Editor's Note: In modern society, people's lifestyle and aesthetic orientation have undergone tremendous changes, but industrialized products cannot replace people's demand for handmade products. In order to better protect and inherit traditional handicrafts, seek new ways of development and create and cultivate modern handicraft culture, the first exhibition and academic seminar of Modern Handicraft Institute was held in Tsinghua University Academy of Fine Arts on June 5438+065438+ 10/day, 2005. Experts and scholars from Tsinghua University Academy of Fine Arts, Nanjing Academy of Fine Arts, Shanghai University Academy of Fine Arts, Shandong Academy of Arts and Crafts and Xi Academy of Fine Arts attended the discussion.

Professor Hang Jian of Tsinghua University Academy of Fine Arts:

In the process of continuous collision between our bodies and modern civilization, the meaning of hand is being rediscovered. Traditional handicrafts have established industrial creation that can reflect the spirit and aesthetic value of contemporary people through modernity, which not only meets the realistic needs of China people under the background of economic globalization, but also realizes the life ideal of retaining local traditional culture. This is the existence, development and value of modern handicrafts. In recent years, various art colleges have trained many outstanding talents and created many excellent works for China's arts and crafts industry. In order to inherit the fine tradition of the college, carry forward the comprehensive advantages of the design art discipline, pay attention to the protection and inheritance of traditional handicrafts and modern feelings, seek a new way of development, and create a distinctive modern handicraft culture, we jointly held the "First Exhibition of Modern Handicraft College" with Nanjing Art College, Shanghai University Academy of Fine Arts, Shandong Arts and Crafts College and Xi Academy of Fine Arts, and decided to continue it in turn. The mission of the college is to maintain the pure tension and conscience of art and academia when contemporary art and design are most commercialized. Therefore, this university exhibition is just a starting point, which will have a far-reaching impact in the process of China's modernization.

Feng, Dean of Nanjing Art College:

Handicraft is a very good theme. Handicraft industry is a new technological revolution in modern times. According to the law of development, when mechanized production develops to a stage, the price of manual labor increases, so the development of modern handicraft industry is only a sign of economic development. We hold the first exhibition of modern handicrafts for college students here today, and its value lies in this.

Li Dangqi, Dean of Tsinghua University Academy of Fine Arts:

First of all, on behalf of the school, I would like to congratulate the first exhibition of modern handicraft institute and the convening of the seminar. I want to say a few things here: First of all, congratulations to Tsinghua University Academy of Fine Arts. Since joining Tsinghua University, especially when our new teaching building is completed, it is very meaningful to hold this college exhibition and seminar. Secondly, the new building of the Academy of Fine Arts is the second largest building in Tsinghua University after the main building. For a college, it is the hope of the school. I hope that Tsinghua University Academy of Fine Arts will develop better and make greater contributions to the development of Tsinghua and our country.

Professor and Executive Vice Chairman of Liu Dawei China Artists Association:

The topic of modern handicrafts is very meaningful. Today, the academic exhibitions of five universities give full play to the disciplinary advantages of handicrafts, which makes traditional handicrafts glow with new brilliance in modern life and provides new ideas for modern science and technology and modern people's lives. This proposition will be very promising and will be widely concerned by national design colleges. Our art world is also expecting more and more achievements in your exhibition.

Pan Lusheng, Dean of Shandong Institute of Arts and Crafts:

I want to talk about several issues mentioned by Dean Feng: handicraft art and handicraft culture. I think it should be defined from three aspects. Now we advocate the rescue of intangible cultural heritage because our traditional things are almost lost and need to be protected, rescued and promoted. This work is a traditional relic of China. The second is the industry, whether it is the arts and crafts industry or the traditional workshop products in the past, which are closely integrated with the market. The third is university education, how to turn traditional things and market things into the content of school education.

