During the period of 1992, Yang Huishan's works were exhibited at the "982" international transparent art exhibition in Venice, Italy, which aroused the discussion of glass art all over the world. Among them, the Buddhist thought and creation of "Golden Buddha" are unique and innovative under the precise interpretation of techniques, which makes the top international masters sit up and take notice.
During the period of 1993, Yang Huishan and Liuli Workshop were exhibited in Beijing Palace Museum, and six expert discussions were held. The Palace Museum has collected seven works, including Yang Huishan's "Pharmacist Glazed Buddha", and presented this collection to Yang Huishan for the first time.
1995, the most important master of glass art in the world, Libinsky and Brecht (libersky &; Italian Livio Seguso, Japanese Kyohei fujita, American Dale Chihuly and Yang Huishan participated in the first Taiwan Province International Modern Glazed Art Exhibition sponsored by China Times and Glazed Workshop. In this exhibition, Yang Huishan created "Thousand Buddhas" through the color and transparency of glass, with the theme of feeling the sadness of the world. When Brecht saw Yang Huishan's works, he said: Libinsky and I have been in the glass art world for forty years. In fact, we have tried to experience all creative thinking. But thinking about the nature of glass-such as the characteristics of internal space and internal light-is a matter of nearly ten years. Your working history is only seven or eight years, but I see that you have reached the core.
From 65438 to 0996, Yang Huishan's new personal creation "800 billion buddhas on earth" was grandly exhibited in the Mitsukoshi Department Store Art Museum in Nijo Castle, Tokyo. Mr. Takahashi Fujita, the most famous master of glass art in Japan, visited the opening ceremony to congratulate him. The representative works of this exhibition are 85cm wide, 55cm high and weigh 80kg. They are large-scale works like hills covered with Buddha statues, which have aroused enthusiastic response in Dunhuang art circles and Japanese glass art circles.
1997, the Palace Museum in Beijing once again collected Yang Huishan's work Between Heaven and Earth. This work is 100 cm high and 80 cm wide. It is a bright and pure newborn baby in the middle of a huge and magnificent mountain wall, serene and quiet in a deep sleep. Yang Huishan's sculptures are full of spirit and profound thinking, and have been widely concerned and affirmed by all walks of life again.
From 65438 to 0998, Yang Huishan broke through the technical limitation of dewaxing casting, and completed more than ten large glass works with a diameter of about one meter and weighing hundreds of kilograms, which promoted the creation of glass to a serious sculpture category. Whether it is "Song Ying Yue Ying", "Endless Life" or "Similar", China's strong tradition and language integration have absorbed modern ideas, mastered the wax removal and casting technology of glass, provided a new vision for the international glass art world, and attracted the attention of the most famous museums in the world-the Victoria and Albert National Museum, the Shanghai Museum and the Beijing Museum in Britain have invited exhibitions and collections, and china glass has finally entered a history of several thousand years.
From 65438 to 0999, Yang Huishan exhibited in Guangzhou Art Museum and Shenzhen Guan Shanyue Art Museum, and two works, Eight Hundred Billion Buddha and Great Circle Mirror Wisdom, were permanently collected. In September, Yang Huishan held a charity sale of 92 1 Help Yang Huishan's collection works in Taipei Yuan Qi Shopping Center, and * * * raised 6.8 million yuan, all of which were donated to earthquake relief. At the end of the year, at the sogou Art Museum and the Millennium Creative Guanyin Exhibition in Yang Huishan, a number of cast Guanyin works were exhibited, presenting the overall concept of the integration of reality and reality, which created a new milestone for Yang Huishan personally. At the same time, Yang Huishan attended the Shanghai International Art Festival, which was the first exhibition of famous works. The book Yang Huishan, Zhang Yi and Liuli Workshop published by Tianxia Culture is prefaced by Mr. Yu, and the corporate culture and spirit advocated by Liuli Workshop have been recognized by more people.
In 2000, inspired by the Yuan Dynasty mural "Thousand Hands and Thousand Eyes Guanyin" in the third cave of Dunhuang, Yang Huishan carved a three-dimensional Guanyin with a height of about 190 cm and a width of about 150 cm, and held the "Millennium Dunhuang Renaissance-Yang Huishan Modern china glass Art Exhibition" in the exhibition center of Dunhuang Research Institute in Gansu Province, which is known as the 493rd cave of Dunhuang and will remain in Dunhuang forever. At the end of the same year, one of Taipei Shin Kong Sanjie Department Store's great wishes, the Yang Huishan Thousand Hands and Thousand Eyes Guanyin Exhibition, amazed the world. This year, together with the American Chinese Businessmen Expo, the Glass Workshop held the National Glass Sculpture Design Competition in Los Angeles, which created a new pattern in the history of world sculpture for thousands of years. /kloc-For 0/4 years, Yang Huishan has been synonymous with "China Modern Glass", and the glass workshop she founded has also become one of the best dewaxing casting studios in the world. Yang Huishan's first contact with stained glass stems from the fact that when he was filming "My Love with Zhang Yi", the props borrowed from the glass works of art in the boutique. The transparency and penetration of the sculpture made Yang Huishan marvel at its beauty. After exploring this place, he learned that these artworks came from various countries, but there was no China. Soon after, Yang Huishan and Zhang Yi quit the film circle, hoping to find something to focus on creating their eternal value. The fond memories of glass artworks let them step into the world of glass making.
