琉璃工房 25 年，一个最大的体会是， 没有过去，就没有将来。
In LIULIGONGFANG’s twenty-five year history, our greatest achievement comes from understanding that without a past, there is no future.
上个世代，甚至更早以前，动荡不安里，却有一盏一盏的灯，点亮。 一代一代竭尽一生，换取我们更好的见识。 承前启后，是否俯仰无愧？
The turmoil of bygone generations has given way to illumination as each generation spends their lifetimes working for the betterment and insight of those who follow. How can we, through history and into the future, possess a clear conscience?
杨惠姗带领着琉璃工房，在世世代代艺术家堆积的土壤里汲取养分， 安安静静、不计代价的创作。
Nurtured by the gifts of artists past, Loretta H. Yang leads LIULIGONGFANG creating arts in silence and at any cost.
因为相信， 存在，就是一种延续。
For we believe, Existence is a form of continuation.
25 年来，一点一点的摸索， 为何届临四分之一个世纪，仍一次次冒险重复早期惨烈的挫折， 夜阑，窑炉，火焰，无人知晓，无人喝彩。甚至绝望 ?
Twenty-five years of experimentation. As we enter the second quartercentury of LIULIGONGFANG, why do we still risk revisiting the many challenges and setbacks of the past, working through the night in the heat of the kiln, uncertain, without reward - is this all for naught?
言成为诚，心音为意。 “诚意”。 反复思索着两个字， 10 年，20 年，30 年⋯⋯
In Chinese, speech becomes one’s truth; the hear t becomes one’s significance. The “truth” and “significance” mean “sincerity”. 10 years, 20 years, 30 years...
原来工艺美学，延续那个世世代代的价值， 就是“诚意”，即使没有掌声， 仍将心中那个民族情感的承诺，创作的热情，绵延下去⋯⋯ 一起见证中国琉璃复兴的下一个 25 年。
The key to the continuation of the value of craft art lies in “sincerity”. Even without applause or recognition, the passion of craft perseveres. Witness the next twenty-five years in the renaissance of LIULI art, Chinese glass art.
Sincerity
The Story of the LIULI Renaissance
【第一展区】
【Exhibition Section I】
知道过去，就知道 将来到哪里去
To know your past Is to know your future.
上海博物馆鉴识 中国古代琉璃藏品
Ancient Chinese LIULI collection, authenticated by the Shanghai Museum
（公元前 7 世纪—公元 18 世纪）
( 7th Century B.C. – 18th Century )
九零年代，琉璃工房在生存与社会使命感中挣扎，尽其所能地存留老祖宗 的宝贝，深怕就此永远再也见不到了。憋着一口志气， “收藏一个千百年前 和我们一样走过琉璃这条路的人的足迹”。就在杨惠姗与张毅得到一件汉 代琉璃，小心翼翼地指试掉蒙封千年的泥垢，恭恭敬敬地捧在手上端详。 突然，轻轻的喀哒一声，它断裂了。 “为什么两千多年都安然无恙，偏偏就在这一刻断裂了呢？”他们问得若有 所思。 余秋雨说，它已等得太久太久，两千多年都在等待两个能够真正理解它的 人出现，然后死在他们手上，死得粉身碎骨。 琉璃是有生命的。科学家也许会说，破碎是因为出现了共振，那么，共振 来自何方？来自两位艺术家急剧的心跳、紧张的呼吸，而这，正是最深刻 的理解。 把荒落千年的时间补上了，把千年前的神韵和千年来的变迁一起融入了作 品，自身的坎坷和辛酸，用现代语言升腾成更大的仁爱和慈悲。 只愿中国的历史永远闪耀着琉璃的光泽。就像那件汉代琉璃断裂在手上那 样，琉璃工房的作品也会在后代手上断裂，那么，想必也会有人手捧美丽 的断片蓦然憬悟吧！
In the 90s, LIULIGONGFANG struggled bet ween subsisting and a societal calling. They took it upon themselves to retain the treasures of their ancestors, fearing that once lost, they would be lost forever. With an ambitious breath, they recalled that “these LIULI artifacts, thousands of years old, map out the path taken by our ancestors; a path that we also take today”. One specific artifact acquired by Loretta H. Yang and Chang Yi dated to the Han Dynasty. As they carefully held the object in their hands, it