黄罕勇 海派玉雕艺术展 向美而生・长三角非遗系列展览

海派玉雕是中国玉雕四大流派之一，形成于十九世纪末、二十世纪初的申城。它具备海纳百川、兼容并蓄的博大精神，前承明清玉雕之精华，融合苏派、京派、扬派玉雕的工艺特点，以技法精妙和文化融合闻于四方。

As one of the four major schools of jade carving in China, Haipai jade carving, also known as Shanghai school of jade carving, was developed in Shanghai in the late 19th century and early 20th century. Inheriting the essence of jade carving in the Ming and Qing Dynasties and integrating the technological characteristics of Suzhou, Beijing and Yangzhou schools of jade carving, Haipai jade carving is widely known for its inclusiveness, marvelous techniques and mixed cultural elements.

作为海派玉雕代表性传承人，黄罕勇先生对“海派”一词有着自己的理解，他惯以“河流汇成海”的比喻来取代一般意义上的地域概念。在黄罕勇眼中，“海派”亦是“无派”，因为它博采众长，是不同派系融合的结果，而融合则催生了新的概念、新的内容，这正是黄罕勇创作的灵感基石，他似乎从不愿意把自己固定在某个框架之内，这不仅是对艺术自由的不懈追求，更是一种勇于创新的艺术态度。

As a representative successor of Haipai jade carving, Mr. Huang Hanyong has his own understanding of the phrase “Hai Pai”. He prefers to interpret “Hai” as “the sea”, which is extensive for its inclusiveness, instead of “Shanghai”. To Huang, Haipai means no style at all as it draws the strengths of various other styles to develop its own concepts or contents, which are exactly Huang’s sources of inspiration in his creation. Unwilling to set himself within a fixed framework, Huang keeps pursuing freedom in art and is brave in artistic innovation.  

1993年，年轻的黄罕勇进入玉雕艺术的殿堂，初学人物雕刻，七八年间苦心磨砺，技艺始成。2000年之间，为挑战自我和渴求创新，他执意转换创作理念，开始以中国传统瑞兽为创作母题。他雕琢的玉兽，在传统题材上奏响新声，于作品中加入更多的个人感悟与理解，并以真率之心雕琢籽玉，突出玉料与生俱来的美感，造型设计上更强调神态的深化，张扬不失灵动，威猛不失驯服，充满鲜活的生命力。他不断尝试将自己的审美融入玉雕题材，一点一点从细节上优化传统，从散点透视到焦点透视，在写实的基础上写意线条，这让黄罕勇的作品总能让人耳目一新，却不至于空凭无所依。时至今日，单一的流派已经很难囊括黄罕勇的玉雕艺术，成熟艺术家的风格只能由他自己定义。

In 1993, Mr. Huang started his career as a jade carver by learning figure carving. Through 7-8 years’ painstaking efforts, hehad well acquired the technique and skill for jade carving. To challenge himself and seek for innovation, he decided to change his former concepts of creation and focused on Chinese traditional auspicious animals as the motif of his works in 2000. He put new wines to the old bottles and incorporated his personal perceptions and understandings into his works. He devoted wholeheartedly to jade carving and let the original beauty of the material speak for itself. The designs of his work put emphasis on the vivid bearing of the animals, which were ferocious but tamed, and were as majestic as flexible. He tried to infuse his own aesthetic taste to the jade carving and refine the traditions in details. Featuring a focused perspective instead of cavalier perspective and with freehand lines on the basis of real-life image, the works of Huang Hanyong are eye-catching but by no means whimsical. To date, no single style can well describe the jade carving art of Huang Hanyong. As a sophisticated artist, he defines his own style.

纵观黄罕勇的玉雕艺术，他一直不断地冲破固有束缚，同时又将自己维系在传统的中华文化脉络之中。也许艺术就是充满了矛盾与奇妙的辩证法，无限的灵气与张力才能在碰撞中喷薄而出，诚然这也正是黄罕勇给人无限期待的原因之一。历经千年沉淀，“玉雕”已然无法被简单定义，因“玉”者绝非单纯的名词，其下折射着中华民族的思维方式、审美理念。感谢黄罕勇先生为我们带来玉雕更多的可能性，我们如是期待更多美好的艺术呈现。

Throughout his whole career of jade carving, Huang has always been trying to free himself from restrictions but has meanwhile clung to traditional Chinese cultures. It is as a result of this wonderfully balanced contradiction that his works are endowed with inspirations and his artistic potential is fully unleashed. That’s one of the reasons why Huang’s new creations are so highly anticipated by the audiences. With a history of more than a thousand years, “jade carving” is not to be precisely defined with ease, because jade is not merely an object, but reflects the thinking mode and aesthetic taste of Chinese nation. We thank Mr. Huang Hanyong for bringing more possibilities to jade carving and look forward to more fantastic artworks created by him.

同时感谢黄罕勇先生慷慨捐赠玉雕作品《云上》，为丰富我馆馆藏作出贡献。

Mr. Huang is also highly appreciated for generously donating his jade carving artwork named “On the Cloud” to Suzhou Museum, thus making additional contribution to the collection of the museum.