At first, the two men took blowing as their main technique. However, Zhang Yi realized the limitations of blowing and began to study various books. He came across the technology of "pate-de-verre", which can be accurately copied and mass produced. And Yang Huishan is the most powerful practitioner around him.
At first, Yang Huishan adopted the groping method of indigenous steelmaking and practiced according to the steps in the book. However, because the control of materials, time and temperature is almost amateur, in order to further master the technology of dewaxing casting, Yang Huishan and Zhang Yi went to the new york Experimental Glass Workshop in the United States for further study, but there are still many key problems in the dewaxing casting process in this studio.
For Yang Huishan, the most important thing in this study trip is to get in touch with world-famous glass works, which opened her eyes and deepened her yearning and persistence in glass art creation. Although she studied generally since she was a child, she was particularly outstanding in music and art. Almost all her paintings at school were taken to other classes by teachers to observe. This artistic cell, which has been sleeping for more than 30 years, gradually wakes up on the road of her contact with glass creation. Although she started from scratch without a teacher in the process of learning wax casting glass creation, her artistic talent is gradually being developed.
Due to imperfect equipment and inexperience, Yang Huishan and Zhang Yi have been exploring glass technology for three and a half years. They have been in debt as high as 75 million yuan, but they still haven't finished a work. All the burnt glass works were buried in the backyard of the freshwater glass workshop, which became a glass tomb with an area of more than 10 square meter, reminding their partners of the process of starting a business. Yang Huishan tasted it: "There is no shortcut to learning, only the heart." She described taking this road as entering a dark and long tunnel, but as long as there is a glimmer of hope ahead, she firmly believes that she can get out.
The mission of Liuli originated in China.
From 65438 to 0987, when I entered the glass industry, I chose dewaxing and precision casting as technologies, because I believed it had great creative space. Regarding the background knowledge of this technology, Yang Huishan and General Manager Zhang Yi wrote in the book: "It originated in Egypt and revived in France in the19th century." The goal of years of struggle is only to achieve "a unique secret skill that only the French can master." However, in 199 1, Liuli Workshop was officially invited to participate in the World Industrial Commodities Exhibition held in Qinghai, Japan. During the conversation, Yu Changxiong, a famous Japanese glass artist and collector, revealed that in fact, dewaxing casting technology appeared in China more than 2,000 years ago, and suggested that they go and see the glazed ear cups unearthed from the tomb of Liu Sheng, the King of Zhongshan, Mancheng County, Hebei Province.
This shocked Yang Huishan and Zhang Yi, who were determined to speak for china glass. This Western Han ear cup, which is only the size of a palm, has become the foundation for the glass workshop to settle down. "Handing down china glass from generation to generation" and "China culture is our dignity" have become the unchanging core concepts of the glass studio.
Voice for china glass's creation
We pay attention to the development of national culture and make greater efforts to produce colored glasses with China characteristics. In the past 20 years, we have been striving for balance and cultural balance, and at the same time, we care about the' culture' part of the glass workshop more than the' industry'. Yang Huishan
Studying China culture and cultivating the ability to care about history is Yang Huishan's constant homework. Culture is rooted in national blood. Using China symbols and integrating them into modern design concepts to show new ideas is also a lesson that glass workshops have been striving for self-improvement. Yang Huishan recalled that a friend once advised them to simply immigrate to the United States and live a leisurely life in the hard years at the beginning of their business. But the thought that from now on, she doesn't even have to read Chinese newspapers, and future generations can't speak Chinese makes her feel chilly. That wasn't the life she wanted, so they went back to Taiwan Province Province and wanted to leave something for China in their lifetime. They believe that as long as they have fighting spirit, they can survive. In their minds, the success of glass workshops does not depend on how much money they earn. If they can set a value and set an example for this society, even if there is nothing in their pockets, it will not affect their pride.
"Cave 493 in Dunhuang"
A good sculptor, in addition to skilled technology and precise techniques, the most important trait is interest, oh! It should be said that it is fanaticism. Sometimes I even fear that my skills are too good and I will become a' craftsman'. If my skills are too good, my works will become rigid and sample. Yang Huishan
1996, Yang Huishan entered the third cave in Dunhuang and saw the Guanyin statue with thousands of hands and eyes. Knowing that the mural will eventually disappear, he is determined to keep it forever with glass sculpture, which is a great wish in this life.
Lv Chengzuo, who has been photographing the works of the glass workshop, observed that after returning from Dunhuang, the Buddha statues in Yang Huishan were softer and more relaxed, no longer confined to the appearance, but emphasized the expression of emotions, which corresponded to the Buddhist language, as if they had entered the realm of "no phase" and "no possibility". Generally speaking, after Dunhuang, Yang Huishan's creative concept has been deepened and expanded. From a single, well-behaved Buddha statue to the reflection of time and space, including the relationship between Buddha and Buddha, man and Buddha, it is manifested in such large-scale works as 800 billion buddhas on earth, hundreds of millions of years in Dunhuang and between heaven and earth. 1998, released more than a dozen super-large works, such as Beauty Without Words, Great Achievements, Bright and so on.
20 13, Yang Huishan and Zhang Yi held a joint exhibition in China Art Museum, and Yang Huishan's "A China glass flower-dancing in the spring breeze more calmly" was collected, which was the first time that China Art Museum collected glass works.