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20世纪玉石雕刻的复兴主要在50、60年代和文革以后的80、90年代。突出的表现在对于传统玉石工艺存亡继绝的贡献和表现现实生活题材的努力。70年代的玛瑙《龙盘》(王仲元设计、修德功制作);出现于1989年的四件大型翡翠作品《含香聚瑞薰》(马庆顺、尉长海设计)、《四海欢腾插屏》(郭石林设计)、《岱岳奇观》(张志平、陈长海设计)《群芳揽胜》(高祥、王仲元设计)等也许可以视作这一时期的典范之作。 以玉石材料表现现实生活题材是特定时代艺术思潮的反映.其精神是可贵的,但不可强求。不同的艺术门类、不同的加工
The revival of jade carving in the 20th century mainly occurred in the 1950s and 1960s and the 80s and 90s after the Cultural Revolution. Outstanding performance in the traditional jade crafts surviving the contribution of contributions and the performance of real life theme of efforts. 70s on the agate “dragon plate” (Wang Zhongyuan design, repair virtuoso production); appeared in 1989, four large jade works “with fragrant poly Rui Ka” (Ma Qingshun, Wei Changhai design), “all over the world screen” Guo Shilin Design), “Dai Yue Wonders” (Zhang Zhiping, Chen Changhai Design) “Qunfang Rover” (Gao Xiang, Wang Zhongyuan Design) and so may be regarded as a model for this period. To express real life theme with jade material is the reflection of the artistic trend of thought in a particular era, whose spirit is valuable but not compulsory. Different art categories, different processing