雷圭元(1906—1988),字悦轩。中国现代著名工艺美术家及工艺美术教育家、书画家。1927年毕业于国立北平艺专后留校任教,1929年赴法国学习绘画和染织、漆画等。1931年回国,任教于杭州国立艺专,著作《工艺美术技法讲话》、《新图案学》、《新图案的理论和作法》等。
雷圭元(1906—1988),著名工艺美术家及工艺美术教育家,上海松江人。1927年毕业于国立北平艺专后留校任教,1929年赴法国学习绘画和染织、漆画等。1931年回国,任教于杭州国立艺专,著作《工艺美术技法讲话》、《新图案学》、《新图案的理论和作法》等,均作为当时大学所设课程的教材,这些著述在图案的理论和技法上进行了系统的论述,对开拓我国工艺美术教育事业起了重要作用。解放后,1953年任教于中央美术学院实用美术系,其间主持筹办全国民间艺术展览,并先后两次率团出国举办工艺美术展览。1956年任中央工艺美术学院副院长,1961年担任全国高等工艺美术院校教材编写的领导工作。1958年主持人民大会堂、中国历史博物馆、中国军事博物馆、钓鱼台国宾馆等首都重要建筑的装饰设计工作。其主要著作有《图案基础》、《中国图案初探》、《敦煌莫高窟图案》、《中外图案装饰风格》等。雷圭元作为我国老一辈卓有声望的工艺美术家,他在工艺美术教育和图案理论研究等方面作出了重大的贡献。
雷圭元,一生从事图案研究,早年研究图案理论,著有《新图案学》、《图案的理论和作法》;以后侧重于中国传统图案研究,归纳出格律体、平视体、立视体、喜相逢、冏形图案等形式规律,著有《图案基础》。
雷圭元(1906.11—1989.10)
我国著名工艺美术教育家、工艺美术设计家。
原籍江苏省松江县,1906年出生于北京。
1927年毕业于国立北平艺术专科学校。
1929年赴法国巴黎 留学。
1931年回国后任教于国立杭州艺专。
1937~1945年,参与创办四川省立艺专,任教授、教务主任。
1945年后任国立杭州艺专教授、实用美术 系主任。
1953年调中央美术学院。
1956年任中央工艺美术学院教授、副院长。
1961年担任文化部全国工艺美术教材编选组的领导工作。
1976年后恢 复中央工艺美术学院副院长职务。
曾任第三届全国人民代表大会代表、全国文联理事、中国美术协会常务理事、全国政协第五和第六届委员、
北京市政协常委等职。
1989年逝世。
著有《图案基础》、《工艺美术理论初探》、《中外图案装饰风格》等。
由于雷圭元先生在中国图案学研究领域的巨大成就,长期以来,竟使他在另一方面的独特而极富创造性的功绩,被人几乎淡忘。
雷圭元先生对现代中国漆画运动所做的不朽功绩,与他在欧洲的留学经历有密切联系。自1900年巴黎世博览会以来,远东地区的传统漆艺术又一次在整个欧洲大陆产生巨大反响。来自日本的一流大师们的传统东方漆艺术品,使整个欧洲美术界、设计界无不为之倾倒。欧洲本土的艺术家,受此启发,加之已有近三个世纪对中国传统漆艺的学习和积累,自然重新燃起了对古老东方独特工艺的热情。他们不但认真学习日本、中国的传统漆工艺技法,而且利用欧洲自18世纪迅速发展起来的现代自然科学的丰富成果,对东方固有的传统工艺方式,进行了革命性的改造,为当代及未来的漆艺术表现,提供了极其珍贵的启迪和实验例证。欧洲新型的漆艺术表现,随着现代绘画、室内装饰(包括家具、陈设品等)设计体系的逐渐成熟,再一次展现出极大的视觉魅力(漆绘动物屏风)。30年代的法国,以巴黎地区为中心,先后涌现了唐纳德、格林等一批在新漆艺术家。法国和欧洲新一代漆艺术家的杰出成就,深刻地影响了当时在法国学习的中国、日本、越南等亚洲青年艺术家。雷圭元先生正是在这个风云际会的变革时代开始在异地地接触中国传统漆工艺和欧洲现代漆艺术表现的。这段留学经历,对于雷先生形成后来的海纳百川、与时俱进的非凡艺术胸襟,在许多艺术领域都有很高建树,十分重要。
