七子连心,因材施艺——访木雕艺人王海波

七子连心,因材施艺——访木雕艺人王海波

Sep 23 2013

2013中国民族民间木雕技能擂台赛现场采访 嘉宾:王海波 时间:2013年5月 地点:浙江省嘉善县   编辑:王培文

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佛像雕刻,端庄生动——访沈美波工艺美术师

佛像雕刻,端庄生动——访沈美波工艺美术师

Sep 23 2013

2013中国民族民间木雕技能擂台赛现场采访 嘉宾:沈美波 时间:2013年5月 地点:浙江省嘉善县   编辑:王培文

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镜花内外,构思巧妙——访王家锋工艺美术师

镜花内外,构思巧妙——访王家锋工艺美术师

Sep 23 2013

2013中国民族民间木雕技能擂台赛现场采访 嘉宾:王家锋 时间:2013年5月 地点:浙江省嘉善县 编辑:王培文

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寄情动物,牧归田园——访金煜平工艺美术师

寄情动物,牧归田园——访金煜平工艺美术师

Sep 23 2013

2013中国民族民间木雕技能擂台赛现场采访 嘉宾:金煜平 时间:2013年5月 地点:浙江省嘉善县 编辑:王培文  

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Jan Zieder——波兰著名的木雕刻师

Jan Zieder——波兰著名的木雕刻师

Sep 13 2013

  Jan Zieder是一名虔诚的木雕刻师,他的大部分人生都在雕刻冥思中的基督。在他的工作间里,星罗棋布的陈列着不同年度雕刻的作品。除了他的木雕工作间,房屋后面还经营了一个小规模的民间博物馆,展品来自他的客户和朋友们。此外,他还是一名志愿消防战士,服务于当地消防队。   编辑:胡小霞

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活出最丰富的人生——访美国木旋协会Adam Hood先生

活出最丰富的人生——访美国木旋协会Adam Hood先生

Sep 10 2013

  Adam Hood(亚当·胡德)是一名坐在轮椅上的木旋爱好者。六年前因为一次事故,Adam Hood不得不要依靠轮椅生活。但是在家人的帮助和鼓励下,Adam Hood没有放弃。受伤后Adam Hood开始打垒球,之后投入到木器车床这个领域,从此其他一切都不再重要,木器车床成为了他生活的重心。   如今,Adam Hood已是美国木器车床工艺协会波尔克县分会会长。他在台上主持会议,在台下讨论热烈,将许多创新构想引进到分会,让分会蓬勃起来。他说,无论是一般人还是像他这样坐在轮椅上的人,都会遭遇挑战。面对挑战,你必须克服它,不能放弃人生,要想办法解决它,改善它,然后活出最丰富的人生。把每天当成生命的最后一天去活。   编辑:胡小霞

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John Zasada先生和他的桦树皮艺术

John Zasada先生和他的桦树皮艺术

Aug 13 2013

  走进房间,首先映入眼帘的是很多大大小小用桦树皮制作的物品,这是地球母亲献给人类的伟大礼物,它已超越了商品的意义,而代表着一种艺术形式。在这部影片中,桦树皮艺术家John Zasada先生不仅为我们演示了桦树皮剥离和制造技艺,更表达出对于桦树皮手工制作的一种充满热爱的生活态度。   编辑:胡小霞

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淡泊心,绚烂美——上海航管红木木雕大师技艺展示

淡泊心,绚烂美——上海航管红木木雕大师技艺展示

Aug 05 2013

  2012年9月1日-2日,由国际木文化学会(IWCS)主办,浙江农林大学承办的 “木材:艺术、乐趣与文化”为主题的技艺表演在浙江农林大学学生活动中心成功举办。   上海航管红木的厉洪春、厉翠兰应邀参加了本次活动。两位木雕大师在现场进行了木雕技艺表演并展示了部分作品,与会的各国专家学者纷纷对大师的娴熟技艺和精美作品表示赞叹。   厉洪春大师从艺53年来,博采众家之长,成就深厚功力。厉大师的作品手法细腻,造型生动,匠心独具地将高浮雕、浅浮雕、圆雕等技法有机结合,既将先人留下的传统技艺发挥得淋漓尽致,又融入了现代审美思想,创作出诸多工艺精湛、磅礴大气的当代木雕巅峰之作。   厉翠兰大师在完整继承东阳木雕的传统技艺基础上,开拓创新,积四十余年功力形成了柔婉细腻、飘逸灵动的独特风格。她与厉洪春大师共同创作完成了大量优秀作品,屡获殊荣。   编辑:Pi Ning

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王福臣和他的民俗博物馆

王福臣和他的民俗博物馆

Aug 01 2013

采访时间:2013年4月11日 采访地点:邯郸肥乡县旧店乡北营村        王福臣,现年50岁,河北省邯郸市肥乡县北营村一名普通的农民。凭借着对家乡的热爱,常年执着于家乡公益事业。   十五年前他撰写过《北营村史》,后又组建文学社,创办学校。三年前,他开始收藏。王福臣说,别人认为废弃的没用的东西,他认为有用。因为民间的一砖一瓦、一锅一碗、一盆一罐的变化,都折射着一个时代、一个时期的变迁,都是人类繁衍的基石和见证。所以,他要把这些民间物品保留下来,以民俗文化的形式,把先人的智慧传承下去,让更多的后人了解历史,汲取文化精髓,更好地为家乡建设做贡献。     在外债累累的情况下,王福臣自费成立了“民俗博物馆”。该博物馆位于王福臣的家里,有木器、石器、古玩、古书,常年免费开放。一件件历经岁月沉淀的生产生活用具,让人仿佛穿越时空,置身往昔岁月。   摄影:陈东明 编辑:胡小霞

