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陶瓷印艺术的古往今来



澳门金莎娱乐网站 1

  It may be difficult for us to make a final judgment for an artists
art. Just as the art of Liu Yonggang, it is still in the process of
developing. However, I am fond of this batch of his paintings very much
which makes me excited after seeing. Why? Because his paintings not only
present the profound cultural weight, form beauty and promote them into
a higher realm as well, but also have the characteristics of pureness of
contemporary Chinese art.

瓷印辉光中国陶瓷印创作生态研究展 宣传片

  From the perspective of paintings history, western started to be
interested in line at the end of 19th century. They began to turn from
oil painting having structure of chunk and surface, and classical oil
paintings to modern oil paintings which liberated line. In the view of
Chinese art tradition, the examples of using line could be seen in our
early oracle bone inscriptions, ancient painted pottery.

瓷印辉光中国陶瓷印创作生态研究展 宣传片

澳门金莎娱乐网站,  Recently, as giving a class on Chinese art and Chinese culture to
students from USA, I found out that line is the most salient
characteristic in Chinese art. Loyalty to line of Chinese traditional
art together with pursuit to line of western modern art is able to come
together nowadays. Why could we say that line is needed in art? Why
could the art of line be so attractive to artists? The reason is that
artists nowadays are not required to paint like the real object after
accomplishing the expression of concrete and the reproduction task of
things. For the phenomenon of camera, artists dont need to strive to
paint you like yourself. At the moment, art returns to her noumenon
further and further. That is, whats the aim of art? What does painting
do? I believe that art may not only be the rephenomenon of outer world,
but also the expression of some inner feeling, emotion, and mood. In
this sense, line is much better than the structure of chunk and surface,
for line has the feature of substantivity, and is able to move. Through
the motion of line, you are able to figure out the artists state of
emotion and mood at that time. That is the reason why many modern
artists begin to adopt line. Just like our signatures, your signature is
your mark, which is difficult to be replaced. Therefore, I like this
batch of line works specially.

陶瓷印艺术古已有之The art of ancient imprint has been in existence since
ancient times.

  Just as preferring the uniqueness of line in modern art area,
nowadays, many western artists also paint by employing line. Line, just
like the random feature of graffiti, owns extremely strong emotionality,
some of which delivers excellent subtle feeling. However, if compared
with the line in Liu Yonggangs works, western line is a little bad in
quality, for they neither have the calligraphy tradition, nor pay
attention to the art tradition of line. Their mastery of line is more
inclined to superficial mastery. Although Liu Yonggangs line adopts the
tact of expressionism, his line has more gradation. The motion and power
of line in his works could remind us of a feeling and emotion which
calligraphers in Han and Tang Dynasty, and Jin and Wei Dynasty, even
more ancient artists or intellectuals wanted to deliver by line.
Consequently, in this sense, thickness of Liu Yonggangs works is
superior to those of some contemporary western artists owing to having
relationship with culture.

新石器时代用于陶器上压制纹样的陶印模The pottery imprint mold with the
pressed pattern in the Neolithic Age

  If seeing from the perspective of international context, I still
classify Yonggangs works into abstract expressionism system. First
because it has an obvious characteristic of abstract expressionism; it
is related to individual emotion and feeling; and it is direct
expression of individual emotion and feeling.

即与印章的初始形态有一定的相似性i.e. with certain similarities with the
primitive state of the seal.

  However, as such an individual, he is not a private individual or a
living being, but an individual having cultural meaning. He is the one
who grows in Chinese traditional culture and then is related to
traditional culture naturally. The thickness and connotation of such art
affords more for thought than western abstract expressionism that simply
embodies individual feeling, which make us become larger in the
imaginary, lingering space in his works.

新石器时期陶印模

  It is easily for Liu Yonggangs art to remind me of a question: what
kind of art should be pursued by Chinese artists? I object to two
phenomena. The first is simple imitation of westerners. Nowadays, many
artists stay in the simple imitation of westerners in our country. I
just want to persuade these artists: you could have an exhibition in
China, but youd better not in western. Westerners will regard you as a
student, for your work shows that you fail to become an independent
artist. Such phenomena are not rare in China, especially in 1980s some
people became so-called maestro when returning back through learning
from a western maestro. I believe that this stage is not our aim of
contemporary art although we have to experience it.