collapsed with a gentle sigh. “How could it survive thousands of years only to break at this very moment?” the pair asked themselves. “Could it be that this artifact, after two-thousand years, having finally found someone who truly understood it, made the decision to perish in their hands?” said a renowned writer friend of theirs. LIULI contains life. A scientist may say that the glass broke due to an external resonance; we then ask, where did this resonance originate from? Did it originate from the artists’ heartbeats? Their apprehensive breaths? This exemplifies our most profound understanding of LIULI. Stitch together the past few thousands of years and combine its appeal, evolutions and all your personal ups and down and hardships and channel it through modern means to transform it into a greater benevolence and wisdom. We wish for the brilliance of LIULI to shine forever throughout China’s history. Just like that Han Dynasty artifact that shattered in our hands, our work too will break in the hands of the future. The enlightenment that we felt when it happened will soon belong to someone else!
第一展区，跨越两千五百年时空，50 套 262 件古代琉璃藏品，展现着中国 从不匮乏的创造力，更重要的是，对琉璃工房的意义。它们无论来自于哪个 年代；它们是我们的过去，知道了我们的过去，就知道我们将来要到哪里去。
The first exhibition area will span 2,500 years and feature 262 ancient LIULI artifacts within 50 sets. It displays ancient China’s prolific creative force and more importantly, it showcases its significance in relation to LIULIGONGFANG. No matter what era these artifacts date to, they represent our past; only in knowing our past can we know our future.
因为这些古琉璃；琉璃工房不再孤独 琉璃工房、上海琉璃艺术博物馆创始人 张毅
一个人，没有过去，是一个什么样的情景？ 严格说；我们太活在现在了，我们没有时间去想过去。然而，过去，逐渐 变成空白，现在，成了唯一的意义。那么，未来，又有多重要？ 琉璃工房，之所以叫琉璃工房，是因为对于过去的一种想念，如果西周 就有琉璃这个名词，距离今天三千年的琉璃长什么样？为什么一定要叫 GLASS 或 CRYSTAL ？ 我们想的是，白居易：彩云易散琉璃脆。 我们益发不能忍受玻璃这样的字眼。 一九八七年，琉璃工房成立，我们有意寻找那个过去。在那个年代，在所 谓的世界玻璃史里，古中国玻璃，等于缺席，现代中国玻璃艺术，尚未萌芽。 琉璃工房以为自己站在旷野里；念天地之悠悠，独怅然而泪下。 但是，以为自己开天辟地的悲壮感，让人兴奋莫名，这是很多人问起：为 什么敢以几个从电影出来的外行，敢面对这么遥远的陌生行业？或者；为什 么在三年半的创业摸索过程里；倾家荡产，琉璃工房似乎了无畏惧的真正 原因。 跟过去；跟历史比起来；钱，算是什么？ 选择 Pâte-de-verre 这个技法，在一九九零年代，华人世界很少人听说，对 琉璃工房而言；却意义非凡，因为，它的失蜡模制法，让我们想到商周时 代的青铜器。我们仍然一心一意想把自己和过去用什么意义联结起来。 一九九一年，我们用几件仓促成军的 Pâte-de-verre 作品，在日本展览， 夸夸而谈这种十九世纪法国独美的工艺，如今，华人也能拿出些成绩。 来了一位叫由水常雄的日本先生说：张先生认为法国人独美吗？您可以到 河北满城县中山靖王墓遗址去看看，金缕玉衣头部两侧，两只琉璃耳杯。 由水先生认为那是中国最早的琉璃模铸文物。中山靖王封墓的年代；距今 二千一百年。除了由水常雄；之前，几乎没有任何文献提及这件事。 对于琉璃工房而言；这是件意义深远的大事。琉璃工房命中注定是琉璃工 房。我们想象的过去，臆测的过去，渴盼的过去，竟然就在灯火阑珊处。 一九九零年代；琉璃工房财务最拮据的年月，负债累累之外；毫无收入，但是， 我们竭尽所能地收集所有我们看到，听到中国古琉璃。我们没有专业知识， 也没有资源作科学鉴定，甚至，将来也不打算靠这些收藏增值。 我们只相信：它们无论来自汉代；来自唐宋；它们是我们的过去，我们看见 了我们的过去，知道了我们的过去，我们就知道我们将来要到哪里去。 在漫漫的时空长河里，琉璃工房不再孤独。
Because of Ancient LIULI, LIULIGONGFANG no longer knows loneliness. LIULIGONGFANG & LIULI CHINA MUSEUM Founder
Chang Yi
