Workshop of Majiang|craft experiment with linen

Last summer, I went to several villages in JiangXi to explore a kind of handmade material relate with my own design work. In the ShuangLin Town, I saw an old woman who is using a small old machine to twine a spindle, the spindles she made will be sold to her nabhours to make longitude for cloth.


This town was a famous Grass cloth Village, however less people work on this craft these year. The old people are making this craft for living. The old machine makes me think about the craft chain in another possibility. Also I think the machine is something important to relate old people with current society.
When I came back to school, I happened to have the chance to start a project relate with a kind of craft. So I ask my students to think a way to improve the process of making linen crafts.And I was fortuned to be selected to report this course’s result in front of the faculty members at the end of last semester.

Poster

Students works
Wang Li Zhao

Su Hai Tao

Wang Ting

Zheng Meng Chu

Li Xiao Long

Guo Yi Fan

Yang Jing

Lin You Wen

Li Mo Sen

Anti Homogenizing-If Song Dynasty Also Use, my traditional aesthetic project

(This article is translate from the Chinese version of my article.)

This project is a sub project of the class I teach in CAFA. The same problem I faced in both projects is how to understand traditional aesthetic, what is it, is it the wrapping paper or the core? There are two threads come out in the chaos, the first one is that the relationship between tradition and aesthetic, the second is the modernity of the aesthetic. By which I mean, I should make clear about definition of Song Dynasty aesthetic, and the value of this kind of aesthetic under that period, also to distinguish the value when it merges in the contemporary society.

When I was at college,about seven years ago, I was lack of a kind of ability of telling good or bad. I felt that I already tired of watching traditional stuff, but put my heart on remote website, books. Because it makes me feel that I could open my view, and I felt that their design is really better than China’s, such as Nordic Design or Japanese Design.

Well, actually in China, the visual colloquially is everywhere, we could see European style office building, apartment, and house, even the landmark building in many areas. And our life happy is represented by the American decoration Style in my hometown. We drink coke,coffee, cocktail, we wear a white wedding dress, luxury… I don’t know whether is a kind of containment of our tradition.

Sony Dynasty is a time in China, that the dominator speak highly of the man of letters and but restrain the knight Class. Scholars had been well dealt with, which make them act the more important roles in the society, also they affected all aspects of people’s life during that time. Their preference of jade, their awe of the ancient people affect the craftsman who creates daily use wares. The placid and detached from The confucianist. The Taoist and The Buddhist also was express by the ceramic ware through the glaze, decoration, and their name, Such as Azure Glaze of Ru Kilneye, Misty Blue Galze of Jingdezhen Kilneye. That’s made the atheistic of the ceramic connected with human spirits.

In the modern Jingdezhen, there is an industry have a solid relationship with traditional ceramic and their atheistic. There is about two hundred shop selling the mimic ceramic and bronze ware from the Han Dynasty to the Qing Dynasty in a gloomy alley, people call there Fanjia Jing. All the shapes and the function have references from history. The basement of this industry is quite similar with my aesthetic lesson, as we both need to study and understand in which dynasty does the shape begin to be produced systematically, what kind of clay of the ceramic use during that period, what are the textures are and what color of the glaze, and how does people call them. Better than us. They even take ceramic piece for the chemical analysis before making. For me, these products are not from our times radically,they are the representation of certain atheistic of different times. The problem they face is also serious, an owner of a store tell me that, after this industry being explored by the CCTV2, they cannot sell those ceramic as the real one, the truth of that they are new not from old devaluate the wares and let the crafts make much less money. Even they are still breaking the ceramic in a wood-fired kiln or salvage the large pot in Fujian (according to the owners). They still feel it’s hard to open the market.

I think it’s possible to let them find some new market, by transforming the content a little bit. So I built a platform to let my student try first. I name the project as If Song Dynasty Also Has, and
explain to my students how to think with their imagination and research. This project is a sub project of the class I teach in CAFA. The same problem I faced in both projects is how to understand traditional aesthetic, what is it, is it the wrapping paper or the core? There are two threads come out in the chaos, the first one is that the relationship between tradition and aesthetic, the
second is the modernity of the aesthetic. By which I mean, I should make clear about definition of Song Dynasty aesthetic, and the value of this kind of aesthetic under that period, also to distinguish the value when it merges in the contemporary society.