继而Furthermore

  I particularly object to the second phenomena, that is, copy of
culture. For example, some painters declare that they will paint as the
style of some maestro, which is obviously wrong. Why? The reason is that
he fails to embody the creativeness of contemporary people.

陶印也与古代玺印有了因缘关系the pottery imprint and ancient imperial
imprint are marked by affinity.

  Todays Chinese people shall have creativeness of Chinese people.
Therefore, I believe that works which are able to represent Chinese art
are: those that are created by Chinese people on the moment of seeing
it. However, they have relationship with tradition, and transform the
Chinese traditional culture creatively. The mark of traditional culture
with history of thousands of years is able to be shown and transformed
by individuals creation, which I am fond of very much. Elements,
temperament, and historic nature of Chinese cultural could be seen in
such art. Liu Yonggangs art is the creative transformation of Chinese
traditional culture firstly. Then, he goes ahead in the road where
western artist want to go. Consequently, these works which I prefer
could embody the creativeness of Chinese cultural artists.

战国 齐陶文

  Turn to public art again. We know that line is basically in plane.
We draw by line; line is used for decorating in some decoration area.
However, there is no sculpture using line like Yonggangs works. The
moral his sculpture Standing Characters conveys is particularly
consistent with China today, for he hopes the Chinese characters are
able to stand up. It is a dream of Chinese people or intellectuals
hundreds of years in my opinion. We all try hard toward this direction.
Through such works, Liu Yonggang expresses that Chinese culture is able
to stand up, which is a good implication. The pattern of works is good
as well. We could see that contemporary art has strong timeliness due to
having no specific deep implication or being more related to individual
emotion. Timeliness refers to the fact that it is success today while
outmoded tomorrow. It is easily to be weed out because it is more
related to some social events or individual emotion. In Liu Yonggangs
works, he focuses on characters with thousands of years history in China
and turn lying characters into standing ones through creative
transformation, which is creative and could withstand the test of time,
for Chinese character is an everlasting theme for Chinese people.

汉代封泥:慎阳长印大河太守章

  I have been in many countries and investigated public art of many
cities. I felt worried about public art in many domestic cities, for
most of them are vulgar. Unlike art in museum, public art is not private
in characteristic, for audiences could choose not to enter into it.
However, public art has compulsivity on audiences; each sees the public
art whenever he/she passes it. I am not particularly satisfied with
recent public art in China. On one hand, these works is not exquisite
but rough, which is due to the short creative time giving to artists; on
the other hand, it is vulgar with little originality in theme.
Consequently, I specially want to introduce artists in master class to
create public art. Standing Characters of Liu Yonggang is selected as
public art by Ordos City of Inner Mongolia, which represents the elegant
aesthetic taste of leaders in Ordos City in my opinion. That batch of
works created by Yonggang is carved by stone, which cost him many years,
a long time. They could give Yonggang such a long time for designing,
creating, and implementing finally, which shows that leaders also know
the law of art creation. Unlike some cities, if you promise me a work,
you should accomplish it in two months, or hand over in one month. In
fact, these works of Yonggang is not inferior if being put into museum.
He is able to turn it into public art, which could present very
grandiose, spectacular momentum through size increase, permutation and
combination. Therefore, from the perspective of public art, this batch
of Yonggangs works is all superior to public artistic works in most
domestic cities from idea, originality and final implementation. He
creates it as art rather than a work, while most public art is
accomplished as a project, which is the fundamental difference. As the
continuous deepening of aesthetic and art education and continuous
increasing of audiences artistic tastes, which works are enduring, and
which are transient could be seen. An artist is able to spend so much
time and energy in devoting to public art creation, which is rare in
China in my opinion. Therefore, I hope more and more artists could
really regard it as art, like Liu Yonggang.

唐代陶印:银州之印乾封县之印云阳县印

  So how could we interpret the line and phenomenon in his works?

