Hangjian: From "Crafts" to "Folk Art Museum"

Hangzhou, artist, critic. Deputy Dean of the Chinese Academy of Fine Arts, Chief of Art Museum, professor, doctoral supervisor. Former editor -in -chief of "Decoration" magazine, deputy dean of the School of Fine Arts of Tsinghua University, member of the Art Education Committee of the Ministry of Education, director of the Chinese Artists Association, deputy director of theoretical committees, and chairman of Zhejiang Folk Literature and Artists Association.

In March 2017, Shandong Pictorial Publishing House replied to Mr. Hangjian's book "The Thought of Crafts". The first edition of this book was published by Shandong Pictorial Press in 2001. After 16 years, Mr. Hangjian rigorously revised, added and deleted In terms of article, the publisher launched "Craftsmanship (Revised Edition)". On the occasion of this "Craft Thought", we compiled a special manuscript of Mr. Juejian last year, just to sort out the context of Mr. Hangjian's craftsmanship.

In the year, the mountains of the Xiangshan Campus of the Chinese Academy of Fine Arts were officially opened by the Chinese Academy of Fine Arts Museum designed by the famous Japanese architect. The first exhibition is "Tiantong Kaifu -the World of Jiangnan Rural Crafts".

The exhibition uses 100 chairs, 100 panes, 100 daily life appliances, and more than 48,000 shadows and shadow -related tools, instruments, and manuscripts, showing different charm Jiangnan style. "Letting the building disappear" is the design concept of Yiman Wu. This building almost meets all his ideas, so this museum itself is a artwork. The exterior wall of the Ministry of Museum, which covers an area of ​​about 4936 square meters, is composed of tens of thousands of tiles connected by tens of thousands of pieces.

In the preface of "Tiangong Kaifing -World of Jiangnan Rural Crafts", Dean Xu Jiang opened his mind in the preface: "The traditional way of living in Jiangnan in China is to eat tea rice, Msis as clothing, bamboo pottery, Linquan For living. Around this kind of clothing and clothing, maintaining a unique and unique use of the world, with the spirit of the daily life of the local daily life. This unique and daily use of the world and the spirit of skills, we call it ' Folk Art '. "

As for the feasibility of developing folk art, Hangjie Rujie, known as the father of Japanese folk art and the father of modern design, Liu Zongyue: After the end of "World War II", modern products in the United States also entered Japan in large numbers. It has been greatly impacted and the state -owned products are crude. At this time, Liu Zongyue re -emphasized the beauty of Japan and the beauty of folk art, and established the Museum of Folk Art in Tokyo, thereby promoting the entire manufacturing industry and lifestyle of Japan to re -advocate the development of its own aesthetic industry.

From "Crafts" to "Folk Art Museum"

Changhangjian, Deputy Dean of China Academy of Fine Arts

"The Thought of Crafts" and doctoral dissertation in the same vein in craftsmanship and aesthetics

The project certification of the Tsinghua University Art Museum is mainly involved. For this time, I ran a lot of places and took the collector of the Central Craft Academy of Fine Arts again. The Craft Academy of Fine Arts left a group of Ming -style furniture. It was very exciting.

In 1952, a survey of traditional Chinese folk crafts in China, Mr. Pang Xunxuan and Mr. Ray Guiyuan just went to Beijing to build the Central Academy of Arts and Crafts from the East China Branch of the Central Academy of Fine Arts. After the first national folk art craft exhibition, the Ministry of Culture supported it. At that time, the Minister of Culture Shen Yanbing, Deputy Minister Zheng Zhenduo and Qian Junrui all had good artistic cultivation.

In 1954, the first national folk art craft exhibition was held in the National Cultural Palace. At that time, Zhu De and Guo Moruo were all watching. They were all excited. Now it seems that the things they chose at that time may not be all Liu Zongyue's folk arts, but they have collected the folk traditional wonderful things, and the exhibition is quite sensational.

Those who did not take it back after the exhibition were collected in the later establishment of the Central Craft Academy. At that time, there was a market selling old furniture in Beijing. Mr. Chen Shuliang, the old secretary of the Central Academy of Arts and Crafts and the founder of the Chinese Book Association, received from Luban Museum. The vision is very big, not to collect things according to the antique standards of the old society.

In 1987, I stayed in the school and compiled the Journal of "Decoration", and began to teach the history of Chinese arts and crafts that I have taught for a long time. Go to the Ming -style furniture collection room of the school library, the conditions are good, and the outside world is not open. The students are touched there. It is fully surveyed and very happy.

I gradually began to understand the thoughts and interests of Mr. Lao. As long as the traditional Chinese creation is wise and good, it is worthy of recognition. Essence

Although he was born in a large family, he watched the European Expo, and felt that the combination of industrial and art can also produce such beautiful things. It can have such a direct impact on the lives of the people. A school with art.

