摘要
当代玉雕的发展经历了两个高峰期:20世纪80年代以及21世纪初直至当下。但整个市场环境的高峰并不一定就能完全和创作高峰划等号。当代玉雕创作的黄金时期,既不属于20世纪80年代的阵营,也不完全重合21世纪初直至当下的范畴,而是在1995—2005年这样一个时间段。这种论断的裁定并非空穴来风,最先因为2012年尚善堂一批台湾回流玉器的出现而得到了印证,这批玉器制作完工的时间是1997—2005年。在随后进一步对台湾回流玉器进行梳理的过程中,2007年一次上海玉展中的台湾玉器作为"回流玉器"的样本浮出水面,将时间范围扩大到了1995—2007年。对比发现,两批作品在材料、工艺、艺术性等各方面都具有相似的特点,并且具有相当高的艺术水准,乃至于现在也无法超越。基于此,回顾当代玉雕发展历程的诸多细节,甚至将其置于更加广阔的文化背景、社会环境中去探究,最终发现把当代玉雕创作的黄金时期划归在1995—2005年这一时间段是合乎情理的。最为重要的是,它的确以其不可复制的典范性持续影响着之后的创作,意义非凡。
Abstract.. The development of the contemporary jade carving has experienced two peaks, 1980s and early 21st century to the present. The golden age of contemporary jade carving does not overlap the creation peak completely, but a period from 1995 to 2005. The conclu- sion is proved by a series of jade carvings sold in Shangshantang in 2012, which were created in the period from 1995 to 2007 and then exported to Taiwan. In the review of documents, the author finds that the jade carvings on the carving exhibition of Shanghai in 2007 have the characteristics of those back from Taiwan, which enlarge scale of golden age from 1995 to 1997. In comparison of two series of jade carving works, the used material, technology and artistry have similarities and reach a high level, which have surpassed the current works. Based on the analyses above, the author reviews the details of jade carving development and studies them under the cultural back^zround and social environmont In a conclusion,the pe-riod from 1995 to 2005 is the golden age of contemporary jade carving and has a significant influence on the creation.
出处
《宝石和宝石学杂志》
CAS
2014年第1期81-87,共7页
Journal of Gems & Gemmology
关键词
当代玉雕
创作
黄金时期
台湾地区
回流玉器
contemporary jade carving
creation
golden age
Taiwan reflux jade
