中国当代玉雕艺术的传承与创新:第十届“子冈杯”见证
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摘要
自古以来,苏州便是琢玉重镇,是当今中国最重要的高端玉雕产业集聚地。"子冈杯"经过十年发展,成为继"天工奖"之后全国具有重要影响力的当代玉雕艺术奖和艺术年展,参展作品覆盖地域广、品种多、类型丰富,是我国当代玉雕艺术创作现状的浓缩和见证。通过对2017年第十届"子冈杯"展出作品的解读,兼顾对过往展览作品的回顾,以及与国内其他玉雕大奖进行比较,探析了"子冈杯"及年展对中国当代玉雕艺术的传承与创新。
Suzhou, as an important jade carving town since ancient times, is one of the most important highend jade carving industry gathering places in China today. After ten years' development, "ZiGang Cup" has become another national influential contemporary jade carving art award and art exhibition after " TianGong Award",which has covered a wide range of regions, many varieties and rich types, and is the concentration and testimony of the current situation of contemporary jade carving art creation in our country. Based on the interpretation of the exhibition works of the 10 th "ZiGang Cup" in 2017, taking into consideration the review of past exhibition works and the brief comparison with other domestic jade carving awards, this paper analyzes the inheritance and innovation of the "ZiGang Cup" and the exhibition to the contemporary Chinese jade carving art.
Suzhou, as an important jade carving town since ancient times, is one of the most important highend jade carving industry gathering places in China today. After ten years' development, "ZiGang Cup" has become another national influential contemporary jade carving art award and art exhibition after " TianGong Award",which has covered a wide range of regions, many varieties and rich types, and is the concentration and testimony of the current situation of contemporary jade carving art creation in our country. Based on the interpretation of the exhibition works of the 10 th "ZiGang Cup" in 2017, taking into consideration the review of past exhibition works and the brief comparison with other domestic jade carving awards, this paper analyzes the inheritance and innovation of the "ZiGang Cup" and the exhibition to the contemporary Chinese jade carving art.
引文
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[5]韩涧明.卓凡“踢馆”:科技如何改变玉雕[J].收藏,2012(22):118-121.
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[7]蒋喜.当代玉雕创新浅窥[J].宝石和宝石学杂志,2014,16(5):55-60.
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[12]曾辉.“工艺美术发展趋势”座谈会发言摘要[J].装饰,1991(3):11.
[2]吴红岩.1995-2005年,中国当代玉雕创作的黄金时期--以台湾回流玉器为线索[J].宝石和宝石学杂志,2014(1):81-87.
[3]韩涧明.当代玉雕颠覆者:邱启敬入侵[J].收藏,2012(22):110-117.
[4]韩涧明.海上消息:玉雕行业变盘加速[J].收藏,2012(22):98-103.
[5]韩涧明.卓凡“踢馆”:科技如何改变玉雕[J].收藏,2012(22):118-121.
[6]杭间.手艺的思想[M].济南:山东画报出版社,2017:43.
[7]蒋喜.当代玉雕创新浅窥[J].宝石和宝石学杂志,2014,16(5):55-60.
[8]于明.中国玉器年鉴(2015)[M]北京:科学出版社,2015:304.
[9]单存德.“子冈”玉出红胜火2015中国(苏州)“子冈杯”玉雕博览会撷英[J].上海工艺美术,2015(4):46-49.
[10]张延风.学院派与中国艺术[J].中国文化研究,2001(2):72-77.
[11]肇文兵,滕晓铂.当代“百工”何以为计:京城“百工坊”走访札记[J]装饰,2009(1):39.
[12]曾辉.“工艺美术发展趋势”座谈会发言摘要[J].装饰,1991(3):11.