審美意識(shí)

是一個(gè)民族的精神底色

探究審美意識(shí)

能幫助我們理解文化背后的隱秘邏輯

和它在現(xiàn)代美學(xué)功能意義上的合理性

「名家書薦」第五期，我們邀請(qǐng)到了

來自中國(guó)的首飾藝術(shù)家 Ziyi Yang

為大家推薦一本關(guān)于東方美學(xué)的經(jīng)典之作

藝術(shù)家 / Artist

 Ziyi YANG 

中國(guó)當(dāng)代首飾藝術(shù)家 Ziyi Yang 楊子易(Violet)，研究生畢業(yè)于英國(guó)伯明翰城市大學(xué)珠寶學(xué)院。她致力于日本及東亞文化的研習(xí)，作品專注于表達(dá)文化傳統(tǒng)與材質(zhì)的溫度，其作品曾在慕尼黑首飾周、西班牙Joya及上海三世之界雙年展展出。Ziyi 目前為AIVA教學(xué)部主管。

Ziyi Yang (Violet) is a Chinese contemporary jewellery artist who received her master degree after studying in Birmingham City University School of Jewellery.  She dedicated herself to the study of Japanese/Aisan cultures.  Her creation focuses on culture traditions and the amiability of materials.   Her works were shown in Munich Jewllery Week, Joya Barcelona, and the Triple Parade Shanghai.  Ziyi is currently the head of faculty at AIVA.

藝術(shù)家推薦書籍

Recommended Book

Eight Aesthetic Consciousness of Japan

《日本的八個(gè)審美意識(shí)》

Author: Masayuki Kurokawa

Hardcover: 157 pages

Y：對(duì)藝術(shù)與設(shè)計(jì)感興趣的人，應(yīng)該通過廣泛的閱讀來提高自己的知識(shí)儲(chǔ)量與對(duì)事物的理解能力。關(guān)于藝術(shù)設(shè)計(jì)領(lǐng)域，真要推薦的話，還屬黑川雅之的《日本的八個(gè)審美意識(shí)》。

他總結(jié)了日本審美文化的精神，用最簡(jiǎn)潔的八個(gè)字來傳遞。不僅是今天我們看到的設(shè)計(jì)表象，還包含在文明初期原始的人類如何建立與自然的聯(lián)系，并一步步演化至今，又與其他文化之間有什么不同之處。

Y: Those who are interested in art and design should build up their knowledge base and enhance their ability to comprehend through extensive reading.  To recommend a book in the field of art and design, I would choose Eight Aesthetic Consciousness of Japan by Masayuki Kurokawa.

He summarized the Japanese aesthetics in eight simple words. These elements not only represent the elements of design we are seeing today, but also depict how human have associated themselves with nature from the early stage of civilization to modern days.  Also the book explains the difference between Japanese culture and other cultures.   

Y：令我欽佩的一點(diǎn)是，深受西方建筑教育的黑川雅之先生正是在這樣的背景下迫使自己反思自己國(guó)家傳統(tǒng)建筑的美學(xué)是如何建立的，該如何保存本國(guó)的傳統(tǒng)審美意識(shí)。我們國(guó)家一直以來不就在面對(duì)同樣的甚至更嚴(yán)峻的問題么？所以，黑川先生、谷崎潤(rùn)一郎先生等人的美學(xué)相關(guān)文章能幫助我們思考如何找到我們文化中被遺失的審美意識(shí)。

Y: I was always in awe when thinking about how Mr. Kurosawa was able to reflect on the traditional aesthetics of his own country and inquire into their preservation, while he was trained in the western architectural framework.  Isn’t this the same, if not worse, impediment that my own country is facing today?  From the aesthetic-related articles by Mr. Kurosawa and Mr. Junichirō Tanizaki, we will be able to find clues to help us seeking the traditional aesthetics in our own culture that have been long-lost.

Y：如果對(duì)日本文化了解并不深入，可以搭配葉渭渠先生的《日本文化史》，這樣便可以快速上道了。

Y: For someone who’s not familiar with Japanese culture, I would suggest they read the above book alongside The History of Japanese Culture by Ye Weiqu. 

· 延伸閱讀 ·

《日本文化史》

葉渭渠

Y：我并不常看藝術(shù)與設(shè)計(jì)專業(yè)領(lǐng)域的書籍，相反的，小說、傳記、散文、紀(jì)實(shí)文學(xué)……更能吸引我的目光。特別是好的小說作者往往能用極其優(yōu)美的文字實(shí)體化他們的思緒。他們的魅力是展現(xiàn)優(yōu)美的文字，那些我們每天都在使用的日常文字在他們筆下卻散發(fā)出不一樣的光芒。這點(diǎn)跟視覺化一個(gè)藝術(shù)設(shè)計(jì)項(xiàng)目完全一樣。

所以，我建議其他的雜書也不能停喲。

Y: I don’t usually read art or design-related books.  In contrast, I prefer fictions, proses and documentaries.  Exceptional fiction writers are able to substantialize their thoughts through beautiful writing. Ordinary words shine at the tip of their pens.  This is very much like visualizing an art project. 

