臥雲王沁文房器物展觀石Tranquility The Scholar s Four Treasures Glass Objects by Wang Qin
序 当代玻璃工作室运动发展至今已有十数载时间, 此间涌现出一批年轻 执着的艺术家, 王沁便是其中一位 此前双城举办的王沁玻璃艺术个展, 看出他在实验 不断实验中寻找着自己的语言 材料语言以及创作语言 在勤奋的背后, 其实是不能教的天赋, 这种天赋是一种敏锐的直觉, 一种对美的本能反应, 许多人可能努力过, 但最终还是被沙淘沉没了, 但王沁的勤奋背后正是这种不可求而得的天赋 他从陶艺转到玻璃艺术, 虽可能是 机缘, 谁又能说不是顺服了一种内心的召唤呢? 看他对玻璃材料语言从了解 掌握直至娴熟运用, 也诚然是寻找自我 表达自我的旅程 从迷恋于玻璃绚烂的光与色, 到逐渐沉静在玻璃的单纯的 玉质 中, 也着实看到他心路历程中从无序到有序, 从迟疑到笃定, 从忙乱到沉稳下来的过程 由此, 文如其人 也同样适用在这里, 从他近期这些作品中传达出的一种自我肯定, 一种自信是卓然可见的 虽然他本人不想使用 艺术 来描述这里的 文房四宝, 但我们看文人的墨宝 器物, 不也看到他们的品味及其修养吗? 尤其是出自同一艺术家之手的, 无论是 艺术作品, 还是功能性的 器物, 其实都是无法割裂开来的 因此, 虽然这些置于掌心可以把玩的 器物 不像他的 艺术作品, 但它们带着他的体温 带着他的性情 带着他那一份朴拙而不粗陋的品质 虽然 文人 以及 文房四宝 的年代略显久远, 但人心寻求宁静 祥和 纯粹的自然性向从来没有改变过, 重新诠释 文房四宝, 是对传统的追寻, 也是对在高科技 信息爆炸的时代里忙乱无序的人们的一种呼唤, 回归内心 回归手工 回归品质生活, 回归安静 透过案头的这些 色混晴烟 光凝秋水 的玻璃文房器物, 我们是否能够象艺术家期望的那样, 在格物怡情中禅意地栖居着 呢? 这也正是双城所期待的 郭新双城现代手工艺术馆艺术总监上海大学美术学院首饰艺术工作室主任二零一四年四月
P reface The contemporary studio glass movement in China has been developing for more than ten years. Wang Qin is one of the persistent young artists in this movement. twocities gallery had Wang Qin s solo glass art exhibition years ago and witnessed him discovering his own expression, both in the language of the material and art creation. Wang Qin is diligent and also gifted. It is a gift of intuition and instinctive reaction to beauty. Many people may have tried hard, but unfortunately, have failed. However, Wang Qin achieved success by his diligence backed by a natural gifting. He actually shifted his art major from ceramics to glass art. It is an internal reaction to the heart, and who can say no to the calling of the heart? The process of learning about the material to being able to freely control it is like a journey of self discovery and self-expression. His interests turned from obsessing over the light and colors of glass to immersing into the simple and pure quality of its jade-likeness. This process also molded his inner character from disorder to order, from hesitation to confidence, from the busy hustle to calmness. We can know the creator from the creation. The self-confidence is obviously shown through his recent works. Wang Qin doesn t want to call the works of Scholar s Four Treasures as glass art. However, we can always know a scholar s taste and manner by observing his objects. It is difficult to separate the artworks from functional objects especially when they are both created by the same artist. Therefore, while these objects are small and can be played within the palm, they still have his temperature, personality and character. The times of the Scholars and the Four Treasures seem to be far away from us now, but the search for tranquility, peace and pure nature has never changed. By reinterpreting the Scholar s Four Treasures, it is not only a search for the tradition, but also a call for people s hearts to retreat back to their true self-appreciating craftsmanship, quality of life and peace in these times of high technology and information explosion. Are we able to live poetically on the earth, just as the artist expects, when we use these prismatic, yet pure as bright snow and crystal-clear as water glass treasures? twocities hopes that this could be so. Shannon Guo Artistic Director, twocities gallery Director of Jewelry and Metals Studio, Fine Arts College of Shanghai University 2014. 04
王沁 1978 年生, 景德镇人, 现居中国上海 任教于上海大学美术学院玻璃工作室 曾多次参加国内外艺术展览, 其作品被英国维多利亚及阿尔伯特博物馆 德国 Alexander Tutsek-Stiftung 基金会 苏格兰皇家博物馆 上海玻璃博物馆及上海世博会中国国家馆等多家机构及个人收藏 2012 年成立 王沁工作室, 工作室除艺术创作以外, 还积极探索文人器物创作研究, 并于 2013 年创立 沁 品牌 Wang Qin Born in 1978 in Jingdezhen. Lives in Shanghai and currently teaches at the Glass Studio in the Fine Arts College of Shanghai University. Wang Qin has attended many art exhibitions in China and abroad. His works have been collected by Victoria & Albert Museum, Shanghai Museum of Glass, China Pavilion, Alexander Tutsek-Stiftung Foundation and National Museum of Scotland, etc. Wang Qin Studio was founded in 2012. In his studio, he not only created artworks, but also discovered the scholar s four treasures glass objects. He formally established his own brand name called Chin in 2013.
