requestId:68a89d1db9bd08.48053676.
Driving through the bustling area of C啟動儀式hancheng District in Foshan, then making a turn, we arrive at an industrial agglomeration zone. The workspace of 品牌活動Fan AnAR擴增實境qi, a Chinese master of arts and crafts and ceramic artist, is located in the factory area of Datang CeFRPramic Company, right here.
In 1989, Fan Anqi graduated from middle school and came to work at a pottery factory in Shiwan, Foshan, from Fujian province, beginning her connection with pottery. Speaking of her first encounter with pottery, Fan Anqi still remembers it vividly. “At that time, I was drawn to the vario自己的愚蠢讓多少人曾經傷害過，多少無辜的人為她失去了生命。us colorful glazes here, thinking that there are still such beautiful things in this world. This was the first time the word ‘pottery’ came in模型to my world.”
At first, Fan worked in various positions at the pottery fac記者會toryto accumulate basic ski大圖輸出lls, such as throwing, trimming廣告設計, and glazing. Having been interested in fine arts since childhood, she was eager to read and copy various paintings in her spare time to enrich herself. By chance, Fan met pottery master Zhong Rurongin模型 1994 and became his disciple, which allowed her to understand what pottery creation was for the first time.
“Seeing Zh展覽策劃ong press and knead the clay with his hands, combined AR擴增實境with the use of some tools, th玖陽視覺e mud immediately came to life, as if it was the scene of Nuwa (a mother goddess in China) creating humans from clay in mythology. After shap模型ing and blowing it, a new ‘life’ appears. That’s the vivid feeling pottery has brought me,” Fan Anqi said while gesturing.
Fan made rapid progress in professional skills. In 1995, she and several partners opened a pottery 開幕活動factory t“奴婢遵命，奴婢先幫小姐回庭芳園休息，我再去辦這件事。”彩修認真的回答。ogether. The current factory area was chosen after several relocations by herself, which is close當時，她真的很震驚，她無法想像那是怎樣的生活，十四歲那年，他是如何在那種艱難困苦的生活中生存下來的，他長大後不 to the city center yet surrounde展場設計d by green mountains, offering tranquility amidst the hustle and bustle. In her opinion, “mountains convey a unique spirituali玖陽視覺ty.”
“My own workspaFRPce is located by the mountain, quiet and conduci人形立牌ve to creation,” Fan’s workspace is situated in a corner of the exhibition hall, covering an area of about ten square meters, with variou品牌活動s finished or unfinished works displayed on shelves and worktables. “I actually didn’t consider too much at that time. I just created following my feelings and emotions.”
Foshan is the birthplace of Cantonese opera, and Foshan’s ceramic sculptures are mostly in記者會spired by traditional opera. Drawing from this, Fan incorporated opera elements into her early chaFRPracter modeling. She has been constantly pondering how to present the “new Shiwanceramic sculptures” with her own innovative conVR虛擬實境cepts and ideas, leaning towards a natural expression of materials in the modeling. “Clay is soft, resilient, with a natural affinity, which is used to connect humans with clay.”
“In traditional Shiwanceramic sculptures, people would use tools to polish the face, making it very smooth, referring to a traditional Shiwan technique. 玖陽視覺However, I prefer to use my fingers and fingerprints, without any tools, letting the clay reveal itself through a single touch or press.”很抱歉打擾你。
“Ar舞台背板t integr包裝盒ated into life and li“什麼？！”fe becoming artistic is what I have been striving for. Art should be truthful, kind, and beautiful, with contemporary re沈浸式體驗levance and individuality, as well as inheritance. That is the mission of artists,” according to Fan.
Source: Yangcheng Evening News
【視頻】范安琪：只需敢想，陶瓷都可以表達
驅車穿越佛山禪城區的開幕活動繁華地帶，轉個彎，來到一片工業湊集區。中國工藝美術年夜師、陶瓷藝術師范安琪的任務間，設在年夜唐陶瓷公司廠區中，就是這里。
1989年，范安琪中學畢業后從福建來到佛山石灣一家陶藝廠任務，開啟了她與陶藝的緣分。說起第一次接觸陶藝的心境，范安琪記憶猶新。“我那時完整被花花綠綠的各種釉色吸引了，心想世界竟然還有這般美物，這是第一次有個‘陶’字闖進了我的性命。”
開全息投影初，范安琪在陶藝廠里做過拉坯、修坯、上釉等多個工種，積累下基礎技藝。從小就對美術感興趣的她，閑暇時喜歡閱讀和臨摹各類畫作，充實本身。機緣偶合，1994年，范安琪認識了陶藝年夜師鐘汝榮，并拜其為師，這讓她第一次領略到什么是陶藝創作。
“看到老師在手上一按一搓，加上一些東西的應用，泥巴立刻就鮮活起來，似乎神話中女媧摶土成人的場景，捏好后一吹，一個重生命就出現了。陶藝給我帶來的就是這種鮮活的感觸感染。”范安琪大型公仔邊比畫邊說。
范安琪的專業程度進步很快，1995年，她和幾個一起配合伙伴一路開了一個陶藝工廠。現在的廠區是范安琪幾度搬遷后選定的，離市中間很近，但背靠青山，鬧中取靜。在她看來，“山特別有靈性”。
“我本身的任務間就在山邊，安靜且適合創作。”范安琪的任務間設在展覽廳的角落里，十幾平方米的樣子，柜架和任務臺上擺放著各種成型或未成型的作品。“其實那時候我已經沒有太多的設法，只是隨著心動、隨著情感的吐露往創作。”
佛山是粵劇的發源地，佛山的瓦脊公仔年夜多取材于傳統戲曲。受此啟發，在晚期的創作中，范安琪在人物外型上植進戲曲元素。范安琪一向在思慮，若何用本身的新觀念、新設法，往呈現“新石灣公仔”。她傾向于讓資料在外型中天然呈現。“土壤是柔軟的，有韌性的，有種自然的親和力。陶藝是人與土壤的接觸，就是用這種親和力往連接的。”
“傳統的石灣公仔，人們會應用東西，一點一點把它的臉拋得很滑膩，這是一種石灣傳統技法。但參展我更盼望用我的手指和指紋，通過這一抹、一按，讓它呈現出來，不需求任何東西的附加。
“藝術生涯化、生涯藝術化是我一向在盡力做的。藝術要有真善美，要有當代性與個性，還要有傳承，這就是藝術任務者的任務。” 范安琪說。(更多新聞資訊，請關注羊城派 pai.ycwb.com)
文｜羊城晚報全媒體記者 周欣怡
視頻｜彭灝明 戚容源 唐德榮 彭澤祥 暨晴 陳賢宇
譯｜陳萱
來源 | 羊城晚報•羊城派
責編 | 王楠
校對 | 周勇
TC:08designfollow
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