Who would a person be if that person lacked a past? People today live too much in the present and have difficulty thinking about the past. If a past is faded and the present is the only thing worthwhile, how important then, is the future? LIULIGONGFANG’s name conveys a sense of longing for the past. If the term LIULI existed in the Western Zhou dynasty three thousand years ago, what would that LIULI look like? Why is it today, referred to as GLASS or CRYSTAL? For us, LIULI recalls the words of poetry: LIULI easy broken just like floweriness clouds scatter. In this sense, we couldn’t tolerate the word “GLASS” any more. We purposefully went in search of our past in 1987. In those times, in the world history of glass, ancient Chinese glass was strikingly absent. It had even been awhile since the last update to contemporary Chinese glass. We felt like we stood alone in our longing and loss. Yet those grave thoughts were mirrored with excitement. Many people asked us, a group of film-makers, why we left the industry to pursue such an unfamiliar profession fearlessly, even with financial hardship? In the face of the past and history, how much does money really matter? In the 90s, very few people had heard of our chosen technique Pâte-de-verre. For us, this technique was significant because its lost-wax casting process reminded us of the methods used to produce Shang and Zhou Dyansty bronze work. It was our absolute intention to link ourselves to our past. In 1991, we assembled a group of Pâte-de-verre pieces to exhibit in Japan. We talked openly about the technique, its 19th century France origins and how we as Chinese, used this technique. A Japanese gentleman by the name of Tsuneo Yoshimizu overheard us and said: Mr. Chang, do you feel that the French have a monopoly on this technique? Why don’t you take a look at the artifacts unearthed from the tomb of Emperor Liu-Sheng located in Hebei Province and the two LIULI ear cups found on either side of his jade burial suit? Tsuneo Yoshimizu believed those two pieces from the tomb to be the earliest known LIULI artifacts. For LIULIGONGFANG, this was an occurrence of profound significance. LIULIGONGFANG was meant to be LIULIGONGFANG. The past that we imagined and were enthralled with was closer than we could have wished for. LIULIGONGFANG was plagued with financial burden in the 1990s. Our profits were slim yet we did all that we could to collect all that we saw and heard on ancient Chinese LIULI. We did not have the professional expertise nor did we have the resources to corroborate our acquisitions - banking on the appreciation of those collections was never our intent. We just believe: Whether those pieces came from the Han, Tang or Song dynasties, they all represented our past. In seeing and knowing our past, we are given the foresight into our future. Through the eternal sands of time, we no longer knows loneliness.