Copyright at RuixueSong

反均质化|我的传统审美课题:假如宋代也有

这个课题与我在学校负责讲解的传统审美课题大概是母子关系…在两个课题中我面对的共同的终极问题就是审美究竟是什么?它是“包装纸”,还是内核? 在种种疑惑中我试图理清两点,一是传统和审美的关系,第二要考虑审美的现代性。按学校的教学要求,是要学生在二年级阶段解决审美的问题,但思来想去,还是觉得审美的问题又怎么可能通过短短的一个学年来解决,它是我现在都还存在的问题。

生活中,对于没有接受审美训练的人来说,审美大多数情况下无法直接触及灵魂,即使某件作品在专业人士看来足够好。在中国国内,缺乏标准,审美素养在竞争需求中被弱化,可很多人甚至不觉得这有什么问题,而具备审美的人会礼貌性地回避审美这一话题。 此外,我们遭遇着要么需求被同质化,要么视觉体验被颠覆的困境可能还是由于,商品营销中商家的销售策略,是针对某人群的心理需求来定位,而非单纯从审美角度取胜。另外这种困境或还有可能来源视觉和文化的殖民。

关于视觉和文化的殖民性这一问题帮我打开了一种思路,在某种类型的物品、建筑、绘画上的视觉累积让很多设计学生的意识里,包括上大学时候的我,都缺少一种辨识能力,觉得传统的东西看“腻”了,拼命看国外的网站,看国外的书籍,觉得能打开眼界,觉得他们的就是好的,比如北欧,比如日本。 在国内,视觉的殖民性遍地开花,屡见不鲜的就是街道旁的欧式洋房,板楼,别墅,地标性建筑 …以及样板间里用的种种欧洲中产阶级审美观代表的幸福感。我们喝可乐喝咖啡喝红酒喝鸡尾酒…我们婚礼上穿婚纱、唱k、去酒吧、穿奢侈品牌…我不知道是不是当某种文化的优势变的明显的时候代表着另一种文化的颓势的显现,也不知道是不是这也属于一种文化殖民的现象还是我们文化包容的传统,我觉得应该有更好的方式来讨论它。

宋代是一个扬文抑武的时代,文人受到优待,使得文人入世,且对生活的方方面面产生影响。文人对玉的喜好,对古人的敬畏都会转移到瓷器上,儒家,道家,佛家的或平静温和或超然物外也会通过瓷器的形态,釉料,装饰,以及对他们的命名中体现,让瓷器所讲究的玩赏的价值和人的精神接壤。

在景德镇,有这样一个产业与传统器皿和其审美紧密相关. 那这里有200多家店铺,各家销售几乎从汉代到清代不同时期不同特点的仿古瓷器和青铜器。但他们都是后人模仿的。这条拥有两百多家店铺的幽暗巷子叫樊家井。那里所有的器形,所有的功能都能找到历史出处,所以,我觉得这个产业的基础跟我的传统审美课题很像。我们都会系统地研究器形的功能和演变,他们当时所用的胎体,釉料的颜色和名称。比我们的课题更胜一筹,他们会在制作之前把老瓷片拿去化验以追求最相近的效果。
在樊家井的时候其中一位老板对我说,前几年好的时候过去了,那时候一个瓶子能买两三万,而现在,当央视以及不同的媒体曝光了以后,逼迫它将神秘的面纱褪去,市场对这种仿品的真相透彻了以后,对它的诉求也降低了。但对与这里的工匠来说,仿古是一种本事。
在这样的两极之间,我想也为了是搭建一个平台,既不刻意模仿传统又能与传统对话,同时能让学生们在短期内接受一种由概念和问题产生,并能通过技术和想象力整合的发挥来解决一个“问题”的方法。

将课题最后命名为“假如宋代也有”(If Song Dynasty  Also Use ),并将这种思路讲解给学生们能让他们在我思考基础上明白这一意图,结合脑洞,调研,工艺给出自己的领悟。并将审美本身,审美和传统生活的关系,审美和现代生活的关系区分理解。

 

