重器千秋: wares for generations

楼主:sharon20110930 时间:2011-09-29 18:52:00 点击:130 回复:1
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瓷,是中国之名;玉,乃中国之心;竹,为中国之魂。
    China is the name of China. Jade is the heart of China. And bamboo is the soul of China.
    曾几何时,它们是欧洲市场中最奇货可居的珍宝,也是庙堂之音中世代相传的精神印记。
    Once they were scarce treasure in European market and also spiritual marks in temples spread for generations.
    现在,我们在泛滥的西方奢侈品和琳琅满目的海外舶来品中慢慢寻觅——瓷侠、玉俊、竹君子,此间重器,非但为国之瑰宝,亦为当代中国工艺的扛鼎之人。
    Now we slowly search among inundant European luxuries and so many overseas exotics for china, jade and bamboo, which are not only gem of China but also backbone of modern Chinese art.
    我们寻找的不仅仅是巧夺天工的精巧工艺,我们担忧的不仅仅是湮没在盛世浮华下的昔日辉煌与精魂,我们期冀的也不仅仅是两三位大师的功成名就,而是中国工艺、中华文化的复兴与传承。
    What we search is not only wonderfully made craftwork and what we worry about is not only previous brilliance and soul immersed in modern peacockery. And what we expect is not accomplishment of two or three art giants, but the recovery and spread of Chinese art and culture.
    重器千秋
    Wares for generations
    为了原创出如此前无古人的新瓷,王侠军和他的团队潜心投入5年的研发时间,终于走出了千百年来瓷器均是浑圆柔美的封闭腔体的造型束缚,也改变了好瓷器仅止于古典、华丽、优雅的唯一标准,而有了时代的自信,时尚的自在,文化的自觉。
    To make unprecedented new china, Wang Xiajun and his team devote five years to R&D and they finally got rid of the tie for the sculpt of china, round and mellow. Also they have switched the mere standard for excellent china, which is limited to classicality, significance and elegance to self-confidence of era, freedom of fashion and consciousness of culture.
    瓷侠:凝脂积雪中国白
    China: China white made of congealed fat and snow
    文/杜卡、田萌、虎魄
    图/八方新气
    “以1300°C的雪白心情为生活时空建构形式的殊胜。”-王侠军
    “Construct modal difference by snow mood in 1300°C as life space-time” – Wang Xiajun
    在银泰三楼的“八方新气”,我们见到了并不常常来北京的王侠军。在这个充斥着ARMANI、CARTIE、VERSACE等等国际奢侈品牌的高级购物中心里,八方新气是为数不多的几个中国品牌之一。如果说我们怀着寻访“重器”的虔诚之心而来,王侠军则以他心中所藏和手中白瓷所含之“气”把一切沉重化解于无形——恰如我们不得不慢下来领略的那组“风水”茶具,面对西方文化的惊涛骇浪,我们所缺乏的,正是这种诗意的心态和自在的意境。
    In Bafangxinqi at 3rd Floor of Yintai, we met Wang Xiajun who usually seldom stayed in Beijing. In the shopping mall full of international luxury brands such as ARMANI, CARTIE and VERSACE, Bafangxinqi is one of the several Chinese brands. We came to search for important wares religiously and Wang Xiajun dissolved all heaviness in immateriality by what in his heart and the white china on his hand. We had to stop to appreciate the set of geomantic omen tea wares. Facing terrifying waves of the western culture, what we lack of is such poetic mood and free artistic conception.
    刚刚获得2010年安永“年度文化创业家奖”的王侠军,成为了台湾文化创意产业的新典范。他以复兴中华瓷文化为当下的艺术创作目标,希望让中华瓷精神抖擞地“站起来”。在此之前,王侠军曾以创意琉璃艺术而闻名,琉园也已上市,他的多件作品2005年入选成为连战、宋楚瑜首次返抵大陆的重要伴手礼,被传为两岸交流史上的一段佳话。
    Wang Xiajun who was just awarded 2010 Ernst & Young's Entrepreneur has become new model in cultural originality sector in Taiwan. He makes his art creation object to revive Chinese china culture and hopes that Chinese china spirit “stands up” vigorously. Before this Wang Xiajun had been famous for originality of colored glaze art.