In the age of my school, although these old gentlemen, although they were about to retire, have not retired, we are fortunate to be ordered by them. In the first grade of undergraduate, we just entered the school. In less than two weeks, Mr. Pang Xunxuan went to our class to follow us in our class to follow us. A group of little hairy children discussed, I remember very clearly. At that time, the "May Fourth Movement" wall magazine in the school at that time, I took a loss and went to the door of Mr. Chen Shuliang's house and asked him to give me a word. I wrote it. When I was a freshman, Mr. Wang Jiashu introduced that I found Mr. Pang Xunxuan twice in total. Mr. was very easy -going. We sat close to his home in his peace gate. He did not treat you as a child. Talk to me. At that time, "Artist Newsletter" also asked me to write two articles to write memories with Mr. Pang's two conversations.

At that time, I didn't know Morris nor Liu Zongyue. Through these gentlemen, I slowly made me the traditional creation of the tradition. thought of.

At that time, the famous aestheticist Dai Wen, edited by a set of "Complete Works of Chinese Folk Art". The appliance volume was edited by Professor Xu Yiyi. He asked me to write a special theory. In the paragraph of Zhao Ruzhen's "Guide to Antiques", "The Chinese nation can still boast today, so it can still be called by the world, but that's it ..."

At that time, in the context of the country's revenge, although he wrote the knowledge of antiques, he was still sad and sad in his heart. I quoted this sentence to explain that the Chinese tradition, the metaphysics, the metaphysical, and the lower part. For the device, but the third sentence, the last device must be in the road, enter the level, even if the ancestor of the ancestors who looks like Luban must summarize a Tao. example. Master of traditional craftsmen is secretly, and the skills are mysterious and unpredictable.

During this period, my thoughts had another development turning point. In transformation, I vaguely believed that for traditional skills, talking about thinking today is the most valuable, so this lays a different research position in scholars who specialize in other scholars who specialize in literature.

I am more interested in the ideological nature of the utensils. For example, a piece of utensils, some people have to figure out how this utensil is constituted and how to put it in the Song Dynasty in the Tang Dynasty, but I am more concerned about what it means to let it go. Why is this so? Of course, the Taoist is detailed, but everyone's research is finally inclined, which determines that my doctoral dissertation was "Ancient Chinese Crafts Aesthetic Thought", and there was also my "Craft Thought" published in 2000. This book.

One thing to be sure is that in the words of "craftsmanship" that have always despised the traditional contempt, I think I am a relatively earlier person. In the past, few people dared to say that the craftsmanship had thought. The idea of ​​this craft is in line with my doctoral dissertation in terms of the aesthetic ideas of the craftsmanship, which shows that I see the views of ancient Chinese craftsmanship, from shape to metaphysical. I respect the creation of traditional craftsmen. The design of the pattern; I think the specific form of craftsmanship may be useless today, but its ideological form can be revealed today and the future.

Therefore, I emphasize the use of utensils, not just practicality, I emphasize the aesthetic taste of the appliance, the aesthetic revelation, aesthetic relationship, and so on.

语 语 隈 隈's architecture is modern, but the overall style is East.

The Chinese Academy of Fine Arts is the root of these utensils. Of course, first because Dean Xu Jiang and my point of view are unpredictable in my thinking positioning. Although he is an oil painting artist, he has great vision and humanistic feelings about the art of civilians, including "Tiantong Kaifu -Jiangnan rural craftsmanship The exhibition name of the world was also taken by him.

Such a name exhibition determines that it will not be made into a cultural relics exhibition with a beautiful work, and it will not make an exhibition that is a proofed of antiques. Today, the people of the Museum of Folk Arts are like weaving. On average, nearly a thousand people are visited every day. The people feel kind. I feel that this thing has been in the past. The effect we want to get.

And this exhibition is in school, I hope to first show the students who are designed, to absorb nutrients from these traditional aesthetics, to understand the traditional life wisdom system, and cultivate a simple and healthy aesthetic taste.

In addition to the healthy aesthetics, it is also necessary to let students understand how the ancients solved the problem of life and how the function was interesting. A traditional chair may not need to inherit it overall, but whether it is a toilet or a seedlings, or a cash cabinet, Also sitting, there are many functions in it. This is impossible in the noble life. The aristocracy has good conditions. The function of the appliance can be specialized. Our design can be inspired from the ability of traditional craftsmanship.

At the same time, these are the microcosm of traditional life. Whether it is nostalgic or cultural feelings, these things are silent to let us experience it, because these are solidified and reliable cultural forms. A objective existence. I hope these can let our students approach and enter through interpretation. For example, the culture of Ming -style furniture and the Ming Dynasty has a delicate relationship. At that time, Zhu Yuanzhang's system was restored to the Han and Tang dynasties, but there were some things that could not avoid the Song Dynasty. For example, how do you go to the Tang and Tang dynasties? Therefore, it has to be developed from the Song Dynasty, coupled with the development of science, and the choice of various ideological genres. The intentional students can gradually understand after the teacher's dialing.

Mr. Yueyan's design of the building of the Mini Art Museum dates back to four or five years ago. At that time, I hadn't come to the Chinese Academy of Fine Arts. The architectural characteristics of 隈 ， ，, the language is modern, but the overall style is the East, and I like to use large span floor glass to emphasize the integration with nature, and Xiangshan meets his requirements.