可以说,雷圭元先生对于现代中国漆画运动的贡献,集中在两个基本方面:其一,将欧洲新型漆艺术表现方式传入中国,使现代中国漆画运动,能够摆脱和突破旧文化观和旧艺术观的羁绊,在现代科技条件下,获得与时代同步发展的物质与技术条件。其二,将纯观赏性美术观念,第一次真正地用于平面的漆绘艺术。雷圭元师生在40年代曾经创作了一批中国原创性漆画,这是中国美术史有记录以来,第一批严格意义上的以漆媒材漆工艺绘制的现代漆画。有一点需要特别强调的是:虽然雷圭元先生尚未把自己的作品称为“漆画”,但从任何角度分析,这都是我们所见到的现代中国早期漆画例证之一。因为雷先生没把自己作品叫成“漆画”而否定雷先生的作品的确是真正的“漆画”,这个荒唐的说法,犹如因为古代中国人还没有使用“中国美术”这个才喊了不到一百年历史一样荒谬绝伦。
即便是在当今,日本、韩国,还有中国的漆艺术界仍然在为是否需要引入新材料和新技术而争论不休,从某种意义上讲,是十分荒唐可笑,也是没什么实际意义的。可以说,没有雷圭元先生早年以极大热情引进欧洲化学漆材料和漆工艺作为漆画艺术的重要辅助材料和技术,现代中国漆画很大程度上,还很可能仅仅是一种对传统工艺的整理和还原,远远谈不上一门独立于工艺美术产业的、纯观赏性的绘画品种。雷先生曾将自己对部分工艺美术的评论集结成册,于民国三十六年(1947年)在上海正式出版发行了《工艺美术讲话》一书。雷先生个人的努力,对现代中国漆画运动在思想上、理论上、实践上极其重要的突破,使中国漆画艺术表现体系的建立和未来发展,成为一种切实的可能。因此,在冲破现代中国漆画发展的思想羁绊这点上,雷圭元先生的特殊贡献,是无人可及的。中国漆画的今天,还有未来的发展,无不仰仗雷先生当年慧眼独具、有胆有识的艺术观照。代美术一道,彪炳成册,为后人所永远铭记于心。解放后,雷圭元先生参与了当年“中央工艺美术学院”的创建,并先后担任系主任和副院长等行政职务,还致力于现代中国图案学研究体系的创建和实践,遂成一代图案学大师。即便在雷先生从事其他工作并时有杰出成就之际,依然关注着年轻的现代中国漆画运动的探索和发展。50年代末至60年代初,雷先生派遣青年教师李鸿印、硕士研究生乔十光(现为清华美院教授、著名漆画艺术家)等人前往福州工艺美术学校系统学习传统漆工艺和熟悉传统漆材料,为现代中国漆画运动,培养第二代的领军人物,雷先生依然不断付出了自己的辛勤工作。
雷圭元先生为继承并发展中国的漆艺术,做出了他个人突出而伟大的贡献,使自己成为现代中国漆艺术运动的奠基人之一。 越南磨漆画的形成和发展,离不开三个决定性因素:其一是越南磨漆画的创始人,具有教高的绘画功底;其二,当时的历史环境,决定了越南磨漆画成为特定时代的产物;其三,政治需要和社会主义阵营的交流,使越南磨漆画的国际影响成为可能。在1959年的莫斯科“社会主义阵营世界青年联欢节”的美术比赛中,越南磨漆画首次在境外亮相,引起各国美术界极大的震动,并获得了包括数枚金牌在内的一系列最高荣誉。
Lei Guiyuan (1906-1988), the word Yuexuan. Famous Chinese modern arts and crafts educators, calligraphers and painters. He graduated from the National Peiping Art College in 1927 and stayed in school to teach. In 1929, he went to France to study painting, dyeing and weaving, lacquer painting and so on. He returned home in 1931 and taught at Hangzhou National Art College. His works include Speech on Arts and Crafts Techniques, New Patterns, Theory and Practice of New Patterns, etc.