    “站起来”的中国白
    Stand-up of China white
    欣赏过“八方新气”的人,都深为折服于它的温润无暇和高贵雍容,也由衷赞叹它的简约时尚和雅致浪漫。
    走进这些“素颜”的白瓷,一种安宁悠然的大美,萦绕着整个空间,带来空灵的欢喜。古书记载:“国俗尚白,以白为吉”。纯净白瓷看似简单、实则极难,因为彩绘瓷器若有些许杂质瑕疵,还可以透过上釉着色的方式掩盖过去,但白瓷却毫无遮拦。但王侠军认为“大白若辱”,“辱”包含着谦虚,低调,包容之意。在现在的花花世界,白瓷既可以做主角也可以做背景,它更包容,也更时尚。让瓷器回归到瓷器的本身,像人一样,回归到自己的特色。当然,白色的选择,也源于一种传统的中国情节。曾经的“珍珠白”、“东方白”是中国历史上值得骄傲的东西,八方新气希望再续这种美丽和骄傲。
    Wang Xiajun thinks that too white means too modest and too simple to be noticed. In modern flippant world, white china can act both leading actor and background. It is more generous and fashion. Let china return to itself as human returns to their own feature. Of course, the selection of white originates from traditional Chinese mood. Once pearl white and eastern white deserve the pride in China’s history. Bafangxinqi hopes that it can continue such beauty and pride.
    而造型上,王侠军在青睐“中国风”之同时也对国际风格兼容并蓄,大块面积的简约中带着细微的繁复,加上比例与细节的讲究,作品始终精致而大气。不仅于此,这些瓷器还破天荒地借由点、线、面而像芭蕾一样“站立”起来!前所未有的垂直平面、镂空雕花、悬空的罕见技法被运用,福禄、祥云、如意等传统纹样也隐含在作品的创意中。但由于瓷土在高温烧铸时极易扭曲变形,王侠军的设计在技术上直接挑战了极低的成型率。如此前无古人的新瓷,王侠军和他的团队潜心投入5年的研发时间,克服瓷土高温瓷化过程中高达15%的收缩比率,和软化扭曲变形的物理特性,终于走出了千百年来瓷器均是浑圆柔美的封闭腔体的造型束缚,也改变了好瓷器仅止于古典、华丽、优雅的唯一标准,而有了时代的自信,时尚的自在,文化的自觉。
    As sculpt is concerned, Wang Xiajun is fond of both Chinese style and international style. Mass simplicity with wispy complication and much concern of proportion and details make the works always elegant and generous. Besides, these china wares “stand up” as if one who dances ballet depending on dot, line and side.
    八、方、新、气
    在英文林立的各大奢侈品牌中,“八方新气”四个方块字显得尤为特别。这种卓尔不群,不仅体现在文字形式上,更隐含在背后的意义里。王侠军解释道:“‘八’是上下左右、东南西北,天南地北辽阔的体验;‘方’是方方正正、规规矩矩,一丝不苟的用心实践;‘新’是与时俱进、现代时尚,精益求精的探索精神;‘气’是气韵生动、气定神闲,身心自由的隽永法则。”
    Among luxury brands in English, the four Chinese words Bafangxinqi is quite special. This difference represents not only in word format, but also the significance behind. Ba, namely eight, means up, down, left, right, east, south, west and north as well as the broad experience. Fang means obeying rules and careful practice. Xin represents progressive modern fashion and excelsior exploration spirit. Qi means vivid rhyme, silent spirit and free mood.
