蒋泓堃：陶瓷创作中的诗性与理性

蒋泓堃 Jiang Hongkun

在整个中国陶瓷历史中，最重要的一个分支叫“青瓷”。窑火对青瓷的成色带来巨大且不可预知的影响。三氧化二铁等物质与窑火相融，泛青、泛黄、泛黑、泛褐，变幻莫测。它（狭义上的青瓷）不强调华丽繁复的纹饰，反施以肥厚的釉面。像高档的翡翠那般――集“种色兼具”、温润淡雅、含蓄内敛之大成，恰是炎黄子孙心之所向。

众多传统工艺发展至今已有手作与机制的区别。手作即存在误差，所谓误差甚是微妙，灵气便在这方寸之间。有灵气的作品应当如同少女一般，细腻、丰富，拥有视觉与触觉之美，触动人心。

In Chinese ceramic history, the most important branch is called Celadon wares or Greenwares. The firing in the kiln has an enormous but unpredictable influence on the porcelain color. Chemicals in the fire, such as ferric oxide, help to produce a wide variety of colors, including blue, yellow, black and brown. On narrow definition, greenwares are thick glazed without luxurious decorations. The similarity of the color to jade, traditionally the most highly valued material in Chinese culture, is a large part of its attraction. The desired color is to mimic the green shades of jade, elegant, implicit and restrained, which is considered as an epitome of Chinese philosophy.

As the traditional handicraft develops, greenwares are either handmade or machine-made . Handmade pieces show difference between, which actually shows the intelligence of the master. A masterpiece is supposed to be exquisite with smooth finish , rich in meaning and heart-touching, like a beauty.

About 蒋泓堃 Jiang Hongkun

1996年生于杭州；

2005年开始接触陶艺；

2011年开始学习拉坯；

2017年毕业于中国美术学院；

浙江省首批"创意青苗人才库"成员、电影投资人。

Born in Hangzhou in 1996;

Working on ceramics since 2005;

Making hand-thrown pottery since 2011;

Graduated from the China Academy of Art in 2017;

A member of the first "Creative Young Talents " in Zhejiang Province, a film investor.

部分参展及经历

2012 陶艺作品《指尖上的西湖》发表于《美术报》

2012 陶艺、玻璃作品分别被南宋官窑博物馆、国家湿地博物馆等收藏

2013 参加英国伯明翰艺术与设计学院当代首饰设计培训

2014 《上学路上》系列绘画作品全国巡展，作品被数位藏家收藏

2014 入职复星国际（FOSUN）任商业地产企划执行设计

2014 绘画作品参加届时国内唯一跨年度品牌艺术交流活动——首届浙江省酒店艺博会

2015 杭州市第八届中小学生陶艺大赛优秀教师

2016 任浙江美术网艺术中心陶艺指导教师

2017 任首届中国美术学院继续教育学院校友优秀作品展展览委员会委员

2017 创办"坤载艺志"

2018 《我的本来面目》《看样》等系列陶艺作品参加中国美术学院90周年校庆展览

Jiang’s works and experiences

2012 Pottery Work named "West Lake at the Fingertips" released in "Art Newspaper" ;

2012 Ceramics and glass works collected by the Southern Song Dynasty Guan Kiln Museum and the National Wetland Museum;

2013 The contemporary jewelry design training at Birmingham College of Art and Design, UK;

2014 A series of painting named On the Way to School, on a national exhibition tour, collected by several collectors;

2014 working for Fosun International (FOSUN) as a commercial real estate project execution designer;

2014 paintings exhibited in the first Zhejiang Hotel Art Fair;

