It is a great pity that there is no classroom in mainstream art education in China for such an art with unique aesthetic significance. Professor Cheng, the pioneer of fiber art higher education in Tsinghua University Academy of Fine Arts, opened the course of weaving wall hanging design and production for the first time on 1985, which should be the first lesson in the history of education in China. In 2000, he took the lead in formally enrolling the master of fiber art research, which should be the first master of fiber art research education in the history of education in China. His social practice and educational exploration are fruitful. Over the years, we have designed and produced representative fiber art decorations with different themes, styles and styles for the press conference hall of the All-China Journalists Association, the main venue of the Fourth United Nations Women's Conference, the Beijing Municipal Government Conference Center, the Hong Kong administrative office building, the IBM China headquarters building, the Zhongyuan Hotel and the Kunlun Hotel. At the same time, his works of art are famous all over the country. He has won the Silver Award of the National Art Exhibition, the Grand Prize of the National Mural Exhibition and the Excellence Award of the International Art and Science Exhibition. Fiber Art Studio of Arts and Crafts Department of Tsinghua University Academy of Fine Arts was formally established in 2000. In recent years, the practical works created by students in fiber art studio have been selected for international art and science exhibitions. From Lausanne to Beijing-International Fiber Art Biennale, Busan International Fiber Art Exhibition, the first China Mural Exhibition, Beijing International Art Biennale, China Carpet Pattern Competition, China Fiber Art Education and Handicraft Culture Construction Theory Seminar, they won one national gold medal and one silver prize respectively. The book Fiber Art was published in 1996, which is the crystallization of Professor Cheng's years of educational research. As the first monograph on fiber art in China, it provides a textbook with academic value and application value for fiber art education in China. Nowadays, fiber art has blossomed everywhere in domestic colleges and universities, and a group of educators who love fiber art are enjoying it.
Working tirelessly in forums and studios. Fiber art education in China has begun to take shape. At the same time, the construction and research of theoretical culture has gradually moved from perceptual to rational, from surface to deep. In the summer of 2003, the "2003 China Fiber Art Education and Handicraft Culture Construction Theoretical Seminar" jointly organized by the Fiber Art Committee of China Arts and Crafts Society and the Art College of Heilongjiang University was held in Harbin, presided over by Professor Nie. Congratulations from Professor Wen Lianchang, Chen Xingguo, Vice President and Secretary General, and Professor Kyle, Vice President of Heilongjiang University, expressed sincere feelings for fiber art and handicraft culture from different angles. Lv Pintian, researcher of Chinese Academy of Art, deputy editor of Art Watch, professor of Tsinghua University Academy of Fine Arts, doctoral supervisor, Professor Zhang Fuye, editor-in-chief of Decoration, and Professor Sun Jianjun, deputy editor-in-chief of Decoration, gave the seminar a climax, which was highly praised by 40 participants from 26 universities in 12 provinces, municipalities and autonomous regions. A paper review committee composed of seven experts and scholars, including Wen Lianchang, Chen Xingguo, Lv Pintian, Dong Ya and Liu, selected 30 excellent papers. Artists gathered together to express their opinions and exchange ideas, and sublimated the theoretical research of fiber art to a new height of manual culture construction, and made an in-depth discussion on the long-standing fiber art culture in China. With the influence and spread of modernist literary thoughts, artists gradually found that the use of various materials in fiber art can create brand-new artistic forms and styles. In essence, the application of this method breaks through the concept of material subordination in traditional art forms, invisibly promotes artists' deeper understanding of traditional fiber art concepts and forms, and at the same time urges fiber artists to conduct extensive exploration, bold exploration and experiments on the unique language of modern and contemporary fiber art, so that fiber art forms present an open and diversified style.
Plane and relief wall hanging; Three-dimensional and installation soft sculpture; Giving fiber art the interaction between environment and fiber art has undoubtedly injected new vitality into this ancient art. All this shows that the artistic language, pioneering creative thinking and free experimental characteristics of modern fiber art are synchronized with the trend of modern and post-modern art, emphasizing the diversity and multidimensional art forms, the comprehensiveness and diversity of materials and technologies, and embodying the characteristics of the times hidden in visual forms. The sculptor Lv Pinchang once said, "Fully explore the rich quality and potential of materials covered by technical rationality". There are many examples of this. The works of American fiber artist Sheila Hicks are full of charm. Through deep understanding of materials and full exploration of their quality, we can give full play to the natural characteristics of fiber materials, introduce association and imagination, and create unforgettable fiber art works. Angela Lin, a Hong Kong fiber artist, uses many point material elements in her works. For example, we don't pay much attention to: fisheye, nails, egg skin and so on. These materials are displayed as point elements. Her works reflect her interests and hobbies. She studied China literature in high school and read extensively, especially in poetry writing. She studied clothing, sculpture and painting in California and Hawaii. Since 199 1, Angela Lin has held many solo exhibitions and joint exhibitions. In 2000, Lin exhibited 65,438+04 works at the landmark embroidery exhibition, all of which were inspired by reading Norwegian fairy tales. Every work is embroidered with poems written by her. She chose white cotton cloth and white felt as the main shaping basis, and then used some "biological materials": fish eyes, nails, egg skins and so on. To show the growth and life continuation of the earth. The second work in her series: Baby; The sixth picture "Love"; Figure 10 to 14: Death. There are pictures in poems, and there are poems in paintings. In the fourteenth work, there are small white balls of thread and some egg skins. There is no poem in this work, which means the end and a new beginning. This way of linking words with fiber works originated from China's artistic tradition. "Flowers Fall" is one of the works I created during my graduate school. Using collected and air-dried petals, petals of different colors appear as point elements in the work. Then pin it regularly on the exhibition board, and shape the image with the language of "dot". Under the illumination of light, every point has a projection, and the shadow cast on the exhibition board becomes an important element in the work, forming a whole with the work, giving people a rich and cordial natural feeling. Coupled with its projection, each "point" is patchy, changeable and high-spirited, expressing the poetic feeling of "flowers fall all over the sky, fragrance disappears and jade dies" and also expressing a kind of inner loss. American artist Sukin Ur's work "Scattered Memories" is densely arranged with beaded materials, and then it is surrounded to form the shape of a basket. This process is like creating a narrative with one word, which requires great patience and perseverance. Through simple colors, beads of different sizes and continuous techniques, the artist puts his scattered memories into a tubular work. Every bead is like a treasure, calling observers to observe and think, enjoying the beauty of vision and touch brought by beads, and its image gives people metaphorical associations. This kind of bead is endowed with a specific meaning, and the symbolic technique implicitly expresses the aftertaste and recollection of the past time from a deeper perspective.