Lei Guiyuan (1906-1988), a famous artist and educator of Arts and crafts, was born in Songjiang, Shanghai. He graduated from the National Peiping Art College in 1927 and stayed in school to teach. In 1929, he went to France to study painting, dyeing and weaving, lacquer painting and so on. Returning to China in 1931, he taught at Hangzhou National Art College. His works "Speech on Arts and Crafts Techniques", "New Patterns" and "Theory and Practice of New Patterns" were all used as textbooks for the courses offered by universities at that time. These writings systematically discussed the theory and techniques of patterns and explored the cause of Arts and crafts education in China. It played an important role. After liberation, he taught in the Department of Practical Fine Arts of the Central Academy of Fine Arts in 1953, during which he presided over the preparation of national folk art exhibitions, and led two delegations to hold arts and crafts exhibitions abroad. In 1956, he served as Vice President of the Central Academy of Arts and Crafts, and in 1961, he led the compilation of textbooks in Colleges and universities of Arts and crafts throughout the country. In 1958, he presided over the decoration and design of the Great Hall of the People, the Museum of Chinese History, the Chinese Military Museum, the Diaoyutai State Guest House and other important buildings in the capital. His main works include "Patterns Basis", "Preliminary Exploration of Chinese Patterns", "Dunhuang Mogao Grottoes Patterns", "Chinese and Foreign Patterns Decoration Style" and so on. Lei Guiyuan, as one of the most prestigious arts and crafts artists in our country, has made great contributions to arts and crafts education and pattern theory research.
Lei Guiyuan has been engaged in pattern research all his life. In his early years, he studied pattern theory and wrote New Patterns, Theory and Practice of Patterns. Later, he focused on the study of traditional Chinese patterns, and summed up the formal rules of metrics, flat-looking, stand-up, happy meeting and Ran-shaped patterns. He also wrote The Basis of Patterns.
Because of Mr. Lei Guiyuan's great achievements in the field of pattern studies in China, his unique and creative achievements on the other hand have been almost forgotten for a long time.
Mr. Lei Guiyuan's immortal achievements in the modern Chinese lacquer painting movement are closely related to his study experience in Europe. Since the World Expo in Paris in 1900, the traditional lacquer art in the Far East has once again produced tremendous repercussions throughout the European continent. The traditional oriental lacquer artworks of the first-class masters from Japan have captivated the whole European art and design circles. Inspired by this, European native artists, together with nearly three centuries of learning and accumulation of Chinese traditional lacquer art, naturally rekindled their enthusiasm for the unique craftsmanship of the ancient Oriental. They not only earnestly studied the traditional lacquer techniques of Japan and China, but also revolutionized the traditional lacquer techniques inherent in the East with the rich achievements of Modern Natural Sciences developed rapidly in Europe since the 18th century, which provided valuable enlightenment and experiments for the contemporary and future lacquer art performance. Illustrations. With the gradual maturity of modern painting and interior decoration (including furniture and furnishings) design system, the new European lacquer art performance once again shows great visual charm (lacquer animal screen). In France in the 1930s, with Paris as the center, a number of new lacquer artists such as Donald and Green emerged successively. The outstanding achievements of the new generation of lacquer artists in France and Europe profoundly influenced Asian young artists such as Chinese, Japanese and Vietnamese who studied in France at that time. Mr. Lei Guiyuan began to contact Chinese traditional lacquer craft and European modern lacquer art in different places in the changing era of the International Conference of Wind and Cloud. This experience of studying abroad is very important for Mr. Lei to form an extraordinary artistic mindset that will keep pace with the times and make great achievements in many fields of art.
It can be said that Mr. Lei Guiyuan's contribution to the modern Chinese lacquer painting movement concentrates on two basic aspects: first, introducing the new European lacquer art forms into China, enabling the modern Chinese lacquer painting movement to get rid of and break through the fetters of the old cultural and artistic concepts, and to achieve synchronization with the times under the conditions of modern science and technology. Material and technical conditions for development. Secondly, the concept of pure ornamental art will be applied to the painting art of plane for the first time. Lei Guiyuan's teachers and students created a batch of original Chinese lacquer paintings in the 1940s. This is the first batch of modern lacquer paintings in the strict sense drawn with lacquer medium lacquer technology since the history of Chinese art has been recorded. One point that needs to be emphasized is that although Mr. Lei Guiyuan has not yet called his works "lacquer painting", from any angle, this is one of the early examples of modern Chinese lacquer painting we have seen. Because Mr. Lei did not call his work "lacquer painting" and deny that Mr. Lei's work is really "lacquer painting", this absurd statement is as absurd as that the ancient Chinese people did not use "Chinese art" before calling for less than a hundred years of history.
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