    特别是最后的“气”字,精妙地概括了作品之神韵。中国古人讲,气是生命重要的驱动力,在体内像磁场一样运行。它是一种能量意识,当它畅通身心、状态均衡,人就神清气爽、明朗灿烂。 而王侠军的设计,除了功能完美,更以珍视人性尊严为出发点,期望这些与众不同的生活道具带给人们以生生不息的新能量。正如他自己充满诗意的阐述:“让每次的接触,在形式中体味出生命的新滋味;让每次的品尝,在质感中体会出精神的新气韵;让每次的动作,在创意中徜徉人生的新探索。”他认为,艺术陶瓷需要融合个人的情绪。将生活中细微体验到的感悟转化到设计中,作品就会具有生命感和意义,就能与人产生互动和关联。
    Wang Xiajun’s design besides perfect functions, attaches much attention to dignity of human nature, expecting these unique life props provide boundless energy. Just as his poetic explanation, “Let each touch feel new flavor of life in format; let each taste feel new rhyme of spirit in quality sense; let each action wander in originality seeking new exploration of life.” According to him, art china should be combined with personal mood. Switching fine experience to design will add vigor and significance to works and construct mutual linkage with human.
    “侠”客行
    Experience of Wang Xiajun
    人如其名。王侠军的确颇有“行侠仗义”的天地豪情。
    He deserves the name. Wang Xiajun is indeed a man of generosity.
    回首过往,可谓极好的诠释了他的格言:“生命本身就是一种创意”。
    His previous experience wonderfully explains his proverb, “Life itself is a kind of originality.
    这位生于1953年的儒雅绅士,曾读过世新电影技术组、底特律创意设计学院。年少时,他热中机械世界的逻辑推理,甚至梦想当科学家。后来画画和阅读占去他大部分时间,便开始长期摸索个人的经验美学,期间做过导演、电影演员,并参与电影服装、美术设计、剧照等幕后工作。 也做过房地产、广告设计,开过照相馆。
    The cultivated gentleman born in 1953 was fond of logic reasoning in mechanical world when he was young. He even dreamed of becoming a scientist. Later he spent much time on drawing and reading. During this period he acted as director and film actor. He once was engaged in real estate, advertisement design and also owner of studio.
    “尽管我从事的事情都与美学、创意、视觉相关,但是30岁以前都是在‘想’,30岁之后,我开始动手实践了。”于是,他1988年创办琉璃工坊,1994年创办琉园。2003年又创办新品牌“八方新气”,深具艺术收藏价值的瓷器作品,破茧而出,惊艳各界。正是王侠军勇于革新的侠义精神,成就了不断突破的人生轨迹。“今夕是何夕?为了呼应生活时空的变幻,我坚持尝试运用当代审美,为瓷器创作出新颖的时尚语汇。如果大家能在欣赏和使用的过程中,体味到生活的风雅与感动,这真是一件美好的事。”
    “Though all what I did has something to do with aesthetics, originality and vision, I merely thought what to do before I was 30 years old. After I was 30 years old, I started to practice.” So he constructed a colored glaze plant in 1988 and a colored glaze garden in 1994. In 2003 he created the new brand Bafangxinqi. His works worthy of collecting astonished the world. It is his revolutionary spirit accomplished his life track full of constant breakthrough.
    对话王侠军:
    Dialogue with Wang Xiajun
    《达芬奇》:琉璃之后,为什么又选择做瓷器?
    Da Vinci: After colored glaze, why did you switch to china?
    王侠军:20年前,一位日本有名的陶瓷艺术家参观台湾瓷都莺歌的瓷器展览后,说:“China不是中国,中国现在的瓷器太差了。”你可想而知我当时听到这句话的心情是什么样的。中国的陶瓷已经有六、七千年的历史了,可是为什么这么长时间全世界的瓷器都是一成不变的,一直用瓷器的“臀部”坐在桌上?我们想让它站起来!
