The Glory of Craftsman-the Fourth Innovative Handicrafts Ceremony Touch the future of handicraft

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When artificial intelligence and biotechnology become more mature, will handicraft become cheap or precious?

When arts and crafts change to daily art, craftsman and consumers can understand each other?

When low carbon life becomes the public consensus, can handicraft lead a new way of life?

 

On May 19, the Glory of Craftsman-the Fourth Innovative Handicrafts Ceremony was raised at Mission Hills Resort Shenzhen, which was hosted by Shenzhen Longhua District Cultural Tourism Bureau of Radio, Film and Television, Mission Hills Neighborhood Office, undertaken by Mission Hills Group, Mission Hills Art Works, Chinese Handicraft. The China Academy of Art Institute of Arts and Crafts as this forum’s academic guidance. 8 experts, scholars and professionals took handicraft projects they have come into contact with over the years as examples to interpret the current situation of the industry from multiple perspectives and touch the future of handicraft.

 

The whole activity was divided into two groups of keynote speeches: “use the future to observe the present” and “use the present to build the future”. “At this stage, modern technology may replace craftsmanship, but it won’t replace fine arts.” The Vice President of the China Academy of Art Hang Jian, raised his “blame” to arts and crafts again after 34 years. He believes that arts and crafts are undergoing a “crossroads” type of differentiation. This differentiation is based on the postmodern consumption structure in China. “Arts and crafts represent symbolic consumption in today’s mass field, rather than a specific thing. What people achieve in the process of consumption is a kind of self-realization.”

 

“An excellent industry should consider taking science and technology as its backing, market as its orientation, creativity as its core, humanities and art as its demand, and combining production, marketing and service, in order to create the most competitive value chain.” Chen Liheng, chairman of FRANZ, who introduced 3D printing to porcelain as early as 2001, believes that innovation is important both now and in the future.

 

This coincides with Jane Callender, who has been dyeing blue for 35 years.”A piece of work is not limited to what kind of technology, the important thing is to plan and design in advance. SEO RYOSUKE, who is from the Japanese Arts and Crafts Center of Takaoka area, he believes that only by getting rid of the traditional division of labor mode of operation, handicraft production enterprises can develop their brands through product planning, production and sales. Handicraft practitioners in different countries, although they have different identities and roles, seem to burst out in the same direction. Let the future of crafts not sound so distant. There is also a group of practitioners who are creating the future with handicraft.

 

Shi Jun, who founded the brand of “Enamel Shi”, expanded the enamel craft from household utensils to household articles, and accomplished a pioneering work that previous generations could not accomplish. “Enamel is an untouched gem in space,” he said. “to create what enamel should look like in the 21st century.”

 

The co-founder of DESIGN·MASTER, Zhuang Jia drew inspiration from mathematical equations and created the world’s first glass vase designed with artificial intelligence. In his eyes, artificial intelligence and manual collision, the biggest difference lies in the formidable computing power of the former, can solve all the possibilities of manual in space and time. It also enables current mass production and thus the possibility of mass design.

 

The new style lantern designer Wen Qiuwen from Guangzhou has changed the Ma Caron color new clothes to the awe-inspiring Guangdong Southern Lion, and let it become the regular guest in the art exhibition and the fashion magazine. As for how the old craft is reborn, she thinks how to find the shining point in traditional culture and make dramatic creation is an essential part. “The pieces are not individual pieces, they come together to tell a story.”

 

Hu Chaofei’s studio, which is engaged in traditional bamboo weaving, has built a technical fortress with its exquisite skills and large-scale production capacity, and believes that this is the direction to stick to in the fierce competition in the future.

 

A brainstorming that integrates new concepts, new technologies and new models seems to give craftsmen a touch of the future.

In this “new” activity, the new art micro exhibition has become the carrier of the combination of contemporary style and daily aesthetics, to show people the infinite possibilities of the future of handicraft.

 

The event also presented “the Glory of Craftsman · Innovation Award”, which commended the handicraft enterprises that are revitalized in the tradition and strive to develop the future of handicraft. Enamel Shi, DESIGN·MASTER®, MG, OC, SUPER TIBET, Suzhou Museum, TAISILK, ORIENTO, ZIZAI, FRANZ and other handicraft brands and organizations were awarded this honor.

 

“The future of craft is at hand. We wish to use a magazine to link the past and the future of craft, and to explore the way to revitalize the traditional craft together with people in the industry through the Glory of Craftsman, in order to find the way to create a better life with the craft. ” Wen Lijun, editor-in-chief of Chinese Handicraft, said in an interview. “We also hope that in the future, handicraft can truly become an industry of poetry and craft, inspiration and creation, commerce and art.”

 

 

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