The traditional technique and modern craftsmanship of the Heilo Fei Africa, release the "new vitality" of Luoyang Sancai "new vitality"

Elephant reporter Zhang Chaofei/Wen Li Yalin/Picture

【Core Tips】

Entering the Chinese Sancai Cultural and Creative Park in Anle Town, Luoyilong District, Luoyang City, the exquisite three -color artworks such as the three -color mural, the three -color porcelain painting, etc., giving a brand new visual impact, which is praised Essence Sancai glaze painting firing technique is mainly distributed in the Ruuluo area centered on Luoyang, inherited in the Han and Tang three -color glaze color technology. In 2014, it was rated as the intangible cultural heritage of Luoyang.

I won the industry award for the first time, and firmly follow the road of three -color ceramics

In a creative room in the Chinese Sancai Cultural Creative Park, a bookshelf is particularly conspicuous on the scholarship blue glaze white zebra. This is the first work fired by Guo Jiaqi himself.

As the inheritor of the three -color glaze painting technique of the three -color glaze painting technique of Luoyang City, Guo Jiaqi grew up in his father Guo Aipo's studio since he was a child. When other children were playing with sand and cars, he was accompanied by mud. Squeeze some small clay men, castles, etc.

The real contact with the three -color glaze painting firing skills were in 2013. At that time, Guo Jiaqi studied in the United States and used the summer vacation time to start learning this skill. "Initially I wanted to teach my father, but he told me that I must learn the three most traditional and basic things, that is, to learn from the root." Guo Jiaqi recalled that his father found him a teacher and learned to learn to learn to learn and learn. Copy of cultural relics.

In this summer vacation, he burned his first work of the Tang Dynasty blue glaze white zebra, shaping, molding, modeling, assembly, and burning glaze for the end for more than a month. At that time, you were young and vibrant, thinking that he had mastered the skills, and wanted to create creation. He took the Tang Dynasty horses as a prototype, removed the saddle and other accessories, and only retained the essence of the Tang Dynasty horse and the texture of the muscles, and made a work. However, it was too anxious in practice, and the mold was opened before it was shaped. As a result, the entire horse's body collapsed.

"At that time, there was an intuition. I felt that the natural curve of this collapse was pretty good, so I continued to cook it." Guo Jiaqi said, then found a plate to put the horse in the middle, and named the work "" Take a break.

With this work, his father encouraged him to continue to create a group of works in this direction. Then he used this summer vacation and made 12 horses in a row. What made him unexpected was that this group of three -color ceramic arts won the Gold Award of the Chinese Ceramics "Earth Award" and became the youngest gold award winner in the award. " This made Guo Jiaqi very inspiring, and it was even more determined to continue his determination.

The potential of Sancai has not been fully developed, I hope more across industry talents will join

Guo Aiqi's father, Guo Ai and Luo Yang, took root in Luoyang for 36 years, and dedicated himself to Luoyang Sancai. There were many opportunities to develop to better cities, but he still chose to stick to it because the three color roots were in Luoyang and left Luoyang to do it to do it to do it to do it. These things cannot be called Luoyang Sancai.

Today, as the architect, ceramic artist, and designer of the Luoyang Sancai Art Museum, Guo Jiaqi has received inheritance. Although he is studying architecture, in his opinion, architecture is a large sculpture, and ceramics are a miniature sculpture. The two are interoperable. In recent years, he has been considering how to better integrate the three -color ceramic skills into public spaces, such as urban landscape sculptures, cultural walls, murals, etc., showing in a larger space, which represents the temperament of a city. The vast crowd is more beneficial to inheritance and development.

Paying attention to the role of science and technology in non -genetic inheritance is also a direction he is exploring. How to make ceramic display into a process of interactive process and make ceramic "move" through new technologies. He believes that in the development of new products, it should not be too dependent on the non -heritage name itself. It is necessary to put aside its own three -color attributes and embrace the broad market.

"Buying and selling, there is no protection." A skill wants to be better inherited. On the one hand, the inheritance of the inheritor has the spirit of craftsmen, and sneaks to study the skills and make boutiques. In addition, we must connect with the market to better integrate modern life. The current consumer group has changed. Only by fitting the market or even ahead of the market can it survive and develop.

Sancai is a product of economic development in the era. At present, China is at the stage of high economic and cultural prosperity, and the potential of Sancai has not been fully developed. Guo Jiaqi also hopes to have more across domains and industries. In the three -color creation, they jointly inherit the promotion of the three -color skills and revive Luoyang's three -color glory.

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