China Copper Sculpture Industry Network News China Copper Sculpture Industry Network recommends to visit the Hema Art Museum to see the exquisite bronze sculpture
On August 7th, the “National Art Fund 2016 Bronze Art Talent Art Exhibition†ended its half-month exhibition at the 798 Zhu Bingren Art Center in Beijing, which also marked the “National Art Fund 2016 Bronze Talent Training Projectâ€. The official end.
“I dropped out of school when I was 14 years old. I have never attended any high-level training. I used to feel that I was very bullish, very creative and thinking, and I also found a world. But after attending this training project, just a few dozen days. The concept has changed a lot, and I have done the frog at the bottom of the well for many years without knowing it.†Before going to Hangzhou to participate in the “Bronze Sculpture Talent Training Projectâ€, as the second generation head of Guangzhou bronze sculpture “Tiancheng Copper Artâ€, Su Yingmin has become famous. He has tossed his father's relatively bleak copper art facade and almost expanded to a street. Online sales accounted for more than two-thirds of total sales.
There are 6 family members in this training. For traditional skills, they all have their own feelings and confusion. This training has not only opened up their horizons, but also provided them with a platform for mutual learning and communication.
After I took a class, I realized how big the space that the craftsman can open up.
On June 2nd, the “National Art Fund 2016 Bronze Talent Training Project†started in Hangzhou. As a public welfare fund approved by the State Council at the end of 2013, the National Art Fund has mainly funded the creation of stage art, communication and promotion, and the cultivation of artistic talents. There are few trainings for specific intangible cultural heritage projects.
Zhu Bingren, the fourth generation inheritor of Zhufu Copper Art, which has a history of more than 140 years, is one of the trainers of this training. “Selecting excellent students is the first step in training implementation. 32 participants who participated in this talent training project. They have undergone rigorous screening, including 5 art workers from Taiwan and young students from ethnic minorities such as Miao and Hui. Most of them, 6 of them are the second generation of the traditional metal craftsmanship, the third generation of the craftsman. Including non-material cultural heritage inheritors and leading figures such as Cantonese-style bronze sculptures, black copper walking silver, Miao silver ornaments, enamel, crystal, wrought iron, etc. They already have a good foundation, but they all may have their own bottlenecks and need to be upgraded. We want to bring these people together, stir up each other, knock out sparks, and graft more fresh elements for the art of bronze carving."
The wrought iron art born in 1972 is the inheritor of Chuanshi Iron Painting in Wuhu, Anhui Province. What impressed him the most is the extremely vivid classroom teaching. “We have never had the opportunity to concentrate on listening to so many experts at once. 168 class hours experts The lecture was too impactful. The last lesson was actually lectured by the director of the Palace Museum, Shan Yuxiang, for us. The creative thinking of the Forbidden City made us have a big brain, as if we understood it as a craftsman and can open up in the future. How big is the space."
Zhu Junxi, the leader of the project training team, said that before the start of the course, he spent the most attention on the course setting. In the end, they decided that the list of lectures was luxurious, but they also took into account different fields - Professor Jin Shen of the China Academy of Art, Zheng Lizhong, Dean of the Taiwan Research Institute of Tsinghua University, Xu Yiyi, a folklorist, Cui Wei, architect of architectural design, and Dean of the Palace Museum. Single Yu Xiang and so on.
Come out, know where the gaps and advantages of skills are
In addition to the intensive lectures, the training program has one third of the time for visiting.
Hangzhou, named by UNESCO as “the world's craft capitalâ€. During the training period in Hangzhou, the participants used a lot of museums and art galleries, especially some famous bronze sculptures, such as Leifeng Tower, Lingyin Copper Temple, West Lake Copper Paintings and Jiangnan Copper House.
The art exchange trip to Taiwan is the first time for many people. They visited the Taipei National Palace Museum, the famous sculptor Zhu Ming's Art Museum, the Zhongtai Temple, the Foguang Temple of the Xingyun Masters, the Kaohsiung Art Museum, and the studio of Mr. Li Guangyu, the sculptor of New Taipei City. “This kind of visit and communication is comprehensive and in-depth. When students face different artworks, they will involuntarily think about the relationship between tradition and innovation. Why do the same cultural traditions grow different styles and aesthetic art in Taiwan? The inheritance of the intangible cultural heritage is still worth improving. These problems are that they usually do not spend time thinking about their own cultivation in one acre. Seeing the details of the craftsmanship of others, Naturally, I understand my own gap." Lu Ning, another person in charge of the training group who led them to walk in Taiwan, felt.
Ding Dawei is the inheritor of the national “intangible cultural heritage†in Yunnan, and is also the seventh generation of the family. As early as 2010, he had opened the Wutong Walking Silver Craft Museum and the Wutong Walking Silver Passing Museum, recruiting handicraft production students. "This training is short-lived, but the purpose of the visit is particularly strong. If you have used the stone to cross the river and create it by feeling, then the study and visits in Beijing, Hangzhou and Taipei are really what we have. Conscious cultural innovation awareness."
Dare to innovate, in order to let the old craftsmanship burst into modern vitality
The final part of the training is for the students to design their own works and focus on them.
"Our showcases the student's work is actually more about expressing his ideas. How does he graft his craft with the art of bronze sculpture , such as the combination of enamel and copper, the combination of crystal and copper, such as how Su Yingmin will The beast symbolizing auspiciousness is combined with a censer, and how the iron storage technique incorporates the characteristics of bronze sculpture in the wrought iron forging technique." Zhu Junxi said.
China's copper culture has a long history, and the colorful copper craftsmanship has amazed the world. "Poor but poor, there are three burdens of copper" is a common saying that has been circulated among the ancestors, but now there is a fault in the inheritance of copper culture. There are only a handful of craftsmen engaged in the art of bronze carving, and other intangible cultural heritages are not facing this. What kind of dilemma? Old craftsmanship, how to survive in modern society, and then integrate into the current life, is a common problem faced by non-genetic inheritors.
Zhu Bingren said that many family art inheritors have insufficient ability to become bigger or stronger, or to innovate and change. Now advocate the craftsman spirit, not just the narrow handicraft, it should be reflected in the higher culture of their works or products. In the pursuit of quality, the so-called excellence is not just a simple process improvement, but should have more cultural connotations, which is exactly what this training class wants to tell them.
Everything is just the beginning. "Our 32 students have become a group that cannot be separated. We come from different places and work hard in different fields. In the past, we only deal with people in our own line. In the future, we will spend more time to communicate and cooperate. What I learned these days is digested into my own works. I hope that the things I will make in the future will have more artistic qualities than the average products. We don't want to repeat them anymore, and do some mediocrity that cannot be passed down. â€
The original text comes from the Chinese copper sculpture industry network http://tongdiao.99114.com/
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