锦灰堆——世界非遗盛宴之你最喜欢的非遗作品

感谢志愿者钟为民翻译O(∩_∩)O

Thanks Weimin Zhong for translation.

一、非遗传承人介绍

Introduction of the inheritor of the intangible cultural heritage

封晶 Jing Feng：

字惜月，号晓风。非物质文化遗产“锦灰堆”画法陕西传承人。

Feng Jing, the courtesy name is Xiyue, self-titled Xiaofeng. Shanxi inheritor of the intangible cultural heritage——Jinhuidui.

2017年6月，作品被第三届中国西安国际少儿美术节收藏，并特授予封晶“爱心艺术家”荣誉称号；

In June 2017, her works were collected by the Third International Children's Art Festival in Xi'an, China, and were awarded the honorary title of "Loving Artist".

2017年10月，封晶参与“2017一带一路欧亚国际文化艺术展”，荣获“国际文化艺术交流杰出艺术家”奖；

In October 2017, Feng Jie took part in the 2017 Belt and Road: Europe and Asia International Culture and Art Exhibition, and won the award of Outstanding Artist of International Culture and Art Exchange.

2018年2月，参与西安世博园非遗文化展以及新春优秀书画作品展；

In February 2018, she participated in the Intangible Cultural Heritage Exhibition of Xi'an World Expo Garden and the exhibition of excellent paintings and calligraphy in the Spring Festival.

2018年5月，参加陕西省老龄事业发展基金会“关爱老人，精准扶贫”活动，获得“扶贫助老，爱心人士”称号；

In May 2018, she participated in the event called "Care for the elderly and take targeted measures in poverty alleviation" that was held by Shanxi Provincial Foundation for the Development of Ageing Careers, and won the title of "Loving Man for Poverty Alleviation and Caring the elderly".

二、非遗项目介绍

Introduction of intangible cultural heritage

2017年底，“锦灰堆”正式列入陕西省境内非遗名录。

At the end of 2017, "Jin Ash Dump" was officially listed in the list of non-remains in Shaanxi Province.

锦灰堆最早记载于元，后发展于明，盛于清末，可追溯的第一代传承人陕西马子云先生，传第二代茹小石，再传第三代封晶。

Jinhuidui was recorded in Yuan Dynasty for its first time, later developed in Ming Dynasty and flourished in the late Qing Dynasty. It can be traced back to the first generation of inheritor——Mr. Ma Ziyun, to the second generation——Ru Xiaoshi, and then to the third——Feng Jing.

“锦灰堆”主要是指清中后期至民国初期形成的一种国画艺术工笔类特色画种，以残破的文物片段堆栈构成画面，如火烧虫蛀的古旧字画，扇面信扎、古书以及各种拓片等，因此又名“八破图”、“拾破画”、“集破”、“集珍”等；因其看上去又像是字纸篓打翻了，所以又称“打翻字纸篓”，亦称“残画”，其画风细致，大多是直接对物体的写生，追求形似逼真。绘制要求传承人有较高的艺术修养，需掌握的技法主要有书、画、拓、印。

Jinhuidui mainly refers to a kind of traditional Chinese painting which formed from the middle and late Qing Dynasty to the early Republic of China. It is composed of broken pieces of cultural relics, such as ancient calligraphy and paintings with being burned or damaged by worms, folding fan or letters, ancient books and various rubbings, so it is also called "Eight-Breaks Picture", "Picking-Up-Breaks Picture", "Collecting-Breaks Picture" and "Collecting-Pearls Pictures". Because it looks like an overturned wastebasket, so it is called "overturned wastebasket", also known as "residual painting". Its painting style is meticulous, mostly direct sketches of objects, with pursuit of lifelike shape. It requires the inheritor to have a high artistic accomplishment and to have some other abilities, such as calligraphy, painting, rubbing and printing.

三、非遗作品介绍

Introduction of intangible cultural heritage works

1、多元融合——最典型的是多种书与画融合。“锦灰堆”虽不属于任何一种传统绘画题材，却可将任何一种题材的绘画纳入其中。不仅标新立异，突破了传统的绘画形式，使得其审美空间与主体的表现等获得了很大的拓展与深化。

Multi-integration, the typical one is to integrate many books and paintings. Jinhuidui is not any kind of traditional paintings, but it can contain all of them. It is not only unique, but also beyond the traditional paintings, making them deep and broadened that aesthetic space and main body’s performance.

2、残缺之美——观赏每一幅“锦灰堆”时，我们会发现其总体特征都是“破” 或者“残缺”，“锦灰堆”这种残缺的艺术，不仅暗示了19世纪的中国社会发生了观念上的转折，同时更是19世纪中国历史的真实写照。

The beauty of incompleteness - when we look at each Jinhuidui, we will find that its general characteristics are "broken" or "incomplete". The incomplete art not only implies a conceptual turning point in Chinese society in the 19th century, but also a true portrayal of Chinese history at that time.

3、三维视觉错觉——“锦灰堆”中的各种残帖被塑造得看上去像半透明似的，还能朦胧地透出下面的物像。画面中的素材重叠交错，有明暗，有阴影，带给我们瞬间的视觉真实感，试图蒙蔽观赏者的眼睛，让观赏者误以为整个画面是用浆糊拼贴而成的。

Three-dimensional visual illusion, various pieces are shaped to look like translucent, but also dimly reveal the following image. The overlapping and staggering of the material in the picture, with light and shade, brings us instant visual reality, trying to blindfold the viewer's eyes, so that the viewer mistakenly thinks that the whole picture is made of paste collage.

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