 天然大漆,哈雷摩托,2016-2017
 
在马宁所有的作品里,这件作品网络知名度很高。马宁特地挑选在不受热的油箱挡板和气门口盖的部分做大漆。雕漆通常要先画精细的图纸,再上手雕刻,但朋友要求他自由发挥。于是马宁徒手上刀,二十六分钟内雕刻完钟馗头像。“钟馗夜游的张扬感就体现在快刀撅出的胡子上。”这样的创作,他想一直继续。

 

 

杨慧子
北京联合大学艺术学院工艺美术系教师
中国艺术研究院博士。2016 入选文化部文化产业创业重点人才库;2017 北京优秀人才培养资助青年骨干项目获得者;2017 第二届“中国手艺”创意设计比赛 最具市场潜力作品奖;2018 北京国际设计周“二十四节气”创意产品 铜奖;2019 大运河文创设计大赛银奖,获二十四节气文化设计大赛二等奖、三等奖。
 

 

 

#秋分染色-核桃的青皮加铁媒染

 
#染色植物图
 
衣染草木,身着春秋。玄、缁、朱、赤、赪、绿、蓝、黄、金,是《诗经》中周初至春秋的草木染之色,用于染出这些颜色的植物,如今仍遍布中国广袤的大地。色彩,保存着中国人薪火相传的文化基因。
“观翚翟草木之华,染五色为文章”。2020年,杨慧子用草木染表达二十四节气,对自然做一场从形到色的手工保留。“中草药、蔬菜、水果、茶叶、路边的野花野草,都能染出美妙的色彩。桑葚汁、杨梅汁弄脏了衣服,就干脆扎一把染上色。”
草木染这项看似简单的手工艺,凝聚着古代科技文化遗产,渗透着植物学、矿物学、化学、农学、社会学、人类学、美学等众多领域的学科知识。
 

 

 

 

 
二十四节气
200×80cm, 桑蚕丝羊毛混纺
 
立春充满生机,我用蓝靛和黄芩做了套染,用葎草做了敲拓染。葎草俗称拉拉秧。
雨水节气,正是蒲公英开始生长的时候。我用它和蓝靛套染出了松绿色。
惊蛰节气,春雷惊百虫。我用有活血功效的茜草根染出了阳光般温暖的色泽。
春分节气,昼夜平分。春为东,东为木,木色青。我用黄柏加铁媒染,染出了黄中带绿的葱青色。
清明时节野菜正当时,婆婆针就是其中的一种。
谷雨的绿色更加浓重。这个时候,鲜嫩的香椿芽已经长好了。
立夏,蚊虫渐多。尤加利的香味有驱蚊的功效。
小满节气,气温上升很快。我用苏木加铝媒染,染出了温暖的彤色。
“芒种,忙种,忙忙种!”节气应当以五谷的颜色表达。
夏至,暑热交加。我在湖边采了几枝荷叶,敲在了织物上。平添几分清凉。
小暑,赤日炎炎似火。用苏木和蓝靛的套染,能够形成非常浓重的殷红。我采了有红色叶片的小檗,小檗是小灌木。
表现大暑节气的暑热,我使用了薯莨和圆叶桉。薯莨是染制香云纱使用的植物根茎。
立秋节气凉风起,适合喝荷叶茶,万物转向萧瑟成熟,我以褐色的荷叶留住此刻。
处暑,即为“出暑”, 明艳之色逐渐褪去。我使用功劳木做铝媒染,形成酡颜之色,又用银水滴的叶片做了转印。
白露节气,寒气增长,天气逐渐转凉。我染出萧瑟枯黄的色泽。
秋分过后打核桃,我使用的是核桃的青皮加铁媒染。鸡爪槭有浓浓秋意,我用敲拓染的方式把它印在了织物上。
寒露节气,菊有黄华。我采了新鲜的万寿菊,染出了秋日的金黄之色。
霜降,气温骤冷,昼夜温差很大,色彩凝重。
立冬,很多植物难经风霜,凋谢枯萎。我用玫瑰花瓣染出了凋谢之色,又将玫瑰花的叶片敲拓成零落的形态。
小雪节气里,作为岁寒三友的竹子还可以傲然挺立。我用了形态非常接近竹叶的竹叶桉来进行印染。
大雪时节,好“柿”成双。这个时候吃柿子,最是美味。
冬至节气,我用紫草染出了雪青色。
及至小寒节气,大部分落叶乔木的叶片都脱落了,呈现出木本植物的棕褐色。
年末大寒,我选择了皂斗,也就是橡栗壳,用它来染深邃无光的黑色。