2015 Excellent Teacher of the 8th Primary and Middle School Students' Ceramic Art Competition in Hangzhou;

2016 Director of Ceramic Art at http://www.zhejiangart.com.cn/;

2017 Member of the First Committee of Continuing Education Alumni Excellent Work Exhibition in the China Academy of Art;

2017 His workshop"Kun Zai Yi Zhi" founded

2018 Ceramic works My original face and Imitation exhibited in the 90th anniversary of the China Academy of Art;

部分企划案例

汉峰8万方酒店式公寓与办公楼企划包装

上亿中心80万方城市综合体企划包装

万宝城28万方城市综合体企划包装

中栋国际企划包装

博凡湘湖九号企划包装

华夏银行浙江区域营业大厅视觉识别系统标准制定

……

Experience in layout work and design for

Hanfeng, 80.000 m2 serviced apartment & office building

Shangyi Centre, 800.000 m2 HOPSCA

Zhongdongguoji

Bofanxianghu Number 9

Establish the standard for

Huaxia Bank, Zhejiang province, vision recognition system in business hall

etc.

WORK

在中国，从陶的时代发展到瓷的时代，直至两种材质界限逐渐模糊的今日，这是一个时代对材质认识的变化，而不一定是绝对的进步。翻开中国陶瓷史，瓷器一经问世就被皇家喜爱，千百年来贵族对上好瓷器的钟爱未曾改变，而普通百姓在对两种材质的选择上并没有掌握极其主动的权利。如今G20国宴所用餐具一定是上好的瓷器，绝非陶制。可以预想千年以后，上好的瓷器依旧会被奉若上宾，这就叫入流。

西方造型艺术最为经典的部分就是古希腊的雕塑。他们擅长写实的人体雕塑――将锻炼得完美的人体甚至包括运动时肌肉群之间的牵动做了细致的研究。而东方早期的造型艺术是在新石器时代的玉璧、玉琮、玉圭。这是一些简单的几何形体。我们可以说西方造型艺术伊始便是写实，而我们本土的造型艺术却与器物的抽象化造型结合，产生了一种象征性的文化符号。在我的作品中希望探讨的也正是一种概括、简约、洗炼，又由心而生的造型本质。

—— 节选自蒋泓堃《这般颜色做将来――青瓷作品自述》

In China, from the era of pottery to the era of porcelain, until the blurred boundary between, this is a change in the material understanding, which is not necessarily progress. In the history of Chinese ceramics, porcelain was fallen love with by the royal family as soon as it came out. The love of the noble porcelain has not been changed for thousands of years while common people do not have the active right in choosing the two materials. Today, the tableware used in the G20 national banquet must be good porcelain instead of pottery. Fine porcelain is predicted to be welcomed in another thousand years. This is called inflow.

In the West, the most classic art is the sculpture of ancient Greece. They are good at realistic human sculptures - a meticulous study of the well-trained human body and even the movements between muscle groups during exercise. The early art of the East was the jade, in form of Bi, Zong and Gui, in the Neolithic Age. These were in simple geometric shapes. We can say that Western plastic art is realistic at the beginning, and our local plastic art is combined with the abstraction of artifacts to produce a cultural symbol. What I hope to explore in my works is the essence of styling that is generalized, simplified, refined, and born from the heart.

- part from This Color is the Future - the Celadon Works Readme by Jiang Hongkun

澄 / 23×23×24.5(cm) / 瓷 / 2018

枞 / 14.5×14.5×22.5(cm) / 瓷 / 2018

蘅 / 31.5×31.5×13.5(cm) / 瓷 / 2018

渺 / 27.5×27.5×23.5(cm) / 瓷 / 2018

匉訇 / 27×27×9.5(cm) / 瓷 / 2018

青栩 / 35×35×12(cm) / 瓷 / 2018

毓 / 23×23×9(cm) / 瓷 / 2018

沅 / 32×32×9.5(cm) / 瓷 / 2018

我的本来面目 / 尺寸可变 / 瓷 / 2017

看样 / 尺寸可变 / 陶 / 2017

青瓷 / 尺寸可变 / 瓷 / 2016

来源 | 沁润

撰文 | 沁润