发布者: 顾含爱学习 | 发布时间: 2021-10-27 10:28| 查看数: 78| 评论数: 1|


全文共811个词,by Caroline Palmer

This spring the usual 100,000 or so applicants vying for just 1,700 places at one of China’s most prestigious art colleges were not squeezing into vast halls for the gruelling four-day entrance exam. Instead, as a result of the Covid pandemic, the China Academy of Art hopefuls found the whole process had been moved online.
每年通常约有10万名申请人角逐中国最负盛名的艺术院校之一的1700个名额,但今年春天,他们没有在巨大的考场参加为期四天的紧张的入学考试。由于新冠疫情,中国美术学院(China Academy of Art)的申请者发现整个过程转移到了网上。

All the CAA’s courses, which include fine art, ceramics, architecture and fashion, are wildly oversubscribed and for those wishing to study jewellery, there are just 20 places on the undergraduate course and a handful for the masters degree. The jewellery course also attracts international students from around the world.

The CAA was founded in 1928, but the jewellery department is just 10 years old. Its evolution reflects a desire to rediscover and celebrate traditional Chinese culture while building a bridge to the modern world and serving a soaring consumer market.

“We want to teach students how to use traditional techniques in a contemporary way but also keep a global view on what is happening in the international scene,” says Zhenghong Wang, vice-dean of the college of crafts and head of the jewellery school at the CAA. “Chinese culture is the key point of our programme. Every class is linked with a tradition — even the basic technical classes are linked with a cultural background.”

This includes teaching the enamelling technique of cloisonné as well as metal folding — both are practised by a dwindling number of craftspeople in the country. Ms Wang is also keen to teach the jewellery-making traditions of China’s minorities in the west and south of the country.

It is a challenging undertaking, particularly given that China is “starting from zero” when it comes to building a contemporary jewellery sector. This is the opinion of Ruudt Peters, one of the Netherlands’, and Europe’s, most eminent artist-jewellers. He has a close relationship with the CAA’s jewellery studio, which he has visited many times to teach.
这是一项具有挑战性的任务,尤其是考虑到中国正在“从零开始”建设当代珠宝行业。这是荷兰乃至欧洲首屈一指的珠宝艺术家鲁德•彼得斯(Ruudt Peters)的观点。他与中国美术学院的珠宝首饰工作室有着密切的关系,曾多次去那里讲课。

“In fine art there are some really intriguing artists who have found their own identity based in their Chinese roots,” he says. “In jewellery I feel there is still a missing link. Their teachers have been sent to Europe to get their training, then they come back and coach students to become good westernised jewellers.”

But Mr Peters also sees work that he much admires and even finds “heartbreaking”. He recently curated a jewellery exhibition sponsored by the CAA, and first shown in Hangzhou in 2018, called 21 Grams. It showed works by 160 jewellers, split evenly between those from the west and China. The pieces were made in response to the name of the show, which refers to the amount of weight lost by a human body at the moment of death. This was observed by a US doctor in the early 1900s and was interpreted to represent the weight of the soul. Each piece of jewellery weighed 21 grammes.
但是彼得斯也看到了他非常欣赏、甚至觉得“令人心碎”的作品。他最近策划了一个由中国美术学院主办的珠宝展览,于2018年在杭州首次展出,名为“21克”(21 Grams)。它展示了160位珠宝艺术家的作品,来自西方和中国的作品各占一半。这些作品是根据该展览的名称制作的,每件展品重21克。据称一位美国医生在20世纪初观察到人在死亡瞬间体重会减轻21克。这被解释为灵魂的分量。

“21 Grams was a challenge and I am very happy the CAA allowed me to do it. But they were very afraid of the ghost of the soul,” says Mr Peters. “Some Chinese jewellers made strong work in the traditional way but brought it up to date. I loved those pieces. But some in China thought they were not good or relevant, only old-fashioned.”

For its part, the CAA jewellery studio is firm in its aims of teaching its students to reach into the past for inspiration and to teach them the skills to make their work by hand. The jewellery of the final-year students, displayed in their graduate show in June, was inspired by a field trip to the Buddhist caves of Dunhuang, in north-west China. The purpose of the trip was to study the cave paintings, which date back to the fourth century, and the local architecture.

Of those graduating students, typically almost half would continue their studies overseas, some would become teachers and a few would set up their own studio.

Qian Zhongshu, a graduate of the CAA, first studied sculpture there. He now runs a successful jewellery studio in Hangzhou. He became fascinated by antique jewellery, and began collecting often broken pieces with little monetary value. He used his sculpture skills to redesign and embellish them, to “give old pieces new value and meaning”.

“I aim to combine classic Chinese style with modern art. I love goldfish, butterflies, folding fans and moon-shaped fans, and I make a lot of jewellery pieces of them. They have become my signature work. I have attracted a celebrity following.”

本文12月28日发布于FT中文网,英文原题为 China Academy of Art teaches students to ‘reinvent its heritage’,本文为节选。


顾含爱学习 发表于 2021-10-28 17:22:30
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