瓷印多见于宋元Ceramic imprint was prevalent in the Song Dynasty and the
Yuan Dynasty

  Firstly, because he uses line, especially written line whose motion
is closely related to physical motion, hand motion, and spiritual mood
motion, line is expressive. The direct expression of representation of
line is characteristics and temperament of artist. His characteristics
and temperament are embodies appropriately in this batch of Yonggangs
works.

宋代瓷印 福建建阳出土

  Secondly, after economical development reaches a certain level,
cultural will become a focus question of a country naturally. Liu
Yonggang is todays Chinese people. His feeling is closely related to
reality of Chinas development. He makes Chinese characters stand up,
which is closely related to the continuous strengthening of Chinese
comprehensive national power. Such an phenomenon which is revealed
within the line not only includes the phenomenon of Liu Yonggang
himself, but also presents the phenomenon of contemporary China. This
batch of works is able to well present todays image of china. I hope if
possible, Yonggang will have a large exhibition in important galleries
or public places abroad, which could relive the information and meaning
that these works want to convey more intensively.

宋代瓷印

  Thirdly, Yonggangs art is related to Chinese culture, which I values
very much. Because as a contemporary people, it is easily for him or her
to live as a contemporary people, however, it is difficult to let people
realize there is a profound culture behind it among phenomenons of
contemporary people. There are spirits of Qin and Han Dynasty and a
strong culture momentum in Yonggangs works. If comparing Yonggangs works
with the spirit that Chinas Terracotta Army conveys, or stela of seal
characters Lisi carved on Tai mountain, I believe they are similar. It
conveys a culture spirit and culture power that is spread from ancient
time to today, which we could see from the works.

南宋 景德镇青白瓷印

  In a sense, Liu Yonggangs art owns some characteristics of classical
art. Why? Owing to the influences of pop art popularized in America at
the 20th century, many artists prefer the type of ridicule in
contemporary era. Or from other point of view, their art does not
reflect the problems in a positive way but in a negative way or lateral
side. In such pop art works, positive value is rarely seen. These
artists dare not to confront positive value; therefore, they choose a
way of ridicule to face some social events. If facing positive value,
todays artists are demanded strong personalities or culture support
force for support. Otherwise in the popular, secularizing, pop, ridicule
society, you will be regarded as a person who is laughed at. However, we
could see that there are still many artists, just Liu Yonggang,
insisting on conveying a kind of positive value, which is a particular
phenomenon in such a big culture tradition country. Therefore, the
classic point of Liu Yonggangs works lies in expressing values
positively rather than deconstructing negatively. From the perspective
of temperament and positive expression of value, classical art will
exist forever.

而随着文人艺士对石印材质的开发利用陶瓷印渐渐疏离于历史舞台。with the
development and utilization of the stone imprint material by the literal
individuals ceramic imprint is gradually alienated from the historical
stage.

  There must be clinging and perseverant artists behind the classic.
Like Liu Yonggang, once he find out something important which is more
significant than any other things, he would insist on it, open it up and
exploit it continuously. Such artists have some religion complex, and
would devote all his life to achieve the goal. Nowadays, there is less
and less artist like that. However, Yonggang is the one. Compared his
works with those of other artists, you will discover that he is
stronger, more powerful, more easily to touch peoples inner heart, which
make him different from other artists that pursues fashion. Works of
those artists may seem to be more beautiful and attract eyesight
temporarily but has less strength to generate the inner heart shock.
Maybe because I am specialized in history of aesthetic and art, I will
compare Liu Yonggangs works with some works in history, and build some
relationship. When I have established the relationship between them, I
find that my spirit world has extended, extended from individual to
group, to far-reaching history when appreciating his works.