Today's theme is the university exhibition of handicraft art, focusing on what universities should do. The products we want to create, whether they are creative or beautiful, are ultimately practical to people, so from this perspective, we should study what the responsibility of universities is. Now, economic globalization is inevitable, culture just needs a kind of nationalization, and art needs a kind of localization. How to dig out local things and what to do when digging them out, I think it should be combined with university education. Handicraft is not only a teaching method under the discipline of engineering or liberal arts, but also traditional workshop education, memory education and hands-on education are needed. At present, university handicraft culture education is facing several problems. One is the contradiction with culture and economy; The second is the contradiction with industrialization and informatization; Then there is the contradiction between traditional concept and modern concept; There is also the problem of teaching and industrial development. Shandong University of Arts and Crafts has successively established Folk Art College, Intangible Culture Research Center and Modern Arts and Crafts Department. We attach great importance to the research and teaching promotion of handicraft art. Through the joint exhibition and discussion of five universities, I hope to sort out a problem beyond the protection of traditional culture, handicraft culture and industry development, that is, what a university should do and what its responsibilities are.

Vice President of Guo Xi Academy of Fine Arts:

The orientation of this exhibition is "inheritance, protection, development and innovation", with emphasis on innovation. As for modern handicrafts, from the perspective of the college, I personally have several understandings: First, this exhibition inspires students' practical ability and cultivates students' thinking ability on the basis of practical work. Secondly, in order to improve students' production methods, we create conditions for them in teaching. We have a large collection of Shaanxi cultural relics and folk arts and crafts, and some processing skills left over by our ancestors are also very inspiring to students. We should also see that students' study of handicrafts is still influenced by three aspects. First, the market demand. There are still differences between traditional things and the current market in terms of integration. Second, new technology, the current new technology makes high-speed mass production no longer a problem, while manual production and processing speed is too slow. Thirdly, the influence of pursuing the concept of "international integration" on students. On the basis of mobilizing students' hands-on, Xi An Mei Institute encourages them to combine with new technologies and new concepts. This exhibition provides a platform for our five universities to learn and communicate with each other.

Speech by Wang Dawei, Vice President of Shanghai University Academy of Fine Arts:

I want to talk about the important role of traditional handicraft training in contemporary art education. We can't just regard traditional handicrafts as an industry and a professional problem, but a problem of discovering ourselves, people and people's own creativity. Because our life is more and more standardized and programmed, we are immersed in an environment surrounded by semi-finished products and second-rate products, and our creativity is weakened. Therefore, we suggest that handcraft course should be listed as a professional basic course for undergraduate education. We have set up five professional studios, such as glass, ceramics, jewelry, stone and wood, as public experimental platforms of the whole hospital. When students enter the studio, they really discover themselves, their creativity, their beauty and the value of their existence. But also the discovery of practical ability and a way to learn traditional handicrafts and traditional culture. It is hoped that students can be liberated from today's standardized, procedural and formatted life and their creativity and creativity can be cultivated.

Tian Zibing Professor of Tsinghua University Academy of Fine Arts:

The theme of today's seminar is "inheritance and transcendence", one is traditional and the other is handicraft. The traditional consciousness of modern young people is not enough. People should have their ancestors, their own history and culture, which should be passed down and not forgotten. I hope modern people attach importance to traditional things. Without tradition, there will be no roots, and there will be no characteristics of our own. This is the fundamental requirement for our culture to stand tall in the world cultural forest. Although it is the industrial age, don't think that handwork is backward. Traditional handicraft embodies the creation of human beings, the relationship between man and nature and the local characteristics of a nation. Talking about development, I think we should not forget two conditions: one is the natural field, the other is the social field, and the natural field refers to the environment and the five major environments; The social field refers to politics and economy, including now that we have joined the WTO, and we should be good at coping with some changes. Some works in this exhibition reflect modernization, and many works have traditional elements. I think this direction is right. Tradition and modernity can never be separated.