So I would say, don’t stop reading those seemingly unrelated books.  

近代撲面而來的西方教育體系和美學(xué)理論

早已抑制了我們內(nèi)心對(duì)中國(guó)傳統(tǒng)審美價(jià)值的認(rèn)知

而黑川先生則為我們打開了

重新審視自我內(nèi)心與審美意識(shí)的門扉

至于日本審美意識(shí)的精髓

到底被他濃縮進(jìn)了哪八個(gè)字之中

就需要各位讀者進(jìn)一步的閱讀和探索了

Ziyi的部分作品

也受到了日本文化的啟發(fā)

物品與使用者之間的精神與情感聯(lián)系

吸引她創(chuàng)作出了有“靈魂”和溫度的首飾

接下來讓我們一起欣賞一下她的作品吧

作品介紹 / Works

< 付喪神 Tsukumogami >

cotton, handmade fabric, silver, pearl

Enenra 

煙煙羅

Shinkirou

蜃

Moryo

魍魎

“付喪神” 系列名源自于日本鬼怪傳說，意指那些經(jīng)年的物品在吸收了人與自然的精氣后，逐漸變化而成的小妖怪。Ziyi 從日本的百鬼夜行圖鑒中獲得靈感，作品包含了煙煙羅，魍魎，木魅等多個(gè)妖怪，并延伸出了藝術(shù)家自己創(chuàng)作的小妖怪們。

In Japanese folklore, Tsukumogami refers to the spirits of the objects that we use everyday. Ziyi got the inspiration from Hyakki Yagyo (Night Parade of One Hundred Demons). The collection contains monsters such as Enenra, Moryo and Kodama. From then on, Ziyi also created her own little monsters. 

Kodama

木魅

Little Naughty

小淘氣

Ziyi 使用質(zhì)感溫暖的手工老棉布，它提醒著我們織物包是一種常見的家用品，每日默默地陪伴在我們身邊。這些小包裹的靈魂就像一個(gè)個(gè)沉默的仆人，守護(hù)著我們微不足道但卻珍貴的記憶。

Ziyi uses hand-woven vintage fabric to remind us that a fabric bale is a common household item that keeps us company everyday.  The spirit of the comforting little pack is like the silent servant who guards the insignificant yet valuable memories of us.

< Opposed >

fabric, silicone, jesmonite, pigment

“Opposed”是Ziyi在BCU就讀研究生的作品。該系列由 六件獨(dú)立的項(xiàng)鏈構(gòu)成，探索了三種材料之間的關(guān)系，以及對(duì)比，漸變和構(gòu)成。柔軟的線營(yíng)造出無形的空間，果凍般的硅膠產(chǎn)生了模糊的外觀，堅(jiān)硬的亞克力合成物則表達(dá)了物件的真實(shí)感。該系列鼓勵(lì)觀眾重新思考用非傳統(tǒng)材料制作的裝飾物的價(jià)值。

’Opposed‘ is Ziyi’s MA collection when she was studying in Birmingham City University. This collection was made up by 6 individual necklaces, exploring the relationship of three materials, and inquiring into the study of contrast, gradation and structure. The soft threads built invisible space, while jelly silicone created indistinctness and hard Jesmonite expressed the reality of the object. This collection encourages the audience to rethink the value of untraditional materials to make ornament. 

細(xì)心的你可以從中發(fā)現(xiàn)各式各樣互相對(duì)比的視覺元素：堅(jiān)硬與柔軟；實(shí)心與空心；圓潤(rùn)與鋒利…… 它們?cè)趶?qiáng)烈的互相對(duì)比的同時(shí)，也在結(jié)構(gòu)與空間上互相過渡。

There are all kinds of elements which are in contrast with each other when looked at carefully: hard and soft, solid and hollow, rounded and acute, etc. They are transiting to become each other, from structure and space, when they are also opposing to each other. 

這是一場(chǎng)令人激動(dòng)的 “材料探險(xiǎn)”：從一個(gè)亞克力合成物點(diǎn)為起點(diǎn)，變換成柔軟的硅膠組成的體塊，最后轉(zhuǎn)變?yōu)橐悦蘧€構(gòu)成的虛幻空間。Ziyi 希望該系列能鼓勵(lì)觀者親自動(dòng)手感受不同材料的手感、質(zhì)地與視覺效果。

This is an exciting ‘material adventure’. You would find her work begining with a point made by Jesmonite, leading into a solid silicone block and finally being transformed into hollow spaces made of woven cotton thread. Ziyi hopes the ‘Opposed’ collection would invite audience to feel the quality, the touch and the visual effects of the materials.

“ 

For every object that lasts, 

a spirit develops.

”

—— Ziyi Yang

私人的情感和記憶

衍生出了具有包裹意義的胸針們

材料的碰撞和融合

使所有元素達(dá)到了一種和諧的平衡

下一期

我們會(huì)為大家

帶來另一位藝術(shù)家和愛書的故事

敬請(qǐng)期待

Stay tuned

for more jewellery artists &

their book recommendation

愿好書覓到更多知音