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Interview with Terry Martin, an Australian artist of woodturning

Interview with Terry Martin, an Australian artist of woodturning

Jun 26 2013

Terry Martin is an Australian wood turner. He was interviewed in Beijing on April 13, 2013. Here is his story… Since 1983 I started woodturning in about 1983. I can’t remember exactly, but I think it was 1983. I was a professor at the time. And school I was teaching had a lathe. And nobody knew how to use it. So I decided to try. Then I fell in love with woodturning at that time. A woodturning writer One day, after I became a wood turner, my wife said to me, “You know how to write, and you know how to turn wood? Why don’t you write about woodturning?” And that was 1991. She was right. I never thought of it. So I listened to my wife, I wrote a story for a magazine. And in 1992, my first story was published. And I was very excited about that. In fact, I got some money for it. So I was very happy. So I continue to write. Then I found not many people are writing about woodturning, almost nobody in fact. So there was no competition, I could do anything I wanted. So I wrote, and I wrote, and I wrote. Now 25 years later, I have written almost 300 magazine stories for 13 magazines in 7 different countries. I have written 3 books. I have written I don’t how many catalog access for exhibitions and everything. So maybe I wrote more than anybody ever about woodturning. Simplicity The most important thing in woodturning is simple curves, a good line. If you can cut a good line, you are a good wood turner. But you have to practice, so what you see in your mind comes out in your hand. When you control the tool, that’s the hard. It takes years, and years, and years, and years, to get that immediate control of the tool. But then you can do more after that. Harmony You know, when you look at a piece of art, or a piece of craft, you know immediately if it’s good or not. Maybe you don’t know why, but you know. Oh, that’s looks good. And usually it’s because some balance and harmony. Harmony of the shape. Harmony of the line. If you try to do too much, it’s not good. When you are not sure what to do, stop. Then if you are not sure what to do, it’s enough. In that way, you find harmony. And for me, this is really strong in my work. Balance I understand the importance of light and shadow. Without shadow, there is no light. Without light, there is no shadow. Yin and Yang. For me, that’s contrast, dark/light, rough/smooth, big/small. This is the contrast. So in my pieces that I made, always you find some contrasts, a piece of dark, and a piece of light, a piece of rough, and a piece of smooth, together. It is contrast. So, simplicity, harmony, balance. The Feeling The wood is speeding on the lathe. The power comes from the lathe, not from me. The machine provides the power. So I am free to move. If I want to make a shape like a wave, I move like a wave. And I have a wave shape. If I want to make a shape like a flower, I move like a flower. And I make a flower. So the immediate feeling I feel this and it goes from me into the wood. And there it is. It’s difficult to describe. If you are turning wood. You move the tool with your whole body, not just with your hand. If you are a good wood turner, you move your whole body. And you move slowly. And it looks and feels like Taiji, I think. When the tool is sharp, and it is good wood. You can hear this beautiful sound…You know you have the correct cut. And the shaving is coming off. You saw beautiful shaving coming off. And there are like ribbons, like feathers, like hair. They are flying in the air. And you know, I am doing it well. I am doing it well. It’s going to be good. It’s going to be good. It’s very difficult to explain. But the feel is good inside, when you do that. Inspiration The first thing, the strongest inspiration is the trees. Because wood is not just material. Plastic is a material, steel is a material, glass is a material. But wood is a piece of tree. And tree used to breeze, and tree used to grow. When the wind blows, a tree moves. So it’s a living thing. Those other materials are not living things. Stone is dead, glass is dead, plastic is dead. But wood is a living material. And even after you cut down the tree, it still moves. In wet weather it’s bigger, in dry weather it gets smaller. For me, always I look at the trees. I like to say, this is a piece of tree, with respect for the tree. Wood once was a living tree. People feel that when they touch wood. So when you cut a piece of wood, you are cutting through the life history of tree, from the beginning of its life to the end of its life. And you share that experience of the tree. I think we all feel that inside. So now people want to show their creativity, I express myself through this work. Family My family is the reason why I can do it. Because my wife supports me in everything. Without my wife, I could not do this. Sometime I had no money, so she paid for everything. She never complained. She never criticized me, never. Always she said, “You do what you want to do”. And my daughter, she grew up her father with woodturning, since she was a baby. She saw woodturning. And she understands very well. And recently, we start to make pieces together, so I make the woodwork, and she does calligraphy on my woodwork. I am working with my own daughter. So that’s respect for my family. Suggestions for the beginners Practice, practice, practice. Every day, practice. Because even if you understand something, your body has to remember how to move. And when your body remembers, then it happens. So sometimes the movements is not simple, you have to go up and down, in and out. It’s like any skills, the more practice, the better you get. So don’t give up, and practice, practice, practice. And enjoy, enjoy. Editor:Kevin Photographer:Jeff    

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