Contemporary jade carving art needs to establish a new concept

For the call of contemporary jade carving art, it is not a simple "retro" or "old" still "elegant", nor is it a mainstream and non-mainstream, orthodox and unorthodox warfare, but a pluralistic, individualized, human Cultural, national and contemporary social rhythm trends.

A history of culture and art is a history of ideas. For culture, we cannot judge who is right or wrong by the mainstream and non-mainstream, because the dominant position of the concept is the mainstream orthodoxy, and vice versa. Therefore, the call for contemporary jade carving art is not simply “retro” or “old” or “elegant”, nor is it a mainstream and non-mainstream, orthodox and unorthodox warfare, but a pluralistic and individualized , human culture, nationality and the trend of the social rhythm of the times. It reflects the inspiration and resonance of real life and nature, and confuses the misunderstanding and atmosphere of "truth, goodness and beauty", and points out the direction of art "Mingdao" and "正身". This is the mission of the first-class jade carving master.

Mr. Tian Zibing, a Chinese art and crafts theorist, said that the characteristics of arts and crafts are to use technology to think. It is the research and utilization of technology, the creative thinking of arts and crafts, not only image thinking, logical thinking, but also technical thinking. Jade carving is a kind of arts and crafts. For the "image" of jade carving, it is to consider the ideology and aesthetic concept of human beings, that is, the humanization of things.

For the creator of jade carving, it is the embodiment of his own thoughts and concepts in material processing, that is, the materialization of human beings. The two tend to be perfect and the work is more appealing. The creation of immortal jade carvings is the typicality and timeliness of the new ideas and concepts embodied in this "humanization" and "materialization". The "works" in our market, regardless of its artistic characteristics, are graceful in the north, exquisite in the south, or the accommodating and tempering of the Shanghai School, or the folk custom, but not in the art form. The value of making some antique vases, utensils, and "fist" played by the scholar-officials is a clean place in the Buddhism, which is the copy of "mountain", or even if the content is innovative, the form still stays in the "image" Imitation and reproduction.

Many people's evaluation of jade articles, such as how good the texture, how skilled the technical knife, is also shallow. The so-called reproduction to performance, specific to abstraction, the concept of the author beyond the form is indeed rare in the jade carving products. Jade carving art is a category of art, and still follows the laws of inheritance and innovation in art creation. Contemporary jade carving art reflects contemporary people's thoughts and concepts. It inherits tradition but cannot leave real life. It must be influenced and evolved by contemporary art trends. Expressionism, surrealism, modernism, postmodernism, etc. What does it mean?

When we talked about Hetian jade, most people only know how good the white fat jade is, and evaluate the Hetian jade carving crafts. It still requires that the raw materials should be so good, the craftsmanship should be so fine, and the shape and the gods must be combined. Yangzhiyu is good, but Hetian Qingyu is dignified, temperamental and simple. The infective power is soft, pure and delicate. It is a delicate and fat white jade. Fine and refined is a kind of beauty, and it’s not another beauty.

We are often trapped in the hype of the material, how to use the expression language of sparse, rigid, soft, real, contrast, balance, rhythm, melody and other art to show the beauty of jade, it is difficult to understand the creator through the jade carving The tension, yin and yang, oddity, microscopic, dynamic and temperament conveyed, and even the expression of certain ideas and thoughts. In fact, the so-called "material beauty" is to affirm the selectivity of people for materials, texture and character. It requires people to know, select and discover the beauty of material objects according to their own needs, interests and certain emotions of performance objects.

Therefore, the raw materials of jade carving art, whether it is jade, whether it is sheep fat jade, or ordinary sapphire, or even the insignificant and worthless green and white babies in the Yulong Kashi River, are the carriers of art, the jade carving artist's thoughts and emotions. And the display of artistic means. Baiyu shows the purity and tolerance of Dongtian Buddhism, and can show the mellow and soft beauty of Jiangnan landscape landscapes. However, the Western region's desert and vicissitudes of history and culture, the heroic and free-spirited enthusiasm, it is precisely the seemingly infamous white marble is more likely to be perfect. Performance. As the art carrier, raw materials are more expensive, and the eternal standard of art, "truth, goodness, beauty", is the realm of jade carving art pursuit and achievement.

The so-called "truth" first requires the artist's personality spirit, sincerity, truth-seeking, and practical creation. "The creation of a foreign teacher, the source of the heart" is both a feeling of truth. "True" also means deep people's life. Jade carving artists must have some insights. The soul should adhere to the passion of real life and grasp the pulse of the times. It must use all kinds of living materials to break through the zodiac, Buddha statues, mascots, etc. of today's jade carvings. The image of the suspicion of "kitsch" shows the aesthetic concepts and emotions of our contemporary diversified, human culture and individualized era, and cultivates the soil and atmosphere of the appreciator's growth.

Mr. Wu Guanzhong said that “beauty comes from life, from sentiment”, that is, the factor of improving beauty is the understanding of the artistic spirit of the times and the uniqueness of artistic expression. Therefore, the significance of beauty lies in its discovery and originality. It does not lie in the public's favor, but in the form of a big win. It is a fulfillment, development, and innovation breakthrough on the basis of tradition. It is to stimulate the joy and resonance of the bottom of the heart. Just like the famous landscape painter, art theorist in Xinjiang, and “China’s Van Gogh” – Mr. Wang Nianci said “originality” and “time”.

Contemporary China is accepting the wave of art popularization. The cultural transformation of post-modern art changes the function of art. People rethink the relationship between art and social issues, and re-emphasize the practical concern of art for social life intervention and art. Ethnic issues, gender issues, ecological issues, social marginalized issues, nepotism, corruption issues, etc. have all become the focus of art. All of this also makes it impossible for contemporary jade carving artists to "sit in the secluded spring, play the piano and resent the whistle", which is behind the door to build the car to the ancient scholars, and has to pay attention to the characteristics of the times affected.

As Zheng Guoming, a master of arts and crafts, said: “Excessive external materials sometimes suppress their creativity and fantasies. The infinitely rich objective knowledge has enabled them to sever subjective meditation and sever the style cultivation.” The folk jade carving masters put too much emphasis on carving and playing with the ingredients on the only materials, but did not adopt "subjective thinking" on "excessive external materials", which could not jump out of traditional themes, "so that they have been Immersed in a dream that has nothing to do with 'the moment'; the weakening of exquisite skills and the emptiness of content lead to a pale and vain art form, not to mention the realm of the wind, but the wind of the dry The artistic effect of making the taster's promise, the scent of the person tempted. This is the fatal wound of traditional crafts and jade carving techniques.

Art is a vast river, with the mainstream, tributaries, countercurrents and whirlpools colliding with each other to create the whole face. Only a pool of stagnant water has no countercurrent. Only the art of death has no reverse thinking, and the concept of collision has not changed. Therefore, contemporary jade carving art must not become a pool of stagnant water.

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