雙語視頻丨從古樸到璀璨，中國陶瓷從千年走向現(xiàn)代

　　在東方古老而神奇的土地上，中國陶瓷以其獨特的藝術(shù)魅力和深厚的歷史文化底蘊，穿越了千年的時光隧道，從古樸的原始形態(tài)逐步演化至今日的璀璨奪目，成為連接古今、溝通中外的重要文化名片。當(dāng)西班牙國家研究院副主席胡安·伊格納西奧·拉富恩特，和來自埃及的南昌航空大學(xué)外教瑪娃首次踏上景德鎮(zhèn)這片陶瓷圣地時，他們不僅品鑒了一段泥與火的傳奇，更見證一場跨越時空的文化交流與碰撞。

　　In the ancient and magical land of the East, Chinese ceramics have journeyed through time for thousands of years, showcasing their unique artistic charm and profound historical and cultural heritage. From their primitive forms, they have gradually evolved into a stunning expression of craftsmanship, becoming an important cultural symbol that connects the past and the present, and bridges China with the world. When Juan Ignacio Rafúente, vice chairman of the Spanish National Research Council, and Marwa, an international faculty member from Egypt at Nanchang Hangkong University, first set foot in Jingdezhen—often referred to as the sacred land of ceramics—they not only experienced a legendary history of clay and fire, but they also witnessed a cultural exchange and collision that transcends time and space.

　　兩人第一站來到景德鎮(zhèn)古陶瓷基因庫，這個寶庫，收藏著無數(shù)陶瓷瓷片的“DNA”。古陶瓷基因庫的建立為研究古代社會、復(fù)原古代工藝、進行古陶瓷鑒定、開發(fā)陶瓷文創(chuàng)、講好瓷器故事打開了一扇門。在這里，他們親眼目睹了從漢代青瓷到唐宋白瓷，再到元明清時期青花、粉彩等各色瓷器的演變歷程。每一件展品都承載著歷史的厚重，講述著匠人們的心血與智慧。胡安對宋代青瓷的溫潤如玉贊嘆不已，認為其簡約而不失高雅的設(shè)計理念至今仍具有極高的審美價值。而瑪娃則被明清時期粉彩瓷的細膩畫工深深吸引，她認為這些作品如同色彩斑斕的夢境，展現(xiàn)了中國人對美好生活的無限向往。

　　Their first stop was the Ancient Ceramic Gene Bank of Jingdezhen, a treasure trove that houses the "DNA" of countless ceramic fragments. The establishment of this gene bank has offeredan approachto research ancient societies,restore ancient crafts, authenticate ceramics, developing ceramic cultural products, and narrating the history of porcelain. Here, they witnessed the development of ceramics, from celadon in the Han Dynasty,and white porcelain in the Tang and Song Dynasties, to blue-and-white, and pink porcelain in the Yuan, Ming, and Qing Dynasties. Each exhibit carries the weight of history and tells the story of the dedication and wisdom of the artisans. Juan was deeply impressed by the delicacy and jade-like quality of celadon in the Song Dynasty and admired its minimalist yet elegant design, which still holds great aesthetic value today. Marwa was captivated by the intricate paintings on Famille Rose porcelain from the Ming and Qing dynasties. She felt that these pieces were like living dreams that reflected the Chinese people's endless longing for a beautiful life.

　　隨后，一行人步入景德鎮(zhèn)御窯博物院，這里曾是明清兩代皇家御用瓷器的生產(chǎn)基地，一磚一瓦都彰顯著皇權(quán)的尊貴與威嚴(yán)。漫步其間，他們仿佛穿越回時空，親眼見證了宮廷對陶瓷藝術(shù)的極致追求。從精致的茶具到宏偉的陳設(shè)瓷，件件作品都凝聚了匠人的精湛技藝和無盡的創(chuàng)意�，斖摅@嘆于那繁復(fù)而有序的圖案布局，以及青花料釉下那一抹深邃的藍色，認為這不僅是技術(shù)的勝利，更是藝術(shù)的巔峰。胡安則對御窯的生產(chǎn)流程和管理制度表示了濃厚興趣，他認為，這種高度組織化的生產(chǎn)方式，為后世工業(yè)化生產(chǎn)提供了寶貴的借鑒。

　　The group next visited the Jingdezhen Imperial Kiln Institute, historically recognized as a pivotal production center for porcelain used by the imperial court during the Ming and Qing dynasties. Each brick and tile in the museum exuded royal dignity and authority. As they wandered through the exhibits, they experienced a sense of temporal displacement, witnessing the palace's profound commitment to ceramic artistry. From intricately designed tea sets to grand ceremonial porcelain, every artifact exemplifies the exceptional skills and boundless creativity of its artisans. Marwa expressed her admiration for the complex yet harmonious patterns and the rich blue tones beneath the cobalt glaze, perceiving these creations not merely as technical achievements but as true works of art. Meanwhile, Juan was captivated by the production techniques and management strategies employed at the Imperial Kilns, considering them invaluable references for industrialized manufacturing practices in later eras.