    Wang Xiajun: Twenty years ago, a famous Japanese china artist after visiting china exhibition in Yingge, china capital in Taiwan, said, “China is not China. Now china made in China has too poor quality. ” You can imagine my mood. China’s china has a history of 6,000-7,000 years. Why did all china wares in the world remain unchanged for so long, always sitting on table by hip? I want them stand up.
    《达芬奇》:日本瓷器的工艺确实达到了相当高的工艺水准。当时就那么有信心可以可以做出好的瓷器吗?
    Da Vinci: craftwork of Japanese china indeed has reached high level. Why were you so confident in making good china wares?
    王侠军:日本陶艺家真木孝成在台湾101看到我的瓷器非常惊讶,一定要和我见面,他问我,“你是不是很有钱,你烧瓷器烧了多少年可以把瓷器烧成这样?我已经做了37年。”其实我们曾经花了3年时间在全世界找人代工,但是找不到。最后为了“喝这口牛奶而开了牧场”,才建立了自己的工作室。通常来说,一个用功的陶艺家,在一张桌子见方的炉子上每月烧一次,而我当时带领着七、八十人的团队,在三四倍大的炉子上天天烧。我的5年可能相当于别人的几十年甚至几百年。我们每天都在思考,如何让我们伟大的民族工艺重新达到一个高度。对瓷器而言,越是追求简约的线条美感越是困难。我们为此花费了很多很多心血,八方新气的工艺在世界上也可以说是独一无二的。
    Wang Xiajun: Generally speaking, a hardworking china artist bakes once a month in a stove as large as a table. However, I led a team consisting of 70-80 members baked everyday in a stove three or four times the size of common stove. My products in 5 years might be the output of other people in decades or centuries. We thought every day how to raise folk craftwork to regain the record high. For china, the simple beautiful lines, the harder. We spent much for this. Craftwork of Bafangxinqi is unique in the world.
    《达芬奇》:在中国,所谓的“匠人”一直没有一个较高的地位,在传统的传承上也不够重视,现在一些工艺大师希望将传统复兴起来,您对此是怎么看的?
    Da Vinci: In China the so called craftsman always did not have a higher status and much attention was attached to traditional heritage. Now some craft artists hope this tradition should be revived. What is your opinion on this?
    王侠军:的确,对于中国品牌来说,进入所谓的“文化产业”很难。谈到传统的复兴,首先我们注重的是“蓝海策略”:如何做到与众不同,寻找市场的差异化,并且做到一定的高度。以传统的手法仿照古人是没有出路的,无论是瓷器的釉色还是造型,你做的再好也无法逾越古人。当时我们就在想:瓷器还有什么可能性?传统的瓷器古典、优雅而华丽,但是却缺乏现代感和活力。除了我们的古董瓷器,现在似乎所有好的瓷器都来自西方,我们一定要去寻找属于中国的东方风味;另一方面是时代感,如何将现代的生活经验和美感经验相结合;最后还有情趣,我们谈的是人的体验,也就是所谓的“五感体验”,从五感体验的改变而认识生活,去真真切切的感受生活。中国人讲究意象,现代瓷器应当能够传达一种弦外之音。
    Wang Xiajun: Certainly for Chinese brands it is hard to step into the so called culture industry. When it comes to revival of tradition, above all, we pay attention to Blue Sea Strategy: make our products unique, discover market difference and reach certain level. There is no future for us to follow the ancient people in traditional methods. At that time we were wondering whether there was other possibility for china wares. Except ancient china wares, now it seems that all good china wares come from the west. We must seek eastern flavor of China. Another aspect is era element. How can we combine modern life experience with beauty experience? The last is sentiment. What we mention is taste of human, namely five tastes. We should recognize life through change in five tastes and really taste life.
    《达芬奇》:八方新气使用了很多中国元素,同时也给人以时尚感,您是如何做到将二者结合的?
    Da Vinci: Bafangxinqi contains many Chinese elements. Meanwhile, it is of modern style. How can you combine both?
