Liuli Studio was founded by Yang Huishan and Zhang Yi in Danshui, Taiwan Province on 1987.
Yang Huishan was a famous actor in Taiwan Province in 1970s. I have starred in 124 movies, Little Fugitive and I Live Like This, and won the Golden Horse Award for Best Actress in Taiwan for two consecutive years. Another work, Sister Jade Qing, won the Best Actress Award at the Asia-Pacific Film Festival.
Zhang Yi is one of the important directors in Taiwan Province Province. The film "I have lived like this" won the Golden Horse Award and the best director of the Asia-Pacific Film Festival, while "My Love" won the yearbook of new york Variety Magazine in the United States and was selected as one of the top ten representative films of Taiwan Province Province in the past century (1895- 1995).
Just as the performing arts career was in full swing, Yang Huishan and Zhang Yi left the film industry and devoted themselves to the modern glass art, which was quite unfamiliar to Taiwan Province society at that time, and founded the first glass art studio in China-Glass Workshop. The word "coloured glaze", China's ancient name for glass, contains elegant and beautiful features and flows brightly. In the Buddhist sense, it refers to the clarity of spirit and wisdom. Coloured glaze is one of the traditional products in China, an important part of the historical and cultural heritage of the Chinese nation, and a wonderful flower with moving charm in the arts and crafts garden. Using coloured glaze instead of glass emphasizes the significance of coloured glaze workshop to history and culture.
The main idea of the glass studio is to create China artworks that are in line with exquisite sculptures when the world glass art is booming and china glass is lacking. Choose "glass dewaxing casting" P & amp； AcircTe-de-verre) as a basic creative technology.
At that time, there was only one studio (DAUM) in Nancy, France, which lasted for more than one hundred years. Based on the techniques of the Egyptian era, it shone brilliantly during the Art Nouveau movement at the end of 19, and it is the only modern glass dewaxing casting studio.
1987, glass workshop was established. At first, there were only seven working partners. Due to the creative goal of modern china glass style, the so-called "dewaxing casting method" was chosen as the main development technology. Unexpectedly, it faced three and a half years of difficulties and suffered numerous failures and setbacks. Under the pressure of investment of more than five million dollars, it barely established an uncertain chaotic situation in almost complete despair.
In the international literature exchange, the glass workshop was surprised to know this so-called "dewaxing precision casting method" from Japan for the first time; This so-called "P &；; acircte-de-verre "； This so-called secret method, which only the French can master today, appeared as early as the Han Dynasty in China. Two ear cups in the tomb of Liu Sheng, the king of Zhongshan in Mancheng, Hebei Province, are unearthed examples. Since then, Glazed Studio has focused on one thing: the history of China, the culture of China, and the awakening of the essence of a national consciousness.
The glass workshop has been locked in the Chinese style. Today, it can be announced to the world that top glass works of art can be made by China people's hands, which is not inferior to other countries in the world. The glass workshop has entered 30 years, and its skillful technical performance has become one of the best dewaxed glass art studios in the world.
Since its establishment, the works of the glass workshop have been exhibited in Japan, the United States, Britain, Italy, Germany, Singapore and other places, while in China, they have been exhibited in Beijing Palace Museum (1993, 1998), Shanghai Museum, Guangzhou, Shenzhen, Hong Kong and other places, and a glass workshop has been set up in Qibao Town, Shanghai, with 800 employees.
Glass Workshop strives to establish the cultural creation image of new china glass art in Greater China. I hope that through the study and creative activities of this material, we can awaken the valuable values in China's national tradition to a certain extent, and provide a very promising direction for the cultural revival of China in the future. China coloured glaze is not only a craft, but also a philosophy and religion. In Buddhism in China, coloured glaze plays a very special role. There is a passage in "Pharmacists Wish the Light of Glazed Glass Be the Tathagata": "I wish that when I get Bodhi in the next life, my body will be like glazed glass, and Ming Che inside and outside will be flawless."
As early as before the Western Zhou Dynasty, China's glass art had matured. Glass beads in the Western Zhou Dynasty, also known as "dragonfly eyes" or "dragonfly beads", have high creativity and quality in technology. According to Japanese data, China in the Han Dynasty completed quite exquisite artifacts by the method of "glass wax casting". But the main components are alumina and silicon. Now we think that glass is a substance, but colored glass is a spirit and a state of mind.