从这里开始 我们的一切，
在河北满城中山靖王墓里，两只十三点五公分 的琉璃耳杯，可能是中国现存的最早的以脱 蜡铸造的高铅玻璃，距今至少两千一百年。 琉璃工房开创之初选择“水晶玻璃脱蜡铸造 法”作为创作的语言，是因为这个技法，和中 国青铜器的创作语言一样，这个民族的情感， 决定了从琉璃工房 1987 年创业之后，自己的 创作风貌。 初创时的那三年，频频烧出焦黑的东西，甚 至无法将石膏模具与琉璃分开的辛酸，当看 到耳杯时，让 人心里淌血。对于琉 璃工房， 它成为一个文化情感的归属象征，一个永远 不断创作和学习的提醒。 我们把自己的作品放在边上，以最虔诚的方 式，运用脱蜡铸造技法，根据年代的风化和 侵蚀的回溯推演，崭新地再现了这只琉璃耳 杯，希望永志一个辉煌的再生。 把全部荣誉献给了祖先，只想与祖先共享一 个名称 ：中国琉璃。然后相扶相持传播给今 天的世界。
This is Where it All Started Two 13.5 cm LIULI ear cups were excavated from the tomb of Emperor Liu Sheng, Hebei, China. Dating back at least two thousand years, they are the earliest known Chinese Pâte-de-verre artifact of high-lead glass. LIULIGONGFANG chose to use the Pâte-de-verre technique from the very start. It was chosen for its similarities to the technique used in Shang Dynasty Chinese bronzes. The significance of cultural inheritance has been the foundation of our creative endeavors since our establishment in 1987. The first three years of LIULIGONGFANG were rife with failure. The flawlessness of the LIULI ear cups made our lack of success even more painful. For LIULIGONGFANG, they came to symbolize a cultural sense of belonging and a reminder to continuously create and learn. Setting our own work aside and in the most sincere fashion, we once again present these LIULI ear cups in hopes of provoking a glorious rebirth of LIULI. The distinction belongs to our ancestors but the name “LIULI” belongs to all of us – let us share it with the modern world.
千古琉光：中国古琉璃 中国古代琉璃在世界琉璃史上占有很特殊的地位，它的独立性，主要表现 在成份和器型上：成份的不同，与原料的取得因素有关，器型的不同，则 与中国文化传统有关。 最迟在战国中期，中国的琉璃制品已建立起自己独特的体系，并与文化传 统相融合。由于琉璃多数半透明，外表与玉相似，在当时，作为玉的代用 品非常受到欢迎。
蓝色蜻蜓眼纹琉璃珠
战国 (475 B.C.-221 B.C.)
“蜻蜓眼”琉璃珠盛于战国时期，通过游牧民族 经丝绸之路传入中国，外观上极具西亚玻璃风格。 蜻蜓眼珠即是在球形珠身上，嵌以数量不一，色 泽有别于母体的琉璃，多呈同心圆图饰，如此构 成的造型，形似蜻蜓的复眼，因此得名。 “眼”的图案最早出现于埃及，是埃及神 “霍洛 斯”（Horus）的象征化符号，象征太阳神具有无 上的法力，是法老王的守护神，可战胜一切邪恶。
Blue LIULI Dragonfly Eye Bead Warring States (475 B.C.–221 B.C.)
“Dragonfly eye” LIULI beads were brought to China during the Warring States Period by nomads through the Silk Road. Visually, they are in the style of West Asia Glass. Concentric “dragonfly eyes” decorate a spherical bead in variable pattern and number. Coloring is different to that of the base bead. Formed by layering, they are shaped like the compound eye of their namesake, the dragonfly. The “eye” motif first appeared in Egypt to represent Horus, god of the sky and sun. In possession of infinite power, he has the ability to guard Pharaoh and prevail over evil.
Eternal Lights: Ancient LIULI (Chinese crystal) Ancient Chinese LIULI holds a notable place in the history of LIULI for its unique composition and shapes. The distinct composition is due to the source of the components and the distinct shapes are due to the influence of traditional Chinese culture.
蓝色琉璃环
战国 (475 B.C.-221 B.C.）
Blue LIULI Bracelet
Warring States (475 B.C. – 221 B.C.)