In addition, he has echoed the aesthetic taste with Professor Wang Yan, the dean of our School of Architecture. He hopes that he has his architectural works in Wang Yan's building group to make a dialogue. This is the original idea. , The school has determined to be a civil art museum, and I have participated in the foundation of the Museum of Museum.

At that time, there were more than 40,000 shadows. Other collections were fragmented. Some fabrics and folk appliances were not scale. We have a shadow art museum that opens to the outside world all year round and on Nanshan Road.

My point of view is to approach Liu Zongyue, nation and the people, and we all include the most straightforward is the art of the people and the art of life. Dean Xu Jiang is very agreed. At this time, we gradually molded the concept of the museum of the Museum of Folk Arts.

This was three years ago, and the tone of the Folk Museum was determined. However, the final molding exhibition is still through this "Tiantong Kaishin -the World of Jiangnan Rural Crafts". This exhibition has been prepared since the second half of last year.

From the perspective of the designer, we selected a hundred different Ning -style sites from the collectors, so that they could build a cultural structure about sitting. Chairs, one hundred panes, and one hundred appliances. We hope that they have functional differences, differences in materials, the differences between the method of processing problems, and some decorative differences. In the future, I can intend to make a dialogue exhibition with one hundred chairs in Europe from the perspective of designers.

Make folk arts into a palace, evoke the attention of the people's opponents

We insist on doing subtraction and simplicity exhibitions. The space of the Folk Museum is very difficult. From a distance, it is a very traditional space. After entering, there is an extremely modern space, that is, the corridor, the corridor, all the wiring. There are very few places where you stop. The wiring place is large glass, the sunlight is direct, and the effect of the spots that the sun is seen through the tiles is very difficult to exhibit. This time it is not easy.

About the exhibition of folk art. There are two types of traditional art exhibitions, one such as the British Museum, the things in Japan are well displayed, and Chinese things are not displayed well. Before Westerners did not study traditional Chinese art, they all exhibited like this, and the Japanese museums in the West were mostly invested by Japan. After research on Japanese culture, Japan has summarized its own culture and art. The lack of refining Chinese culture and lack of a clear image, so people exhibitions are like that; there is another kind of Liu Zongyue's Tokyo National Folk Museum, which is a family style that allows civil art to return to the original living space.

The space of our folk art gallery, a large number of channels, fonts, and family -based civil art exhibitions cannot be displayed, and the space is very high, with 15 meters at the highest place.

In addition, I also think that since folk art enters the hall of the museum, I want to strengthen their work awareness to strengthen everyone's awareness of its importance. I did the first Beijing International Design Exhibition of Beijing International Design in the Tsinghua Academy. I did it at the National Museum. At that time, it was known as China's most successful contemporary design exhibition. Do you think I did not review it? Some.

Although the exhibition is well received, the designed things were originally consumed by the public. Now entering the National Museum, it has an invisible to it. It isolates the distance between the user and it. It is lofty in the National Museum, which deviates from the original intention of design.

But on the other hand, because the Chinese are not the initiative of the industrial revolution, they have long been agricultural countries. They do not pay attention to design and do not understand the design. Now the design has entered the National Museum Hall and promoted the further understanding and attention of the Chinese public in design. of.

The exhibition of "Gonggong Kaiwu" is also the same. Since the museum has been built, it is the Museum of Folk Arts, I will make folk arts like a temple, evoke the attention of the people's opponents, and let everyone realize that folk art is no less than literati art. , Palace art, as a reminder reminder, this is my idea in the exhibition.

"The world of Gonggong -Jiangnan Rural Crafts" is the first exhibition, and it is also a Linzhang and opening exhibition. Next year will be the exhibition of tea culture, the East Asian Craft Exchange Exhibition, and the South Asian Craft Exchange Exhibition. Only the shadow hall is fixed, and the others are exhibited, and at most half a year. There are big ideas about the Museum of Museum of Art, but many details need to be gradually improved. In this context, the Museum of Museums established integrates collection, display, research, teaching, and practice, and conducts research and display the beauty of traditional life at home and abroad, at home and abroad Source of knowledge. The Museum of Museum of Folk Arts has its own division of labor at the Museum of the Chinese Academy of Fine Arts. It will undertake exhibitions and research of all traditional Chinese creative art except calligraphy and painting sculptures.

"Classic Map of the Ancient Chinese Material Cultural Culture Classic Map of the Material Cultural Culture" editor -in -chief of Hangjian

(Remark)

Liu Zongyue (Japanese well -known folk theorist, aestheticist. In 1936, he founded the Japanese Civil Art Museum and served as the first curator. "Honor title. The creator of the term" folk art "is known as the" father of the folk art ")

Morris (William Morris, a British designer in the 19th century, a self -learning craftsman. He designed, produced or made furniture, textiles, flower window glass, wallpaper, and various other types of decorations caused arts and crafts)

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The picture is provided by the Chinese Academy of Fine Arts (some photography: Shenbo)

This article has been authorized by the author

This article was edited and published in the "Favorites/Auction" magazine 2016 Issue 4

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