Glass, light and shadow swaying, like static and moving. It can absorb colorful flowers, pure and transparent, beautiful and moving, shocking the world, self-extinguishing, incarnating everything, but always quiet. Coloured glaze is alive, and Yang Huishan has endowed it with more essence and eternal life.
This is a very simple rule: too many lifeless and meaningless things, after emotional warmth and attention, will become vivid life, not only resulting in original songs, but also easier to develop a broad imagination space!
Therefore, the enthusiasm and persistence of the glass workshop is the real driving force for the continuation and resurrection of china glass, and for us, "china glass" has a meaning again! The establishment of the glass workshop has at least two meanings: the first meaning-if you want to do anything at any age, you can achieve certain results as long as you work hard. Because the members of Liuli Studio, which was established that year, didn't know Liuli. Before they succeeded, they were all filmmakers. At first, until three and a half years, we all spent our time in failure and experiment. If it weren't for a determination not to look back, Taiwan Province Province wouldn't have this industry today.
The second meaning-people should cherish the past instead of history, which is a mistake and a waste. It's easier said than done. The personal lesson of the glass workshop is: at the beginning of its establishment, it was right for us to choose "dewaxing casting method". But because of ignorance of knowledge and history, we always think that foreign knowledge is right. This method called "pate-de-verre" is something we learned from foreign books, and we have always regarded it as an exotic product. After three and a half years, we managed to get some works to be exhibited in Japan, and we also know that glaze powder casting in Han Dynasty in China has long been popular. It doesn't matter whether it is a "dewaxing method" because this technology is interrupted. Through such a class, the glass workshop actually learned not only a kind of arts and crafts technique, but also a re-cognition of national history, which is far greater than the value of the technique itself.
Glass workshop, ten years, of course, is concerned about the future development of creative direction and business direction. But the glass workshop is more concerned about whether china glass can be passed down forever in the future and will not be interrupted in 2000.
I hope the biggest role of the glass workshop is to let china glass speak. Born in Taipei City, Taiwan Province Province, 1952, born in Changsha, Hunan Province.
Present position: Founder and artistic director of Liuli Workshop Education: Providence University in Taichung (formerly Jingyi Women's University)
Yang Huishan, a famous actor in Taiwan Province Province in 1970s, won the Golden Horse Award for Best Actress, the highest film performance award in Taiwan Province Province, for two consecutive years, and his later works "Little Fugitive" and "I Live Like This". Another work, Sister Jade Qing, won the Best Actress in the Asia-Pacific Film Festival and became the most important performing artist in Taiwan Province film industry at that time.
1987, Yang Huishan was at the peak, left the film industry to devote himself to China modern glass art, founded a glass workshop, and painstakingly studied the dewaxing casting method of special glass. From groping, experiment to real works, the glass workshop has been deeply expected by the world's first modern Chinese glass art creation group. At the same time, Yang Huishan is one of the few promoters of modern glass art in China.
During the growth of Liuli's studio, Yang Huishan, with his unique artistic talent and keen observation, created sculptures rich in China's traditional language and humanistic thought, which made Liuli's studio on the international art stage in a short time.
Yang Huishan is synonymous with "China Modern Glass", and the glass workshop she founded became the first cultural brand in China.
About Zhang Yi
Birth: 195 1 year, Taipei.
Education: School of World Journalism, new york Experimental Glass Studio.
Zhang Yi became a high-profile contemporary short story writer at the age of nineteen. His work won the best work of the year twice. After graduating from the School of World Journalism, he began his career as a director. His film "I have lived my life like this" won him the Golden Horse Award and the best director of the Asia-Pacific Film Festival. His last film, My Love, was selected by new york Variety Magazine as the top ten representative films of Taiwan Province Province in the last century (1895- 1995).
From 65438 to 0987, Zhang Yi decided to be the pioneer of china glass and founded the first glass art studio in China. In this unique glass studio, Zhang Yi created new possibilities and directions for China traditional arts and crafts.
Zhang Yi's design not only emphasizes the basic idea of modern artistic creation, but also covers strong traditional national feelings, including the ancient totem and the concept of the universe contained in China's ethics, which is deeply reflected in his creation. There are thousands of ways to operate, and in the final analysis, there is only one purpose-
Create benefits externally and distribute them evenly internally.
Glazed workshop extends from this; I think the basis of enterprise management: only sincerity.
Every member should cooperate with the greatest sincerity, create the best works and share the greatest benefits, which is management.
If people are sincere, they will not deceive themselves.
Don't deceive yourself, this is everyone's best duty; The root of effort.