Since the mid Warring States Period, LIULI has established itself as its own unique entity, one fused harmoniously with traditional culture. LIULI’s translucency lent an outward appearance not unlike jade and at the time, was readily received as a substitute for the stone.
在汉代，琉璃制作达到了一定的成熟，可分为脱蜡铸造和浇铸两种不同的 制程，铅钡玻璃基本已成为中国制造的标准配方。 在器物造形上，也因功能而产生各类新品种的器形：大致可分为容器、装 饰牌片、冥器、剑饰、玺印、装身具及平板玻璃等。汉代风行玉葬，西汉 时期以琉璃璧随葬，多出现在身份地位较高的王公贵族墓葬，属于高规格 的陪葬装饰用品。 西方学界认定，琉璃璧是中国自产琉璃的代表作品。这些以玻璃溶液注入 陶模中，铸制而成的琉璃璧，器表多施以谷纹或蟠螭纹，与当时的玉器式 样基本相同，极具中国特色。常见于殓葬，并用于礼器和镶嵌器，例如粘 于铜镜背面。随着礼制的衰退，琉璃器的使用逐渐减少，至东汉末期即告 消失，此面西汉蓝色方格纹（简化的谷纹）琉璃璧甚为罕见。
黄色琉璃兽
汉代 (206 B.C.-220 A.D.)
这样造型极简，风格朴拙的生肖冥器，汉之前墓 葬中是鲜有出土的。直至汉代才开始流行用生肖 冥器做陪葬的风俗，到宋代渐失。汉代出土常见 的动物小雕像，其材质种类不乏玉、骨、水晶、 玛瑙和炭精等，琉璃材质是少有的。
Yellow LIULI Beast Han Dynasty (206 B.C. – 220 A.D.)
Minimal in design, this stylistically austere burial object depicts a Chinese Zodiac animal. Prior to the Han Dynasty, similar objects were rarely unearthed. It was not until the Han that animals from the zodiac became popular burial accessories; the trend stopped with the Song Dynasty. The small excavated carvings from the Han Dynasty were mostly fashioned from jade, bone, crystal, agate or graphite; carvings in LIULI were rare.
蓝绿色蒲纹琉璃璧
汉代 (206 B.C.-220)
Cyan LIULI Grid-Patterned Bi
Han Dynasty (206 B.C. – 220)
LIULI production reached its peak during the Han Dynasty. They two main techniques used were Pâte-de-verre and casting; lead-barium glass became the standard for glass produced in China. During this time, new forms emerged due to functionality. These shapes could be categorized into containers, decorative plaques, burial objects, decorative weaponry, seals, personal accessories and everyday glass objects. Jade burials were popular in the Han Dynasty and considered a status symbol; the Western Han period saw the addition of jade burial objects in the tombs of the imperial household and officials. Western scholars believe LIULI bi to be the epitome of China produced LIULI. Bi were produced by injecting ceramic molds with molten glass; these cast objects were often decorated in a grain or panchi dragon motif. Very similar to the jade produced in the same period, they were identifiably Chinese. Often used in burials, bi were also used as ceremonial objects and in mosaics (e.g. adhered to the back of a bronze mirror). Following the decline of rituals in the later Han, the use of LIULI objects dwindled and disappeared almost completely and the blue grid motif (simplified version of the grain motif) LIULI bi became a rarity.
琉璃净瓶
唐代 (618-907 A.D.)
LIULI Kalasa (Buddhist Bottle) Tang Dynasty (618 – 907 A.D.)
