中国工艺美术大师 蒋喜

蒋喜，第七届中国工艺美术大师、国家级非物质文化遗产项目（苏州玉雕）代表性传承人、研究员级高级工艺美术师。对先秦及两汉时期的玉石雕刻和玉艺文化深有研究，成功恢复了失传已久的“汉八刀”、“游丝毛雕”等特殊琢玉刀法。在继承苏州传统玉雕技艺的基础上，大胆创新，形成了极具艺术魅力的作品风格——“古韵今风”。蒋喜大师创作的玉雕作品设计特立独行，追求文约简雅，构思精巧，寓意深邃，形神兼备，结构凝练，凹凸合宜，彰显出点、线、面之间的美学和谐。其中，“中国式爱情信物”龙凤对牌系列作品以及其他祥瑞主题作品，既包含了浓郁的古代玉文化特殊内涵，又体现了现代文明的审美情趣。

Jiang Xi, the 7th China Arts and Crafts Master, representative inheritor of the National Intangible Cultural Heritage Project (Suzhou Jade Carving), and senior craftsman at the research level. I have conducted in-depth research on jade carving and jade art culture during the pre Qin and Han dynasties, and have successfully restored the long lost special jade carving techniques such as the "Han Eight Knives" and "Yousi Mao Carving". On the basis of inheriting Suzhou's traditional jade carving techniques, bold innovation has formed a highly artistic style - "ancient charm and modern style". The jade carving works created by Master Jiang Xi are designed with a unique approach, pursuing simplicity, exquisite conception, profound meaning, and a combination of form and spirit. The structure is concise, with appropriate concavity and convexity, highlighting the aesthetic harmony between points, lines, and surfaces. Among them, the "Chinese style love token" Dragon Phoenix Pai Pai series and other auspicious themed works not only contain rich ancient jade culture special connotations, but also reflect the aesthetic taste of modern civilization.

蒋喜大师将现代艺术设计理念融入传统玉雕工艺之中，突破薄胎类玉雕陈式化的外型与设计理念，借古器之型，造己之势，用今艺之妙，就自之法，融合古代刀法和现代工艺，结合古代玉雕的优秀审美观念和当代审美情趣，化庸常为神奇，雕出立意高远、古韵今风的当代作品。

Master Jiang Xi integrated modern art and design concepts into traditional jade carving techniques, breaking through the stereotypical appearance and design concepts of thin body jade carving. He borrowed the shape of ancient tools, created his own momentum, and used the beauty of modern art to blend ancient knife techniques and modern craftsmanship. Combining the excellent aesthetic concepts of ancient jade carving and contemporary aesthetic taste, he transformed mediocrity into magic and carved contemporary works with lofty ideas, ancient charm, and modern style.

作品《云天下》

Work "Cloud World"

作品上下皮色天然而成，可见天地自有章法。上圆下方，蕴含中国古代朴素的宇宙观。结合现代设计与审美，以金字塔形作为沟通媒介，镂空“四灵”坐镇塔底，西汉风格的青龙、白虎、朱雀、玄武，栩栩如生，大气雅致，以纳天地祥瑞。繁中窥简，凸显内部结构。两者浑然一体，层层向上，直达云天，贯通古今。

The natural color of the upper and lower layers of the work shows that heaven and earth have their own rules and regulations. The upper and lower circles contain the simple cosmology of ancient China. Combining modern design and aesthetics, using a pyramid shape as a communication medium, the hollowed out "Four Spirits" sit at the bottom of the tower. The Western Han style Qinglong, White Tiger, Vermilion Bird, and Xuanwu are lifelike and elegant, embodying the auspiciousness of heaven and earth. Peering through the complexity and highlighting the internal structure. The two are seamlessly integrated, layer by layer, reaching directly to the sky and connecting ancient and modern times.

作品《美石三宝》

The work "Three Treasures of Beautiful Stones"

作品“美石三宝”由蝉、猪龙、翁仲组成，作者在师古的基础上，继承并发扬了千年的“汉八刀”等雕刻技法，使作品加入了对古代玉雕点、线、面的再认识。在造型和细部的表述方面融入了当代的印记，作品在不失神似的基础上努力创新，力求简洁大气，表现了对柔静超脱、典雅清新、唯美简约的追求。

The work "Three Treasures of Beautiful Stones" is composed of cicadas, pig dragons, and Weng Zhong. On the basis of learning from ancient times, the author inherits and develops millennium old carving techniques such as the "Han Eight Knives", which adds a new understanding of ancient jade carving points, lines, and surfaces to the work. In terms of styling and detailed expression, contemporary imprints are integrated, and the work strives for innovation on the basis of not losing resemblance, striving for simplicity and grandeur, expressing the pursuit of softness, tranquility, elegance, freshness, and beauty and simplicity.

作品《梦回水乡》

The work: "Dreaming Back to the Water Town"

作品整器作水桶造型。江南河流、水井遍布城坊，水桶为儿时记忆中常见。器身表面雕饰爬山虎纹样，又似写意之水波纹，点线面间彰显力度，与薄壁形成鲜明对比，可谓巧夺天工。提梁作飞鸿状，造型为旧时江南亭子桥，虚实相合，仿佛回到风景曾谙的梦里水乡。

The entire piece is designed in the shape of a bucket. Rivers and wells in Jiangnan are scattered throughout the city, and buckets are common in childhood memories. The surface of the vessel is decorated with ivy patterns, resembling the freehand water ripple pattern, highlighting the strength between dots, lines, and surfaces, forming a sharp contrast with the thin-walled structure, which can be described as exquisite craftsmanship. The lifting beam is in the shape of a flying swan, shaped like an old Jiangnan Pavilion Bridge, blending reality and illusion, as if returning to the dreamy water town where the scenery was once familiar.

作品《望天吼》

Work "Roar from the Sky"

作品传承吸收自由不羁、雄浑豪放的汉唐时期雕塑风格，融入当代审美标准中追求生动但又不失“古韵新风”的特点而设计，以相互对应的大、小瑞兽，通过写实的手法，着重强调了怒目圆睁、铁嘴利牙、弯背收腹、健爪抓地等方面的描绘，借瑞兽桀骜不驯、仰首咆哮的气势和神韵，体现了图强猛进的精神风貌和力与势的综合之美。

The work inherits and absorbs the free and unrestrained, majestic and bold sculpture style of the Han and Tang dynasties, and incorporates the characteristics of pursuing vividness but not losing the "ancient charm and new style" in contemporary aesthetic standards. It is designed with corresponding large and small auspicious beasts, and emphasizes the depiction of angry eyes, sharp teeth, bent back and abdomen, and strong claws grasping the ground through realistic techniques. By using the rebellious and roaring momentum and charm of auspicious beasts, it reflects the spiritual style of Tu Qiang and the comprehensive beauty of strength and momentum.

作品《气》

Work "Qi"

作品借用凝聚青铜文化大气而庄重之感的“觚”之造型，与苏邦玉雕中最具代表性的“薄胎工艺”相结合，实现多种艺术的契合，突出对“气”“和谐”等哲学思想的理解，体现出“金与石”的刚柔之美。

The work borrows the "Gu" shape, which embodies the grandeur and solemnity of bronze culture, and combines it with the most representative "thin tire craftsmanship" in Su Bang jade carving to achieve a combination of various arts, highlighting the understanding of philosophical ideas such as "qi" and "harmony", and reflecting the beauty of hardness and softness in "gold and stone".