文房器物, 形微体轻, 既可供设于案上, 又可把玩于掌中, 芥纳须弥, 是一个内涵丰富的知识载体, 根植于传统文化的土壤之中, 凝聚了历代文人的智慧与审美 在诸多文房制作的材料中, 玻璃以极具个性的审美特质, 在历代的文房器物中独树一帜, 古代文人常以 光凝秋水 色混晴烟 凝霜澄水 等词汇来形容玻璃的至美 传统文人的生活方式现已渺不可寻, 所以若能在当下庸扰现代生活中, 通过玻璃这种材料表达深层素朴的品质, 重新营造一种安静优雅的生活方式, 让人在使用过程中, 相生相惜, 在喧嚣与浮华之外的书房意象中, 重构避俗尚雅的文人器韵, 在格物怡情中禅意地栖居, 那 虽小道, 也必有可观者焉 The scholar s "Four Treasures", being small and light, do not only belong on the table, but can also be played within the palm. Although physically small, these foundational tools for literature carries rich knowledge and are rooted in the soil of tradition. They gather the wisdom and aesthetic from generations of literati. Glass is different from many other materials used to create the scholar's "Four Treasures" because of its unique aesthetic personality. Ancient literati often dichotomously described the fantastic beauty of glass as prismatic, yet as pure, bright snow and crystal-clear water. The lifestyle of the traditional scholars is no longer popular in this troublesome modern world. Through the medium of glass, many simple, yet deep characteristics can be shown; a tranquil, yet elegant lifestyle can be rebuilt. The "Four Treasures" have tremendous value, regardless of their size, if the process of using them can draw out a heart of appreciation for living poetically. 王沁 Wang Qin
湖石式香炉 / Incense Burner / 110 55 35mm
湖石式笔舔 / Brush Palette / 83 55 17mm 湖石式印章 / Seal / 31 25 28mm
卧云观石书写用具套组 / Scholar s Stationaries Suit
湖石式笔山 / Brush Rest / 98 42 31mm
三峰形笔山 / Ocean Wave Brush Rest / 50 8 21mm
海棠式香合 / Pomander / 110 25 26mm
圆形笔洗 / Brush Washer / 115 35mm
卵式茶匙搁 / Teaspoon Rack / 42 26 10mm
卵式三足炉 / Incense Burner / 70 52 23mm
卵式香盘 / Incense coil / 51 45 12mm
卵式香合 / Pomander / 52 46 19mm
卵石水注 / Water Dripper / 43 20 30mm
卧云观石香具套组 / Incense Suit
在每个城市里, 其实都存在两个城市 第一个城市代表着所有的真善美以及我们所向往的一切 ; 第二个则代表着我们期望改变的一切 双城现代手工艺术馆致力于帮助建造第一个城市 我们所展示的艺术 所举行的活动无不提倡美好的事物 担负的责任 思想的内涵以及公众的利益 双城现代手工艺术馆创建于 2005 年, 为中国首家专门经营当代手工艺术的画廊, 我们代表了国内在现代玻璃艺术 陶艺 漆艺和艺术首饰中最有成就或最前卫的艺术家们的作品 在过去多年兢兢业业的经营和对当代手工艺术的不懈推广中, 双城赢得了国内外的广泛赞誉及认可, 我们致力于为当代手工艺术家提供一个与国际对话的平台 与我们合作的都是国内各个领域最优秀的艺术家, 在漆艺领域有被称为中国当代漆艺之父的乔十光, 以及程向君, 金晖等 ; 玻璃领域有被誉为中国当代学院玻璃领袖的庄小蔚, 以及薛吕 王沁等 ; 另有陶瓷艺术家李见深 陈九 万里雅 陈光辉等 ; 首饰艺术家郭新 汪正虹 倪献鸥等 that we long to see changed. The twocities art gallery seeks to help build the first city, through art and events that champion beauty, commitment, thoughtfulness and community. Founded in 2005, twocities is one of the first galleries in China specializing in contemporary handcrafted art. We represent many of the top Chinese artists pioneering in modern glass, ceramics, lacquer and metals. Within almost a decade of dedication and promoting contemporary handcrafted art, twocities is regarded with high recognition and praise domestically and overseas. We are also dedicated in providing a platform for contemporary craft artists to engage in international dialogue. Artists represented at twocities include lacquer artist Qiao Shiguang father of the modern wood and lacquer movement in China Cheng Xiangjun and Jin Hui; glass artists Zhuang Xiaowei leader of the studio glass movement in China Xue Lv and Wang Qin; ceramic artists Jackson Li, Chen Jiu, Wan Liya and Chen Guanghui; and jewelry artists Guo Xin, Wang Zhenghong and Ni Xian ou.