Foreign influence from the Wei Dynasty to Tang Dynasty introduced household tools and objects made from sodium-calcium glass. The leadbarium glass that was once popular evolved into high-lead glass. At this time, in addition to the cast mold technique, glass-blowing appeared. Chinese LIULI started trending away from LIULI accessories and toward functional LIULI devices. Excavated from Buddhist pagodas and tombs from the Tang Dynasty were small bottles, bowls and alms bowls. Not only was LIULI the primary material used to make lifestyle objects during the Tang Dynasty, it is certain that blown LIULI glass was very important. The LIULI objects made during this time were highly refined and traditional Chinese characteristics were supplemented by Western Asia style. Buddhist LIULI objects also appeared at this time. The up-do became a popular hairstyle for women during the Tang Dynasty. As documented in the fourth scroll of the Six Codes of the Tang Dynasty, “The gold and silver hairpins worn in women’s hair should be finished with LIULI”. This illustrates how common small LIULI accessories were at the time. LIULI hairpins were produced through a free-form hot-sculpting technique. The hairpin design is one commonly found during the Tang Dynasty. LIULI craft of the Liao Dynasty was on par with the outstanding craft of the Tang Dynasty. LIULI accessories were fine and ornate, colorful and bright. Ear accessories became popular and widespread. Due to Emperor Kangxi’s personal preference for Western objects during the Qing Dynasty, he spared no expense in developing LIULI. The caliber of Chinese LIULI objects of this time rivaled its Western counterparts.
魏晋南北朝与唐宋时期受外来文化的影响，大量西亚钠钙玻璃所制成的生 活用具传入中国，中国琉璃由原来所流行铅钡玻璃，逐渐转变成含钡成分 较低的高铅玻璃。此时，除模铸技法外，亦开始出现吹制技术，中国琉璃 的应用，从饰品滥觞期转入实用器期。
LIULI objects were common during the Qing Dynasty. The Chinese developed a technique that created LIULI with a luster, color and texture that resembled porcelain; they are the only people in the world known to have used this particular technique. It was also a great influence on the glass craft of the Western Art Nouveau period of the 19th century. LIULI craft flourished during the reign of Emperor Qianlong. However due to the emperor’s diminishing power in the middle to late Qing, the quality of LIULI gradually deteriorated until the craft vanished completely.
从唐代佛教塔基及墓葬中大量出土的小件吹制瓶、碗、钵等来看，琉璃吹 制技法在唐代是非常重要的。此时的琉璃器体变的更为薄透，在传统中国 特色的基础上，融入了更多的西亚风情，同时也出现佛教专用的琉璃器物。 唐代开始，妇女盛行梳高髻，《唐六典》卷四说， “平民嫁女头上金银钗， 许用琉璃涂饰”，可见当时小件琉璃饰品应用非常普及。琉璃发簪应为热 雕塑技法制作，自由造型，无模。发簪的造型，更是唐宋常见。 辽金时期，琉璃工艺维持在唐代水平，琉璃器多小巧精致，色泽多变，绚丽 多彩，耳饰因风俗而更为普及流行。 清代因为康熙皇帝个人对西方文物的喜好，不惜成本的发展琉璃，当时琉 璃成品的品质，已经可以和西方相媲美。 清代琉璃器数量多，技法繁，琉璃的光泽、色彩、质地均有瓷化特质。首 创套料技法，为世界所独有，并影响十九世纪末，新艺术时期的欧西琉璃 工艺。乾隆年间琉璃工艺更是极盛时期，但中晚期因国力渐衰，与盛世不 可同日而语，导致琉璃工艺几近消逝。
茶黄色瓜形琉璃饰
清代 (960-1279 A.D.)
Tawny Gourd Shaped LIULI Accessory Qing Dynasty (960–1279 A.D.)
