露华莹澈—清代/当代玻璃器物展盛大开幕

2014年11月08日

“露华莹澈—清代/当代玻璃器物展”在上海玻璃博物馆临时展厅盛大开幕。众多的玻璃艺术家，艺术收藏家，国内各大高校玻璃工作室代表，媒体朋友以及业界人士参加了此次盛会。

 这是国内首次举办的结合古今的、兼具学术性和美学的玻璃艺术专题展。由英国玻璃艺术博士、上海视觉艺术学院副教授、上海玻璃博物馆研究员薛吕担任策展人。以清代玻璃艺术实践作为脉络，邀请了16位来自美国，英国，日本，韩国、中国台湾以及中国的玻璃艺术家，从学术、艺术、设计和手工艺不同的视角，呈现了近30余件围绕“清代玻璃器物”这一主题创作的当代玻璃作品， 形成了此次独特的“露华莹澈——清代/当代玻璃器物展”，为广大的观众奉献了又一次的艺术饕餮盛宴。

清廷造办处玻璃厂在西方传教士的指导参与下创造了独具特色的玻璃颜色品种以及典雅华丽的装饰风格，推动了当时中国玻璃制作、成型和装饰技艺的发展，成就了中国玻璃艺术史的巅峰。此次展出的清代玻璃器物，无论是精美雍容的三色套料花瓶，淡雅清丽的刻花玻璃水注，还是色彩纷呈的玻璃碗组合，都体现了18和19世纪中国玻璃器的华丽之美。

 此次展览的当代艺术作品更具看点。

 日本艺术家AYAKO（作品：视野）从清代的圆形眼镜找到灵感，两个巨大镜片中由灯工工艺勾勒的细长玻璃画分别代表了日本人民对于世界的看法以及艺术家本人对于世界的认知，作品极具中日文化交流和意识形态的交融。

 清华大学的关东海教授（作品：贮器），上海大学的王沁（作品“一枝素影”香具套组），中国琉璃网创始人牧之（作品：无相佑琉璃乳炉）以及上海视觉艺术学院及策展人薛吕（作品：器系列）的作品在继承了东方文化的沁润之美的同时，反映着当代国际玻璃工作室运动中创作思路和方法，以器造物，以物生形，以形立意，充分显示了一批学院派艺术家在东西方文化上的融会贯通和创新意识。

 杨惠姗、张毅夫妇的作品“花舞鱼飞春光聚”以及“焰火禅心-菊花”，展现了中国艺术家在脱蜡铸造工艺以及与吹制玻璃工艺结合的精湛技艺，不仅体现了东方的禅意，充满了文人的哲学思想，也体现了玻璃材料所呈现的光与影的和谐，真实与虚幻的交融，完整绚丽与破碎幻灭的矛盾。而“冰花楼主” 张维用的“套料山水玻璃瓶”，无论是雕刻技艺，色彩构图，都堪称是清代套料浮雕玻璃工艺的真实传承及现代演绎。

 此外，更多的艺术家在围绕“清代玻璃器物”的主题创作中，进行了材料和工艺方面的大胆创新，刘鹏（作品：静语系列之五）在材料上的结合运用，让玻璃和陶瓷两种材料共同对话；美国艺术家Ryan Staub的“觚”形玻璃器则采用了西方传统的吹制技术，根据个人的创作要求和审美需求，独创了“热融合负Murrine”技术。彭怡的算盘，采用当代灯工工艺探讨传统物品被现代工具取代的客观现实，作品体现了后现代艺术的包容性。美国艺术家MarK Hursty的压制和丝网印刷装置 “迷盒”，代表了人际关系和社会框架随着时间推移而发生的演变及变异，正如艺术家本人在中国的经历。韩国艺术家Jung-Suk Kim 的作品“GBB-1”, 将玻璃变为画布，利用窑制玻璃工艺，泼洒浓烈的色彩，通过美妙的光与影炫耀玻璃材料的透明特质。韩熙的作品“景观”注重塑造玻璃材料所构建的空间，分享艺术创作的愉悦和快乐。王铃蓁的“银河”，采用吹制和车刻技术，沿用清代玉石雕刻技艺，将吹制完成的玻璃胚体，磨刻出内层颜色，传达个人对于生命的理解。谢文蒂的“了不起的骗子”带着艺术家哲学的玩味，从玻璃材料创作在东西方际遇的不同，由此引发材料质感与情感隐喻的探讨。