 

 

赵炜嘉

日本手鞠协会师范级别认证艺术家

日本手鞠协会会员、缘毬会创始人之一、平面设计师、插画师、手鞠手作人。作品《南狮》获得《广州首届旅游工艺品大赛》旅游工艺品优秀作品铜奖,第二届中国国际礼品展《首届中国礼品设计大赛》银奖,第四届中国工艺大师作品展银奖。

 

 
手鞠

手鞠,又称手毬,是一种在球面上刺绣而成的艺术品。“鞠”字最早出现在中国春秋战国时期的“蹴鞠”一词中。盛唐时期,蹴鞠随遣唐使者传入东瀛,并在日本贵族阶层流行。“手鞠”一词最早可见于12世纪日本书籍《平治物语》。制作常用和服的剩余边角料,再以各色丝线缠绕出几何图案装饰。亲朋常在节日互赠手鞠来表达爱和祝福。

 

 

 

 
二十四节气手鞠
丝线手鞠球刺绣
 
一年,四季,二十四节气,日月交替,斗转星移,大地在光阴的轮回中呈现出不同的景致。在炜嘉的手鞠中你能听见雨滴落下,冰雪融化,雷声轰轰作响;看到刺猬窸窸窣窣地爬出洞穴、燕子在柳树枝条中穿梭,雪猴沉浸在冰火相融的天地中久久不愿离去。炜嘉的二十四节气手鞠为我们缓缓铺开了一段意趣盎然的节日之景。

 

 
 
百子嬉春
直径 30cm,丝线手鞠球刺绣
 
《百子嬉春》是炜嘉最钟爱的作品之一,其制作过程借鉴最初的设计灵感来源于百子针插,在清代是妇女做手工活时放针头线脑的工具。百子图是寓意子孙成群,人丁兴旺的意思。创作《百子嬉春》炜嘉选用了经典的菊式图案,极点汇聚在中心,众多的娃娃们团团围抱着一个圆球满载笑脸。最上边的娃娃梳着朝天辫,手里放着蝙蝠造型的风筝,风筝上绘有古钱,“蝠”与“福”同音,娃娃朝风筝看去,相信着幸福的降临;四周的娃娃神态各异,或抱着柿子、鞭炮、鱼等寓意吉祥的物件,或嬉戏打闹、抱成一团,或努力向上攀爬。手鞠最下面的娃娃托举着整个手鞠,顶天立地。

 

 
南狮
直径45cm, 丝线手鞠球刺绣
 
为了更好地呈现《南狮》手鞠的狮头造型,炜嘉特意定制了一枚8寸珍藏版的佛装狮头,一比一地进行还原:金色做底色,彩色做花纹,白色做“马鬃毛”,提取狮子脸部的花纹颜色作为手鞠的主色调。为了有更生动的效果炜嘉将手鞠球的数量增加到66个,66个手鞠66个款式,一同出现在一个作品中却有着一番不同的视觉感受,狮子的霸气依然,加上花纹各异的手鞠更是显得绚丽多彩。炜嘉还在它的骨架里巧妙安置了机关,扯动这些机关,眼睛和耳朵就能活动,整个狮子就像活了过来。

 

 

展览到此结束,谢谢观赏!