If you don't deceive others, the group will have a tacit understanding and cooperate with each other.
Contrary to the principle of sincerity, no unity can last long, even great management is disconsolate.
Glass workshop believes that only sincerity can last long. The establishment of glass workshop begins with friendship, and the whole combination is based on friendship.
Although the name of the joint-stock company is registered externally,
In fact, the interior is only maintained by the ethics of a family atmosphere.
This morality is the foundation of glass workshop. Through this kind of ethics,
I hope to develop a sincerity that transcends real interests but is harmonious and United.
Independent and orderly working environment.
In reality, this very idealized enterprise model is indeed a test of human nature.
Therefore, the existence of glaze workshop is not only a creative desire,
This is also the ambition of mankind.
order
The glass workshop has a goal for a long time.
I believe it is very important to maintain a natural practice but very strict order.
Order can be stable, and then we can talk about all ideals when it is stable.
This order should be in the work, in the spirit.
Violation of order is essentially a violation of the glass workshop.
It is the destruction and disrespect for the noumenon on which every member lives.
When the illegal act is serious enough to affect the interests of all members,
Other Members may propose an "order form" for discussion.
If necessary, corrective measures include canceling the membership of the glass workshop. On the basis of following the national culture, the glass workshop has opened an inexhaustible creative treasure house; In addition, because the cultural exploration comes first, almost all creative works contain rich cultural stories when presented, so the works show great vitality and feelings, and at the same time; It also promotes the possibility of explanatory text and literary changes attached to each work. This kind of text, which was originally purely for advertising purposes, appeared together with works with concise words like poetry, and as a result; It swept all the audience. The creation process of this kind of expository text has been promoted to a quasi-creation as the other half of the work, and the part of glazed works that expresses the image, while expository text has brought the soul of the work to a broader position from the image. If this creative motivation continues, maybe; Zhang Yi, the initiator, probably gave birth to a new kind of "interpretive literature" in the later period of her literary creation career.
The discussion of the glass workshop seems to be a combination of scattered rhymes, but it is actually irregular. From the beginning, they appeared only because of Zhang Yi's rigorous attitude towards objects and most of his expositions were written by himself, showing a unified style, which seemed to have a "style". This intangible "style" or "style", if we use the poem Fu, Bi and Xing, is that Zhang Yi used to express his meaning directly with great momentum and combine China's inherent thoughts with the theme of his works by revealing metaphors, but it is the emotion that surges from time to time in the sentence that gives full play to the principle of Xing. This lyrical and rational technique is very subjective. However, the expository text of Glass Workshop has successfully introduced the writer's subjective will without being rejected, which is related to Zhang Yi's ability to firmly grasp the writing skills that China people yearn for, thus affecting the impressions of international advanced operators and market followers, and also making many scholars moved by it.
In all forms of cultural and artistic creation, poetry is placed in the highest position, because compared with sculpture and painting, poetry is least restricted by the carrier and can fully express the creator's complete consciousness. However, the expository writing in the glass workshop is greatly limited by objective commercial factors. After all, its basic skills and the purpose of advertising copy are the same. Therefore, writing should be in harmony with the times and fashion, and there should be no negative and strange words. The covering ability of words should be able to understand the mainstream value emphasized and cannot be separated from the configuration and positioning of works. More importantly, it will eventually be accepted by consumers. The Glass Workshop is quite successful in these two aspects, which objectively stems from Zhang Yi's strict training in advertising norms and subjectively from his profound knowledge of China literature. If explanatory literature is really established in the future, accurate advertising training and literary literacy should be its literary elements. Another factor that shows literature may be the factor of the times.
All creation has its background, and the influence of each era will be passed on to the next. Literature is not abrupt, tradition is the historical order, and the new works of each era are adjusting the original order. This long-lasting relationship has been recognized by the glass studio. From the simple and elegant ancient style in the description style of The Glass Workshop to the lyrical expression of Li Bai's style, it can be announced that The Glass Workshop has been richly moistened in one line of inheritance, thus meeting the needs of ideal practice. Yang Huishan and Zhang Yi made a wish in their hearts, hoping that the interrupted history of china glass could rise again with dignity after the glass workshop.
At this point, the glaze workshop has established the eternal goal of creating national glaze, and began to actively learn and understand the culture of China. Through the glazing workshop, it created a new modern language and pushed China culture onto the international stage. For more than 3,000 years, the glaze workshop has undertaken the mission of inheriting the glaze history of China with fear.