 30件风格迥异的当代艺术作品，体现了不同地域，不同理念，不同创作手法，不同文化，对于同一主题的不同诠释和演绎，试图通过“文化传承”的开放理念，以一种抛砖引玉的方式引导参观者和专业人士思考中国玻璃艺术的未来发展。

 展览后续也将举行一系列与之相关的文化艺术活动，包括艺术家玻璃制作表演，与策展人对话，清代玻璃器赏析，清代玻璃鉴别交流活动，清代玻璃的文物保护与修复讲座等等，以此进一步推动玻璃文化和玻璃艺术在城市居民中的影响力。

 此次展览是上海大学美术学院立项的“上海高校一流学科‘美术学’建设规划项目”——“中国清代玻璃艺术” 课题的成果展览，上海玻璃博物馆一直秉承着分享玻璃无限可能的理念，大力支持国内玻璃学院教学与研究，传播和弘扬玻璃艺术和文化。这次展览集合了国内外大师之作，无论从专业学术角度，还是从艺术欣赏角度，都值得潜心观赏，发人深思！

The Grand Opening Ceremony of Now & Then

November 8, 2014

The grand opening ceremony of ‘Now & Then–Influences of Qing Dynasty on Contemporary Glass Art’ was held in the temporary exhibition hall of the Shanghai Museum of Glass. Numerous glass artists, art collectors, delegates of college glass studio, media friends and related industry representatives attended the ceremony.

This is the first academic glass art exhibition in China to combine not only the history and the contemporary, but also academia and aesthetics. Shelly Xue, PhD in British Glass Art, associate professor of Shanghai Institute of Visual Art and the researcher of Shanghai Museum of Glass, is the curator of this exhibition. 16 glass artists were invited to participate the glass art practices under the theme of Qing Dynasty glass art from United States, who are from different countries and areas like United Kingdom, Japan, North Korea, Taiwan China as well as China. The artists created almost 30 pieces of contemporary art from the perspective ranging from academic works, art, design to crafts under the theme of ‘Qing Dynasty Glassware’. This special exhibition, ‘Now &Then- Influences of Qing Dynasty on Contemporary Art’, has provided another artistic feast for the public.

Under the instruction of the Western missionaries, the royal glass workshop of the court invented unique color of glass with elegant decoration style, as well as pushed the development of Chinese glass technique, shaping and decorating techniques back then, and accomplished the peak of Chinese glass art history. The Qing Dynasty vessels which are presented in the exhibition, whether sophisticated three-colored cameo vase, beautiful engraved glass brush wash or the colorful collection of glass bowls, all embody the gorgeous beauty of Chinese glass in 18^th and 19^th century.

There are more highlights among the contemporary art pieces in the exhibition.

 Japanese artists Ayako(Artworks: Vision) was inspired by the shape of Qing Dynasty spectacles: two giant lens, which was produced by the flame working techniques, symbolize how Japanese people might have seen the world and the artist’s cognition towards the world. This art piece fully reflects the communication between Chinese and Japanese cultures and the integration of ideology.

 These art pieces, produced by Professor Guan Donghai from Tsinghua University(Artworks: Store Vessel)，Wang Qin from Shanghai University(Artworks: Plain Shadow-incense set), Founder of Chinese Glass Web Mu Zhi(Artworks: Wuxiangyou Glass Incense Burner) and the curator Shelly Xue (Artworks: Vessel Series)from Institute of Shanghai Visual Art, inherit the subtle beauty of the Eastern culture and also reflect the creation theory and methods in the contemporary international glass studio movement. Creating vessels, shaping objects, establishing concept, these academic artists thoroughly reveal the integration of the Eastern and the Western culture and innovation.