Professor Joe Tsinghua University Academy of Fine Arts:

The name of this exhibition is "Inheritance and Transcendence". If we only talk about transcendence, we will surpass other disciplines. The opposite of "University Exhibition" is industry, which plays a guiding and inducing role. Japan's industrial industry also has two systems: one is the Modern Artists Association; The other is the traditional craft association. The former mainly emphasizes the use of traditional materials to create modern style works, while the latter focuses on inheritance technology. Objectively speaking, the inheritance of technology is inherited, but the artist has changed too little. But if we only talk about transcendence and don't talk about inheritance, we can't have a relationship with the industry. So the first is inheritance, and then it is transcendence. We are stable in inheriting skills and crafts. Technically, we can't replace the traditional materials and processes with new materials and processes. We can add new materials to enrich them, and the result of substitution is the demise of traditional crafts! The result of transcendence is to produce something new. Culturally speaking, it is good to create new things, but traditional culture needs to be preserved.

Lv Pintian China Academy of Fine Arts:

The theme of this exhibition is of great value and historical significance. We are confident about the problem of handicrafts. The root of this self-confidence lies not in our blind arrogance or perceptual knowledge, but in the fact that modern society has brought new hope to handicraft industry while destroying it with industrial production. Modern people's way of life is inseparable from science and technology, but science and technology itself can't improve itself and solve itself, so we need to solve it. Among them, manual art is needed. The development of industry itself has left a huge development space for handicraft art, and this dialectical relationship determines the development prospect of handicraft. The theme of this exhibition is inheritance and transcendence. Inheritance and innovation are the problems we have been facing since we entered the industrialization era. Inheritance and innovation are inseparable. The so-called tradition is something with the possibility and power of innovation. What is not innovative is not tradition, but remains and antiques. This exhibition has made a breakthrough in the relationship between inheritance and transcendence, and changed the original simple, fragmented and absolute discussion on innovation. Learning tradition should also follow certain rules. Only the innovation that follows the law is good innovation, and good innovation is recognized by everyone, and the accumulation is tradition. Therefore, tradition must be innovative, and innovative things will definitely become traditions. This exhibition is a good start, which makes us feel the confidence and belief of novice arts and crafts.

Shanghai University Academy of Fine Arts:

Shanghai University merged the Department of Architecture into the Academy of Fine Arts, which provided us with an opportunity to unite with the Modern Academy of Fine Arts and the College of Materials Science and Processing Technology. It is not only a discipline, but also a cultural industry. Cultural industry does not come out of thin air, it comes from the construction of a discipline. We have an advantage in this subject. We have established academic platforms with Tsinghua University Academy of Fine Arts and China Academy of Fine Arts. The teaching resources of the three schools are shared, teachers are sent to each other, and * * * jointly undertake scientific research projects. The basic framework of glass art and culture industry mainly includes the following points: first, discipline; The second is the design and engineering project department; Third, the science and technology department; Fourth, the Ministry of Culture and Publishing; Fifth, the Museum of Glass Art and Technology. We welcome universities with glass art to join us and share the achievements.

Professor Tang Jialu of Shandong Institute of Arts and Crafts

Traditional handicraft is the time of relatively mechanized production in modern industrial society. He has a long history and exquisite craftsmanship, inherits a complete technological process, uses natural raw materials, and has local style and national characteristics. It can be divided into two categories: purely aesthetic handicrafts and folk handicrafts. The main feature of folk handicrafts is life, which is closely related to life, nationality, collectivity, regionality, craftsmanship and inheritance. Compared with traditional craft, it is different in creative subject, mode of production, material selection, manufacturing technology, function, user, aesthetic orientation and style of traditional craft. Modern handicraft is a dynamic concept. Compared with traditional handicrafts and folk handicrafts, it is a continuation of traditional handicrafts, expanding the scope and forms of traditional handicrafts and adding some new categories, forms, styles and materials. On the one hand, modern handicrafts have use value, on the other hand, they are both practical and artistic.

