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“宜兴窑系”专家论坛(系列报道一)
发布时间:2016-1-4 15:34:47 来源: 中国紫砂博物馆 宜兴陶瓷博物馆 浏览: 603 次

在宜兴,我见到了生命中最强大的陶瓷器物之一:一个传统又新颖的宜兴紫砂壶,用一种如今很罕见的技艺制成:材料紧密度,独特性,本地生产,个性化方面,真实性,实用技巧的重要性:这一切都在小小的宜兴壶中。

I have in Yixing seen one of the strongest ceramic object in my life: a traditional Yixing teapot, yet innovative, made with a skill rare to see today: the closeness to material, uniqueness, local production, personalized aspect, authenticity, the importance placed on practical know-how: it is all in this tiny little Yixing pot.

中国有着深厚悠久的陶瓷传统,宜兴同样也有着深厚悠久的制壶传统。我以前的艺术哲学教授把传统定义为一种沉淀和创新的平衡。如果你有太多的沉淀,你可能会停滞不前。如果你有太多的创新,你可能会陷入混乱。每个人以及每个艺术家都在寻找自己沉淀与创新的平衡。在宜兴,看到如此多优秀的壶艺家如何找到自身的平衡,令人印象深刻。在优良传统保留下来的同时,每位艺人也在传统中发展创新来表达自己。

China has deep, rich ceramics traditions and the city ofYixingalso has a deep, rich tradition of teapots. My former professor of the philosophy of art defined tradition as a balance of sedimentation and innovation. If you have too much sedimentation, you may have stagnation. If you have too much innovation, you may have chaos. Each person and each artist finds his or her own balance of sedimentation and innovation. Here in Yixing, it is impressive to see how so many wonderful teapot artists are able to find that personal balance. The wonderful tradition is retained while each artist has developed innovative ways to express him or herself within the tradition.

我很高兴能来到宜兴看到如此出色的作品并认识许多艺术家。这是我第二次来宜兴,所以又一次看到极好的茶壶,我非常兴奋。尤其是参观两个工作室让我十分享受,一个是吴鸣工作室,另一个是顾美群工作室。回到英国,我已经向我的学生们展示了这些精彩的作品。

I was delighted to come to Yixing to see such beautiful work and meet many artists. This was my second visit to Yixing so I was very excited to see the famous teapots again. I particularly enjoyed visiting two studios. One was Wu Ming and the other was Gu Meiqun. Already I am showing my students these wonderful works back in theUK.


我第一次来丁山是1997年参加紫砂五厂的一个活动。我们经常在那里外出走动,当我们沿街散步时,就能听到捶打泥条的声音。当被邀请到家前面的陶艺家工作室参观时,经常可以看见一个小孩坐在父辈或祖辈的胳膊上,在他们很小的时候,就已经开始学习如何制作紫砂壶。现在,大约二十年之后,我见到三位年轻人,是制壶老朋友的小孩,正培养传承紫砂传统。这是一个很大的激励,年轻人仍热心于从事古老的传统事业,并创造新鲜事物来继续丰富过往的历史。

I first came to Dingshan in 1997 to participate in a program at Purple Sand Factory #5. We often went out for a walk in the area and as we walked down the streets we heard the sound of tapping, of clay hammers thinning out sheets of clay. We were often invited into the potter's workshop in the front room of the home, and usually found a small child sitting at the elbow of a parent or grandparent. At a very early age, they were already learning how to make zisha teapots. And now, almost twenty years later, I have met three young people, the children of old friends and master potters, who are training to carry on the zisha tradition. This is a great sign of encouragement, that the young are still eager to take up the centuries old traditions, and create new and exciting works that still continue to carry the rich flavor of their past history.



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