    王侠军:现代人生活的空间已经改变了,在现代的厨房里摆放传统的瓷器美学上是不协调的,现代人应该有属于自己的东西。从一个地方到另一个地方,从年轻到年老,从早上到晚上,这些都是过程,我们要雍容的经历这个过程,去感受这个过程。现在我们讲究“慢活”,不光是瓷器要“慢工出细活”,生活上也要放慢节奏,才能更好的感受生活。
    Wang Xiajun: Living space for modern people has changed. It is not harmonious if we place traditional china wares in a modern kitchen as aesthetics is concerned. Modern people should have their own items. We seek slow rhythm, meaning not just a china ware made slowly with hard working, and also slow life rhythm. Only in this way can we better feel life.
    曾经有一位博物馆馆长来到八方新气,他很惊讶,“中国的瓷器什么时候变成了这种样子?”过了5分钟,他说,八方新气最难的就是这个“雅”字,这是中国很重要的美学。尽管八方新气瓷器的造型变得更具时尚感,但是这种雍容大气的传统还是要传承。生活的空间可以闻到香气。低调奢华传达着现代人价值观的一种改变,我们要把宋朝瓷器的简约,明朝家具的雍容带入八方新气。
    A curator of a museum once came to see Bafangxinqi. He was surprised. “When has Chinese china become this?” Five minutes later, he said, “it is difficult for Bafangxinqi to realize elegance.” It is important in Chinese aesthetics. Though sculpt of Bafangxinqi china wares becomes more fashion, they should inherit natural and graceful tradition. You can smell aroma in living space. Low-pitched luxury delivers a change in value of modern people. We will attach simplicity of china of the Song Dynasty and royalty of furniture of the Ming Dynasty to Bafangxinqi.
    《达芬奇》:中国有不少工艺大师,但是像您这样努力把工艺做成国际高端品牌的却很少。
    Da Vinci: There are many craft artists in China. But there was few who takes pains to make his craftwork top-ranking international brand as what you have done.
    王侠军:其实你看,就在150年前,中国还是奢侈品(或者说精品)的输出国,但是现在呢,我们沦为了外国奢侈品的消费者和代工厂,文化一直没有进步。我开始做玻璃的时候正是台湾玻璃产业消失殆尽的时候,而我们却背道而驰。我一直认为,这不是产业的问题,而是人的问题!中国历史上一直有玻璃,明清鼻烟壶的工艺水平达到了高潮,可是后来却突然没有了。我们应该为民族工艺做点事。
    Wang Xiajun: As you see, 150 years ago China was exporter of luxuries or fine items. However, now we become consumer and plant of foreign luxuries. There is no progress in our culture. When I stepped into colored glaze, this industry in Taiwan stepped almost in doom. I select to go in a reversed way. I always think this is not the problem of the industry but of people. We should do something for folk craftwork.
    《达芬奇》:您怎样定义您现在的身份?
    Da Vinci: How do you define your current status?
    王侠军:通常看来,艺术家就是把非常抽象和个人的东西表现出来,设计师似乎只要画图就可以了,当然也要了解现下的科技水平,而工艺家要花一辈子的时间了解材料。陶艺家一遍又一遍地烧制,一种颜色可能就要实验上千遍。在艺术家看来,很多工艺是没有创意的,和个人的理念和情感完全无关。以前我们认为,有功能的就是工艺,没有功能的就是艺术。现在我们突破了这一陈规,所有人都要讲求创意。工艺家不仅要懂得材质,拥有技术,也要完成创意设计的工作。就我个人而言,我觉得自己就是一位工艺家。
    Previously we think a ware with function is of craftwork and one without function is of art. Now we break through this. All people should seek originality. Craftsman should not only know about material quality and technology, but also finish originality design. As I am concerned, I think I am a craftsman.
    
    <a href="http://yijiatrans.com" target="_blank">管理翻译、机械翻译</a>

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