自20世纪80年代以来Since the 1980s

  Liu Yonggangs art delivers a philosophy connotation. There are two
kinds of philosophy, one is modal; the other is differences in realm and
level rather than type. If a persons eyesight is unique, we could regard
him as a philosopher even if he has never received any training or hasnt
known any philosophy words. Why? Because the things he sees are much
deeper and richer than us. The philosophy in my hope is to regard it as
a kind of life style, better express unique view toward world and
things, even could influence surrounding people through this kind of
life style, and make their life more interesting. Liu Yonggangs art
could convey some meanings which are the boundary between philosophy and
science, and are something philosophy and science fail to deliver. Why
we need art today? The reason is that the meaning we pursue has
different levels. Some meanings are accurate and expressed
scientifically, which we call conception. Some are not so accurate,
could be felt but couldnt be expressed by accurate conception, which we
call meaning. Besides science, we need to draw support from other forms,
such as daily utterances, or a hint. There is also a meaning level,
which is less accurate but deeper, vaguer and could be called as
connotation. Preciousness of art lies in the level of breaking the limit
of conception and going deeper into the meaning and connotation,
conveying something which we could feel but fail to express. Such art is
the discovery and extension of meaning world pursued by human being. He
found it and expressed it, which make our meaning world richer, and open
our imaginary space. So to speak, if Liu Yonggang failed to make
Standing Characters, there would be no such one in our world. Therefore,
he extended our meaning world. We respect such art, which is valuable
art.

基于现代化的技术支持based on the support of modernized technology

  What is valuable creative art? All kinds of action art, all kinds of
equipments are new to us. However, they are not new to an experienced
maestro, for the equipments or action we see may have been done by
others, or may be the changes of some devices or action. There is little
creative element in them. Therefore, how could we treat art creation?
Artists always say we need to create. Some artists say I could not
create due to lacking of freedom. If freedom is given, he could not
create either. Creation itself does not equal to act recklessly.
Reckless action fails to constitute creation, which could not undertake
the test of time. I think creation is risk ranging between labor and
reckless action. Reckless action makes no sense, for it contains no
labor; pure labor does not do. Creation needs a subtle and ingenious
degree. The reason why I use the word labor is to declare that creation
of any artist depends on the basis of labor. They have to spare no
efforts, and try their best. These efforts are not only physical, but
also spiritual. The spiritual efforts refer to the fact that he has to
be related with tradition. The reason why audiences respect me is that
my act is related to tradition, lies at the leading edge of culture
tradition. Through my act, they could trace back to a history.

以及艺术家群体and development of new media by artists

  Firstly, real creation need a strong culture back ground. Then, it
must be new, and put forward a step in the sequence of history. If no
step is put forward, it could not be regarded as an artistic work with
creative spirit. Sometimes, people ask: why does this painting worthy of
so much money? I think that it is not important for the worthy of the
painting. What important is that if you spend money on it, you emphasize
and encourage such a creative spirit of human being. Many artists were
poor all their life. If he considered how much his works would be when
they created them initially, it was too vulgar for them. He just strived
to make creative art which is new and could be established as well, for
many new things wont be established.

对新媒介的开发和对新的篆刻语言的探索and exploration into the new
seal-carving language

  Consequently in this sense, creation is difficult. So many smart and
intelligent genius artists have tried many times in history; then you
try again. It is difficult for you to create new works if you dont have
enough brightness and enough intelligence. Therefore, an artist with
creative spirit must be related with todays society and life as artists
in history havent experienced them. Yonggangs works are new, which is
owing to his interpretation of the context that the country–China, the
culture belongs to. If there is no such a correct interpretation, it is
difficult to create Standing Characters, or express such strong spirit
by line. It is contemporary, especially closely related to image of
China.

陶瓷印之火顺势蔓延ceramic imprint has rejuvenated.

  It is art that is the most difficult thing to evaluate in all areas,
for art is different from science. What science faces are common
problems, while problems of art are special. Each race, culture,
individual has its own culture. From this point of view, it is difficult
for us to judge which art is good or bad in the world by agreed
standards.

时至今天So far,

  When evaluating art, it is rarely to estimate it in technique but
the pertinence of this work. What kind of problems it aims at; whether
it is true; whether the contents the work expresses have reference, etc.
As a result, arts all over the world are diverse with different styles,
for artists from different countries confront different problems. For
example, the problems Japanese face is different from those that
Egyptian face, therefore, the form their works embody is totally
diverse. If you understand them fully, you will feel that both arts are
excellent.