In the process of the transformation from traditional arts and crafts to modern design art education, the cultivation and education of arts and crafts talents was once neglected. This requires us to attach importance to the cultivation of talents, curriculum and training objectives of handicraft teaching in colleges and universities. On the one hand, we should pay attention to the cultivation of theory, on the other hand, we should pay attention to the education of handicraft skills. Shandong University of Arts and Crafts has set up a special handicraft studio and research institution, which integrates the research and teaching of traditional handicrafts into the planning of discipline construction and professional development, and offers related courses, which not only pays attention to learning and transcendence, but also pays attention to the combination of purity, artistry and life of handicrafts.

Xi 'an Academy of Fine Arts

What will modern handicrafts bring us? First, new aesthetics and appreciation. We are in a high-tech society, which creates leisure, psychological pressure and opportunities. Traditional handicrafts have created leisure for us, which requires art exhibitions to go out of art colleges and provide opportunities for outsiders to watch. Art is a very important way to relieve the psychological pressure caused by modern society. It also creates opportunities, so we need to seize this opportunity to realize the promotion and leap of art, and the second is innovation and enlightenment. It is very important to innovate from the traditional resources of this subject. Foreign innovation comes from the cross-integration of different disciplines, while domestic recognized independent innovation is rare, and the intensity and social impact of innovation are not enough. The innovation of materials is a very important aspect, and the communication between different disciplines can also get some inspiration from innovation. The third is the new emotional balance. Blindly committed to the development of high technology, people's emotions have been distorted and alienated, and it is necessary to achieve emotional balance through the participation and interaction of art, and finally there is a new market demand. The market reflects a kind of orientation as well as a kind of demand. We should deeply analyze and deconstruct the market.

Nanjing Art Institute:

The handicraft specialty of the college is not very prosperous. First, it is because of the impact of modern design on traditional handicraft industry. Second, some handicraft factories are now located in small and medium-sized cities, and students are willing to go to big cities to develop. Third, many schools do not pay enough attention to handicrafts from the teaching concept and management; And most students want to study art design, not handicrafts, because design is easier to find a job. I think it is possible for handicrafts to develop in a refined and practical direction in the future, so that it can be more integrated into our lives. Our attitude towards traditional design should be: synchronization of inheritance and modernity, synchronization of inheritance and innovation, integration of tradition and modernity, and equal emphasis on theory and practice.

Professor Zhang Fuye of Tsinghua University Academy of Fine Arts:

Handicraft culture and handicraft can represent a country's culture and a nation's style. China's handicraft culture should be a typical representative of the oriental handicraft culture system, so we need to carry it forward. After entering the 2 1 century, our life began to be stereotyped and typed, lacking individuality and human culture. We are eager to fully display our personality, especially hope that high emotion and high technology can reach a balance here. Therefore, learning traditional handicrafts and advocating handicraft culture can better show people's feelings and carry forward humanistic spirit. Modern design can't replace traditional arts and crafts. Design, pure art and arts and crafts should go hand in hand and develop together.

Zhou Jianshi Associate Professor of Tsinghua University Academy of Fine Arts:

As for inheritance and transcendence, from the perspective of national aesthetics, China's piano, chess, calligraphy and painting are all hand culture, that is, craftsmanship. Handicraft culture is very important to a nation's culture. To a certain extent, it reflects the civilization level of a nation in various historical periods and the development of the whole society at that time, and also reflects the wisdom and ability level of a nation in a certain period. Therefore, we should advocate and develop handicraft culture and handicrafts. When all ethnic groups are in the period of unified economic development and diversified national culture development, this kind of culture and aesthetics is the basis for a nation to stand on the world.

Vice President of He Jie Tsinghua University Academy of Fine Arts:

It is a great change and problem to seriously think about the essence, purpose and goal of art design, as well as the links and purposes of design education and training. We should calm down and think about the development trend, process and context of traditional arts and crafts, as well as our thinking and prospect for the future. We all shoulder the responsibility and obligation of cultivating talents, and it should be the duty of every institution to carry forward the traditional culture of the motherland. I hope that in the future, we can work together in Qi Xin to do this better. I also hope that your predecessors will pay more attention to the development of modern handicrafts in China and put forward more valuable experiences and opinions. I also hope that all of you here will support and actively participate.