 ‘Dancing Blooms, Spring Lights Converge’and ‘Flaming Zen Heart– chrysanthemum’， created by Yang Hui Shan and Zhang Yi symbolize the exquisite techniques in the combination with wax-lost casting and glass blowing. These two art pieces not only exhibit the Zen spirit of the Eastern, full of the philosophy idea of the scholars, but also reflect the characteristic of glass: harmony with light and shadow, the integration with real and fake, and also the contradiction between the entire and the broken. Whether is the carving techniques，the color or the shape,‘Cameo Glass Landscape Bottle’, which was produced by Bing Hua Lou Zhu Zhang Wei Yong, could be regarded as both the authentic inheritance of cameo technique of Qing Dynasty and the new interpretation in the contemporary time.

 Focusing the theme of ‘Qing Dynasty Vessels’, more artists had their new and bold innovation in material and techniques field. Liu Peng (Works: ‘Spirits’Whisper Series V) made glass and ceramic to talk with each other through the combination with these two different materials. American artist Ryan Staub created Hu-shaped glass vessel by the Western traditional glass blowing technique, and what’s worth to mention that he first created a kind of technique called ‘Murrine’ to fulfill his personal working demand and aesthetic request. Produced by Peng Yi with the contemporary flameworking technique ‘Abacus Keyboard’discuss the fact of that traditional vessels has been replaced by modern tools. Her artworks demonstrate the containment and inclusiveness of post-modern art. American artist Mark Hursty used the pressed glass technique and silk-printing device to create the art piece named ‘Puzzle Box’. ‘Puzzle Box’symbolize the evolution and change of human relationship and society framework，just like the experience of him own in China. ‘GBB-1’came from the North Korea artist Jung-Suk Kim’s hands. He turned the glass into the painting canvas and utilized the kiln casting technique and strong bold colors to deliver the transparent characteristic of glass through light and shadow. Han Xi’s works ‘Landscape’ emphasize the space constructed by the glass material and share the happiness of art creation. Following the traditional jade engraving methods in the Qing Dynasty, Sunny Wang adopted glass bowing and engraving techniques to create her artworks ‘Galaxy’: applied engraving to reveal the inner colors and forms of cased glass and express personal concepts to the life. ‘A Great Impostor’, created by Xie Wendi, describes the varying fortunes of glass as medium for artistic creation in the East and the West so as to trigger the discussion about material texture and emotional metaphor.

 Thirty pieces of contemporary art in entirely different style have shown various deduction and interpretation according to the same theme. For the open concept of ‘cultural inheritance’, they intend to start the discussion and lead visitors and the professionals to think about the future development of Chinese glass art.

 A series of culture and art activities will be hold during the duration of the exhibition, including the artists glass making performance, Talk to the curator, Appreciation and authentication of Qing Dynasty glass Lecture, Conservation and restoration of Qing Dynasty glass Lecture, so as to further promote glass culture and glass art in the citizens.

 The exhibition is the result presentation of ‘Chinese Glass Art in the Qing Dynasty’ in the ‘Shanghai Colleges First-Class Disciplines ‘Fine Arts’ Construction Planning Projects’, which is  funded by the Fine Arts College of the Shanghai University. The Shanghai Museum of Glass, holding the museum philosophy and concept of ‘Sharing the Infinite Possibilities of Glass ‘, has strongly support the study and teaching of glass academic school in China and spread the glass art and culture. This exhibition gathers the artworks from the masters in the domestics and abroad. Whether from academic point or artistic appreciation, this exhibition is truly worth immersing yourself into it and contemplating the beauty of glass.

 The lecture was kicked off by Teacher Deng Bin, and he stated his connection with kintsukuroi and the handcrafts. Through the different cases that are repaired, the audience can sense the loneness of the technique. Teacher Yuhui first started from different repairing methods, and then introduced the related repairing knowledge through the known repairing case of Portland bottle. She displayed the whole process of repairing hairpins through detailed pictures and full explanation, publicizing the basic rules and thoughts of restoration of culture relics. Kintsukuroi is full of casual and natural art feelings, and restoration of culture relics is precise and method-oriented, but the two ways are different methods to repairing glass hairpins.

 The two-hour lecture was rewarding for audience, and they asked questions after the lecture and interacted with each other actively. Let’s look forward to the next great activity.