当代陶瓷印创作已成为篆刻界蔚然风气的一种艺术现象the creation of ceramic
imprint has emerged as an artistic phenomenon in the seal-carving
sector.

  Contemporary art in china is complex and multivariant with all kinds
of things. Entering into 21th century, contemporary art in China has new
phenomenon. However, we are not satisfied with them when seeing 1980s
Chinese art, even some 1990s art. The reason is that our artists at that
time all imitated modern art in western. Some problems are others
problems rather than ours, but we imitate them. Art at that time is
western art in China instead of Chinese art, for they didnt aim at
Chinese problems. (It is certain that not all arts were like that).
After 1990s, some artists are success in international area. However,
they neither have much creation nor real solve their own problem but
simply removing Chinese signs. Then we could regard it as Chinese
culture in western. Both the two arts are not real Chinese art but
Chinese art limited strongly by western. Therefore, in contemporary art
area, we fail to get rid of such a western reference or such a western
background. As entering into the 21th century, with the further
development of Chinese economy, culture confidence of Chinese people has
become stronger. Artists began to turn to their own problems as well.
Where our problems lie in? Real Chinese contemporary art may be born at
that time. This art is not only used for westerners but for solving our
own problems through problems of art. I regard this art as a real
Chinese contemporary art, which is neither western art in China nor
Chinese art in western.

国家艺术基金2017年度2017 Project financed by Chinese National Art Fund

  Therefore, Chinese artists have creativity and explosive force
specially, for China nowadays does provide a huge stage for artists to
mould large image. As a result, artists living in China should feel
lucky. The era has provided you with the stage; how to act depends on
you. Artists in other countries dont own such a huge stage. Even if they
put all their abilities into use, they still get a little character
rather than a hero. In this sense, I look to further increase of China
contemporary art.

传播交流推广资助项目for communication, exchange and popularization.

  I emphasize here that todays competition is competition of
contemporary art. Confucius and Laozi is heritage of human culture,
which not only belongs to Chinese, but also to the whole world. The art
of ancestors has passed and doesnt deserve advocating. When you advocate
something of ancestors, you are actually inferior to others. You admit
that you are not superior to others; therefore, you have to advocate
something of ancestors. If you are superior, it is not necessary for you
to advocate ancestors achievement. Consequently, we must encourage
creation of contemporary art nowadays. In the international
communication, once I had an opportunity to deliver a speech, what I
said was all about creativeness results of Chinese contemporary artists.
I just wanted to tell the whole world that there are not only valuable
works created by ancestors in China, but also excellent artists as Liu
Yonggang nowadays that is using his language to making a strong sound to
the whole world.

瓷印辉光Glamour of Ceramic Imprint

  Pengfeng:

中国陶瓷印创作生态研究展Ecology Research Exhibition for Porcelain Seal
Creation in China

  Professor of Art Institute of Peking University;

旨在呈现当代陶瓷印创作与研究的优秀成果aiming to present the outstanding
results of modern ceramic imprint creation and research

  Director of the Department of Art Studies;

梳理与考察Streamlining and investigation

  Vice dean of Peking University Aesthetic and Aesthetic Education
Research Center;

中国古代陶瓷印文化遗产New phenomenon and ecology of innovative
aesthetics of ancient Chinese ceramic imprint cultural heritage

  Executive member of International Association of Aesthetics;

与当代陶瓷印艺术and modern ceramic imprint art

  Famous Curator

创新审美的新现象与新生态探索中国汉字艺术Explore the way of cross-sector
integration and popularization of Chinese calligraphy

  (Edited according to interviews on May, 2012 Edited by: Xing
Qingnan)

与陶瓷艺术的跨界融合方式and ceramic art

和推广传播模式and the mode of popularization and publicity

展示与诠释display and illustrate

中国文化的强大生命力the powerful vitality of Chinese culture

与当代创新活力and vigor of modern innovation.


国家艺术基金2017年度传播交流推广资助项目

瓷印辉光中国陶瓷印创作生态研究展

全国巡展首展

唐山站

开幕时间

2018年6月2日上午10:00

展览时间

2018年6月1日-6月15日

展览地点

唐山博物馆

编辑:江兵

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