　　離開博物院后，他們拜訪了中國工藝美術(shù)大師徐嵐的陶瓷藝術(shù)館。他們被一系列細膩溫婉的青花瓷作品深深打動，最吸引他們的作品是《守望·家園》，這件作品手工塑造成類似于“飛碟”的扁瓶器型，造型獨特，如同雕塑般散發(fā)著構(gòu)建的力量，徐嵐大師巧妙地融合了刻、劃、畫等多種手法，將大自然中眾人熟知的板栗樹和鳥兒作為創(chuàng)作題材，仿佛有一種生命的旋律流淌在其中。胡安對徐嵐在青花、粉彩完美的構(gòu)圖以及色彩上的大膽創(chuàng)新表示高度贊賞。

　　Upon departing from the Institute, the group proceeded to the Ceramic Art Museum dedicated to Xu Lan, a renowned Chinese master of traditional craftsmanship and fine arts. They were profoundly impressed by an array of exquisite blue-and-white porcelain pieces. Among these, the most striking was "Guarding the Homeland," a uniquely crafted flat vase resembling a "flying saucer." This innovative design emitted a sculptural vitality, seemingly encapsulating the essence of creation. Master Xu Lan cleverly integrated various techniques such as carving, painting, and drawing,using the well-known chestnut tree and birds in nature as her creative themes, as if a melody of life is flowing within them. Juan expressed his high praise for Xu Lan's perfect composition in blue-and-white porcelain and pastel, as well as herbold innovation in color use.

　　緊接著，他們來到了雕塑家呂品昌的雕塑藝術(shù)館。呂品昌是一位從景德鎮(zhèn)走向世界的陶藝和雕塑界重要代表人物，今年10月，他將其40年創(chuàng)作的所有作品無償捐獻給景德鎮(zhèn)，不僅表達了他對這座城市的熱愛，更以其獨具匠心的現(xiàn)代陶瓷表達向傳統(tǒng)致敬。呂品昌將陶瓷恢弘的氣勢化成凝固的史詩，創(chuàng)作出了雕塑《信仰》。在這件作品中，呂品昌率領(lǐng)團隊力求新突破，創(chuàng)作中既通過方陣構(gòu)圖保持了整體面貌的一致，同時又允許發(fā)揮每一位作者的創(chuàng)作個性、語言和手法，形成了有效的規(guī)范和張弛關(guān)系。將西方雕塑與中國傳統(tǒng)雕塑、繪畫、建筑及木刻等藝術(shù)形式融匯、轉(zhuǎn)化和升華，作品莊重嚴(yán)謹而具有民族藝術(shù)的深厚底蘊。

　　Their next stop was the Sculpture Art Museum dedicated to the works of Lyu Pinchang, a prominent figure in ceramics and sculpture, who originated from Jingdezhen and gained international acclaim. In October of this year, he generously bequeathed his entire body of work produced over the last four decades to Jingdezhen, expressing his affection for the city but also honoring tradition through his distinctively crafted modern ceramics. Lyu Pinchang's sculpture "Faith" exemplifies his ability to encapsulate the magnificence of ceramics into a timeless narrative. In this creation, Lyu guided his team towards innovative advancements, successfully achieving a synthesis between a cohesive overall design characterized by a grid structure and allowing each artist the opportunity to showcase their unique creativity, style, and techniques. The artwork harmoniously integrates Western sculptural elements with traditional Chinese artistic expressions, such as sculpture, painting, architecture, and woodcut printing, resulting in a piece that is both solemn and rigorous while richly embodying national artistic heritage.