以上

为部分学生作品,其中他们提出的设想有红酒(班长徐一鸣),丹佩拉技法(酉玉恒),啤酒(周曾皓月),可乐(蔡明铭),冰饮(陈国翾)等等,为保护学生作品不做详细描述。从总体来看,它们在造型中普遍应用了轮制工艺所牵引的审美,且在釉的应用中具备了当时文人隐士崇尚的如冰似玉的质感,又或让淳朴的吉州窑对与现代的流行饮料可乐进行了对话。

学生们在此之前从未从设计的角度接触过陶瓷,为了在短短20天内让大家在景德镇完成这次的课题,我找到我的大学陶瓷专业学长吴非 作为学生的技术和与景德镇方案落实到实施上的对接,并且在课题期间的深度和设计的整个流程上进行了一定压缩,因而在我看来它并不完备,只是一种阶段性的完整。 在景德镇,我们做了生产和制作上的实验,但仍缺少对堆塑,划花,刻花等手工艺者的调研了解,因此在技术和学生想象力的发挥势必会受到一定限制。 但学生在这个过程中经历的种种困难和惊喜都是难能可贵的经历和收获。
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©Ruixue Song

《睹物思人》| 山东博兴草柳编织

CAFA二年级草柳编小组此行的目的地是山东博兴,草柳编织的故乡,作为带队教师,我拟定的课题为《睹物.思人》。此行感受最深的是博兴人的热情,对于我们这样一波风风火火的人,礼貌且耐心。

在博兴,最常见的坐具是马扎,2013曾有D9工作室的江黎老师带着摄影队伍专门来拍了关于马扎的记录片,题目是《隐藏在民间的好设计》,接待我们的当地文化局胡书记很热情地为我介绍地方民俗产品的现状,这是他的专业民俗研究。除了草柳制品之外,藤制家具,布老虎,老粗布,木刻,红木家具,不锈钢厨具都在博兴当地拥有一定规模的生产厂家。

“产品”未必先有形需意在先,睹物思人是一种情感化的带入,它能让创作者们实现一种和而不同的可能,即使出发点一致,在过程中稍有不同其结果便能相距甚远,与此同时,“睹物”与“思人”也作为一种行为方式和方法论对设计者提出建议跟要求。像草柳编这类民俗产品,大多是当地人用当地产的廉价的材料生产加工而成,蒲草来自博兴周围的湿地,在村里屯积很多,而香蕉叶为广东进口,其质地更为结实,藤产自印尼从广东经销到当地。现有产品种类很多,但大多只有10年前外贸的样式在市场流通。这次课程就像我抛给了同学们橡皮泥,他们还给我的时候,有了各自的印记和符号,其方向跟指向应是完全国产化的,个人化的,原创的,因为我们在这里。

随后要问的是这样做的意义是什么?它的结果是不是真的能够在生活里起到作用,扮演“隐藏在民间的好设计”这样的角色,又需要我们做些什么?它离真正的好设计是否还有距离?课题成果跟现实之间看不见的鸿沟怎么跨越?看过那个视频所以知道,一个七旬老大爷一生做了500个马扎,他平时做好了之后,送给亲人,送给朋友,那些马扎上面没有他的名字,甚至没有价格。可以说这算是以个人辐射周围的一种模型的原型。(模型一)

大多数人,最难开始的阶段是从冥想进入做东西的状态,很多时候是因为不知道如何开始,正如此次,如果没有手工艺者的配合参与,我们很难达到理想设计目标,而后如果没有自主意识更不会有将其转化为商品实现流通的可能。不得不承认,产品是最依赖环境的,他不是平时生活里的DIY,材料的进货渠道或工艺精致与效率只有特定的地方与厂子能达到,而地方性的东西想要转化为国民性的东西又是依赖设计的。

现实中大多厂子也不依赖这种理想模式进行循环,“订单制”(模型二)是一个厂子在市场流通中生存的基本模式,而订单仅来自于销售渠道对现有产品信息的掌握,并无“本土设计”的容身之地。这导致厂家无固定商品,亦无主动权,并且目前市场上很多10年前外贸商品的样式在流通。在调研中,我们发现,大多数订单来自国外如美国,日本,土耳其等地,而各种店铺中存货不多,仅一两件会作为下单的样品展示,并不零售。 这也为中国制造国外设计提供了温床。Which is Made in China, design in Foreign Country.

My Pupils work,CAFA 2nd year, Made in Shandong, Bo xing

Seeing , Reflecting, Presenting

 

2015/5/18