Ingenuity in China, the style of a master | Shi Senbin, Liuli is a thousand years
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- Time of issue:2018-07-04 14:29
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(Summary description)Art is a metaphor.We are always looking for the perfect material that can carry this metaphor and express the life ...
Ingenuity in China, the style of a master | Shi Senbin, Liuli is a thousand years
(Summary description)Art is a metaphor.We are always looking for the perfect material that can carry this metaphor and express the life ...
- Categories:Company news
- Author:
- Origin:
- Time of issue:2018-07-04 14:29
- Views:
Shi Senbin
China's well-known glass art master, senior craftsman
Created landscape installations for national buildings and cultural projects many times
Won the Guinness Book of Records
Representative works include:
Wuxi Lingshan Vatican Palace's giant colored glaze painting "Hua Zang World"
Shanghai Center Liuli Art Bamboo Slips Long Scroll "Mind and Landscape"
Art is a metaphor.
We are always looking for the perfect material that can carry this metaphor and express the life of all things. The craftsmen with scorching eyes and busy hands stand at the source of civilization, exploring and asking-should this be the hardest or the softest? Is it colorful and gorgeous or pure and simple?
Lili, Liuli, Liuli. Colored glaze comes from the fire and goes into the water with the wind and smoke of history. The stronger the fire, the purer the glaze, which can absorb the brilliance, can also be transparent in an instant, can be shaped like a relief, and can also reveal a warm light through the body. The Buddha said, May the body be like colored glaze. Maybe it doesn't stop there. The long river of time is like a tempered fire. Isn't civilization also the glaze made by history?
Shi Senbin is a well-recognized "old master" in the circle. Since the last century, the bronze gates he designed and produced have been erected in the grand historical buildings along the Bund, the Great Hall of the People, and the Diaoyutai State Guesthouse. Steel and iron bones used to be used for these. With the defense of the top-level urban space, he slowly began to see another possibility of "guarding" in the gentle and agile colored glaze. Liuli is not invincible, but it is endless in the context of history. If it is said that the previous works are guarding space, then what Liuli guards is time and civilization.
"Though there are thousands of people, I am going" Shi Jun, the son of Shi Senbin, used this sentence to evaluate his father. Although tens of thousands of people are going to do it, knowing it is impossible, Shi Senbin has always dared to be the first and dare to enter the realm of no one. Throughout the ages, Liuli has been delicate and exquisite works of art in the eyes of generations. However, he saw the picture of "tens of thousands of buildings in Guangsha" in the covenant light of Liuli.
However, he saw the picture of "tens of thousands of buildings in Guangsha" in the brilliant light from Liuli.
"Colored glaze is an excellent space decoration material, and can even become the building itself." He said. In 2008, he participated in the creation of the 80-square-meter colored glaze mural "Hua Zang World" in Lingshan Sanskrit Palace. In 2015, he opened the 100-meter colored glaze scroll "Heart Xiangshan Shui" in the city landmark Shanghai Center, and pioneered the domestic integration of colored glaze art. A pioneer of practical architectural art decoration and environmental art decoration. The light shines through the colored glaze reliefs with varying depths, immersing the space little by little, blending with the architecture as a whole. The glazed glaze and the architectural space are communicating with each other with great momentum, bringing a sense of life to the space and allowing people to see the true energy that this gem with a thousand years of history has.
But all the beauty needs to be carried. The more stunning the beauty, the more it is the result of countless mental strength, intelligence, and courage. Traditional Chinese construction materials, whether it is civil or masonry and metal, can be added. And pouring, it is easy to achieve volume change and space expansion, and every five centimeters of the area of colored glaze increases, the process difficulty is doubled. A single piece of colored glaze still needs to go through more than a dozen processes such as molding, molding, potting, dewaxing, sintering, and annealing. The steps are complicated and delicate, and any deviation may be as small as a thousand miles away. Not to mention, it is necessary to make glass sculptures, curtain walls, or the building itself that are hundreds and thousands of times the size of the usual works. Annealing is the easiest step in the production process to fail. Colored glaze that has been tempered at a high temperature needs to be sintered out of the furnace after a rigorous temperature reduction gradient calculation. Any slight noise in the process is likely to be a sign of glass breakage. Everything is done again. If we add the premise that the area and thickness of the works have doubled, it is hard for us to imagine how extreme design and calculation, and how many cycles of repetition, will be able to bring out the nirvana of countless hard-hearted art. The light of civilization may come out in such moments when you know it is impossible to do it.
Shi Senbin, whose work has won the Guinness Book of World Records, uses "big beauty" to describe the aesthetic characteristics of his work.
Lao Tzu said, Dao is great, heaven is great, earth is great, and people are great. The original meaning of "big" contains the characteristics of the Tao in the human heart. In addition to the large area and volume, it also has the momentum to carry time and space and tolerate sentient beings. "The great beauty in the work is, on the one hand, my own character, on the other hand, it is also the creation of the factors of the times." Shi Senbin explained. In the long run, the evolution of beauty is controlled by all aspects of society and humanities, especially the support of technological ideas. The continuous optimization of the ratio of materials used in Liuli, the equipment platform, the experience of integrating with large-scale infrastructure projects and other factors of the times have made the "big beauty" of Liuli become the general trend, and then with the hands of the craftsman, the beauty of craftsmanship has become abruptly open. The breath is majestic.
In addition to works that use architecture and space to carry performance, Shi Senbin now hopes that Liuli can be presented in an independent artistic language. "The expressive power of Liuli is very strong. When creating, it is full of imagination and surprises." In the eyes of this old master, Liuli has its own artistic language system. Although the color and luster, the position, and even the movement and texture of the color flow can be designed in advance, all artificial settings must be integrated with the gas and liquid moving in the glass itself during the kiln firing. Therefore, it will never be possible. Precisely preset the final product. In control and uncontrollable, between likeness and dislikeness, is the charm of Liuli language, not just the charm of all artistic creations.
"Liu Li has an uncontrollable spirituality, which is very similar to Chinese ink and wash art. I am now creating a series of works that use colored glaze to express ink and wash art." Ink and wash are specific to "ink", but the key is "water." The momentum of this smudge is exactly the "spirit" of ink and wash, and only the vivid aura in colored glaze can be expressed. Shi Senbin showed us an ink-wash series of colored glaze works, deliberately using focus light to illuminate the local details. The ink in the colored glaze is light and elegant, but it is subtle. When firing, the ink that is scattered by the charm is like a writing brush. The rush or slow brushstrokes, and the faintly visible tiny bubbles, seem to be able to feel the dynamics of the water flow before solidification, and people can't help but breathe.
Colored glaze is a kind of life. Shi Senbin explained to us that it is necessary for the creator's mind to blend with the rhythm of life of lilywood itself, and to carry each other with the current context and historical context of the times. The reason why art has spread through the ages is that it has accumulated too much life energy and has also witnessed too much wind and smoke.
The life of the craftsman, a moment in history, are all solidified in this crystal clear square inch.
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©2020 ShangHai KangYuan Enterprise Development Co., Ltd 沪ICP备05015427号 Power By : www.300.cn 友情链接:传世珐琅