　　呂品昌的“中國寫意”系列作品更是將傳統(tǒng)文化與現(xiàn)代文化完美對接，用一地碎瓷與歷史對話、與現(xiàn)實對話、與內(nèi)心對話。他采用多種造型方式構(gòu)筑敘事模式，宏大的視覺體驗讓觀者身臨其境�！吨袊鴮懸狻�NO.44》讓觀賞者仿佛置身于文物收藏者的樂園，感受到了歷史的厚重與文化的深邃。而《阿�！废盗腥诤狭酥袊鴤鹘y(tǒng)雕塑元素，特別是民間工藝中的人物形象，并進行了劇烈的夸張與變形�！吨袊鴮懸狻废盗信c《阿福》系列相互支撐，既從實踐與理論上探索具象與抽象的邊界，又在殘缺與完美的審美邊界游走，還探索材料語言與造型語言結(jié)合的邊界與融合，展現(xiàn)了藝術(shù)家對陶瓷雕塑藝術(shù)的深刻理解和獨特見解。

　　Lyu Pinchang’s "Chinese Impression" series connects traditional and contemporary cultures, fostering a dialogue with history, reality, and the inner self through the medium of broken porcelain. He employs various narrative modes to construct a multifaceted visual experience that fully engages the viewer. In "Chinese Impression No. 44," the audience is transported into the realm of a cultural relic collector, allowing them to profoundly perceive the weight of history and the richness of culture. Conversely, the Afu series incorporates elements from traditional Chinese sculpture, particularly figures derived from folk art, which are exaggerated and distorted in dramatic fashion. The interplay between the Chinese Impression series and the Afu series reveals a mutual support system as they explore the distinctions between figurative and abstract forms both practically and theoretically. Additionally, they probe the aesthetic dichotomy between flaw and perfection while investigating the integration of materiality with formal language. These works exemplify the artist's deep comprehension and distinctive perspectives on ceramic sculpture art.

　　此次訪問的最后一站是景德鎮(zhèn)學(xué)院，這里不僅是陶瓷藝術(shù)人才的搖籃，也是創(chuàng)新人才培養(yǎng)的試驗區(qū)，還創(chuàng)造出了世界唯一的“瓷樂”藝術(shù)。當(dāng)一行人步入音樂廳，一曲由瓷磬、瓷笛、瓷鼓等瓷制樂器演奏的樂章緩緩響起，清脆悅耳，宛如天籟，不僅是聽覺的享受，更是心靈的洗禮。胡安感慨地說，這是他第一次聽到如此獨特而美妙的音樂，中國陶瓷文化的博大精深和無限創(chuàng)意可以被看見，可以被聽到，可以被觸摸�，斖薇贿@種跨界融合的藝術(shù)形式深深打動，她認為，瓷樂不僅展示了陶瓷的物理特性，更體現(xiàn)了中國人對美的追求。

　　The final destinationwas Jingdezhen University, recognized not only as a nurturing ground for talents in ceramic art but also as an experimental arena dedicated to cultivating innovative thinkers. This institution has pioneered the unique art form known as "Porcelain Music." Upon entering the concert hall, attendees were enveloped by melodies produced from ceramic instruments, including porcelain chimes, flutes, and drums. The crystalline and harmonious tones resonated like a celestial symphony, providing both an auditory delight and a spiritual rejuvenation. Juan expressed that this was his first experience with such distinctive and exquisite music, noting that it encapsulated the profound depth and boundless creativity inherent in Chinese ceramic culture—qualities that could be perceived through sight, sound, and touch. Marwa experienced a profound emotional response to this interdisciplinary amalgamation of artistic expressions. She posited that porcelain music not only exemplifies the tangible characteristics of ceramics but also mirrors the Chinese aspiration for beauty.

　　胡安和瑪娃不僅領(lǐng)略了中國陶瓷從古樸到璀璨的發(fā)展歷程，更深刻體會到了中國陶瓷藝術(shù)背后所蘊含的文化精神與創(chuàng)新力量。他們相信，中國陶瓷將繼續(xù)以其獨特的魅力，在世界文化的舞臺上綻放更加耀眼的光芒，成為連接不同國家和民族之間友誼與理解的橋梁。

　　Juan and Marwarecognized the evolution of Chinese ceramics from its primitive simplicity to its striking brilliance but also cultivated a profound comprehension of the cultural essence and innovative prowess inherent in Chinese ceramic artistry. They asserted that Chinese ceramics will continue to illuminate the global cultural arena with its distinctive allure, serving as a conduit for fostering friendship and understanding among diverse nations and cultures. （南昌航空大學(xué)）