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在中国工艺美术史上,多数手艺的传承是师父与徒弟之间的口传心授。弟子从小与师父生活在一起,耳濡目染,形成了中国工艺美术的古与今。然也有父女相传,母子相授的。但令人新奇的是,正是这种血脉间最为直系的传承,往往在工艺美术的见地与作品风格中,存在着同与不同,就如老树的新芽,在根深叶茂的滋养中,有一番清新的气象。如:献之,羲之;米元章,米友仁;潘天寿,潘公凯等,他们的传承是带着父业的精髓,却带着自身叛逆的声音的,他们有着父系风格的流脉,却独树一帜。张松茂与张慧父女,也正是这样的,带着工艺的历史,也带着世道的清新,带着家族的风格,也带着独立的个性语意。
In the history of arts and crafts in China, the inheritance of most craftsmanship is the oral tradition of master and apprentice. As a disciple, his disciple lived with Master and was influenced by the monasteries, forming ancient and modern Chinese arts and crafts. However, there are also father and daughter handed down, mother and son phase granted. What is surprising is that it is this lineage’s most direct inheritance, often seen in the arts and crafts style and style, there are the same and different, as the old tree’s new shoots, rooted in the nourishment, Have some fresh weather. Such as: Xian, Xi; Mi Yuan Zhang, Miyouren; Pan Tianshou, Pan Gongkai, etc., their heritage is the essence of fatherhood, but with their own rebellious voices, they have a patriarchal flow, but Unique. Zhang Songmao and Zhang Hui father and daughter, it is also true, with the history of the craft, but also with the worldly fresh, with a family style, but also with an independent personality semantics.