【第二展区】
工艺伦理的学习 25 年代表作 讲述琉璃工房的 25 个故事 （1987-2011 ）
【Exhibition Section II】
The Learning of Craft Ethics 25 Years’ Representational Pieces Recounting 25 Stories of LIULIGONGFANG (1987–2011)
琉璃工房 25 年的创业肇始愿景 是一个东方的，民族的， 现代的琉璃艺术文化。 希望发展一种技法语言，能够充分阐述一种精神概念。 因此强调中国工艺美术的伦理价值， 学习材质，学习材质延伸的技法，学习作品在“时空”中的观照。 每一件琉璃作品， 都希望能赋予生命和独特动人的故事。 “第一个十年，是以临摹为主； 第二个十年，临摹创作各半； 第三个十年，将以创作为主。” 这是琉璃工房的发展里程的三阶段，也是张毅给杨惠姗订的艺术历程。 25 年中，在技法上，从探索、逐渐成熟到融入创作者对自身生命体悟， 在创作过程中，持续不断地强调有益人心的正念， 传达中国儒学的“仁”，以及“诚意”的和谐美好。 25 年，25 个故事， 娓娓道出的，是琉璃工房 25 年来的“当下”。
For 25 years LIULIGONGFANG’s mantra and aspiration has been to create a contemporary LIULI arts culture steeped in heritage and culture. It has been LIULIGONGFANG’s hope to convey a spiritual concept through technique. This is why we emphasize the ethical value of Chinese craft art, why we study the material, why we challenge the material’s limitations and explore the design’s significance in relation to “time and space”. It is our hope to bestow life and a unique story into each and every LIULI design. “The first ten years were spent recreating; The second ten years were split between recreating and creating; The next ten years will focus on creating.” These are the three developmental stages of LIULIGONGFANG and the three stages set forth by Chang Yi for Loretta H. Yang. In the past 25 years, the artist’s technical maturity has allowed her to incorporate personal experiences into her work. Throughout the creative process, she has consistently emphasized the importance of creating art that is good for the heart. This is the manifestation of the Confucian ideas of “benevolence” and “sincerity”. 25 years, 25 stories. What transpires from this is 25 years of LIULIGONGFANG in the “present”.
1987–1995
1987–1995
1987 年，张毅和杨惠姗等来自电影界的七位伙伴， 投入当时一无所知的“脱蜡铸造技法”，琉璃工房就此创立。 三年半，七千五百万新台币，面对的却是一炉又一炉的破碎玻璃。 至今淡水琉璃工房后院，深一公尺多，面积十余平方公尺的地下， 仍埋藏着当年烧制失败的碎琉璃冢。
In 1987, Chang Yi, Loretta H. Yang and seven filmmakers left the industry to pursue the great unknown of Pâte-de-verre. This was the beginning of LIULIGONGFANG. Three and a half years and NT$75,000,000 later, all they had to show for their efforts were kilns full of broken glass. They had enough broken glass to fill a 1 meter deep by 10 square meters wide ditch behind the Tamshui LIULIGONGFANG workshop.
那个年代的作品，充满了第一个十年之际的谦冲学习， 以文化、工艺、脱蜡铸造的技术，重新诠释琉璃这个材质。
The art created in those early years resound with the humility of one who is in the process of learning. Through culture, craft and the Pâte-de-verre technique, LIULIGONGFANG redefined LIULI as material.
簋系列，即在那个琉璃工房遭受重创之后的 1990 年，孕育而生。 商周时的簋，表现两千多年前，人对天最大的敬意， 承载着当时人们对美好的祈求与希望。 这个系列，强调琉璃的质感，稳重、内敛， 雕塑的细节，谦卑地退到最后，没有太多华丽的修饰，充满着对文化的情感。 从材质上似玉的温婉， 开始渐渐转变，发展出了琉璃透明澄澈的表现突破， 以精确的脱蜡细节，色彩的运用， 终于确立了现代中国琉璃表现哲学概念的语言。 台北故宫博物院展览⋯⋯ 北京故宫博物院展览，杨惠姗成为第一位获邀展出的现代琉璃艺术家⋯⋯ 意大利威尼斯第一届国际现代玻璃艺术展⋯⋯ 举办台湾第一届现代国际玻璃大展， 邀请三十位国际艺术家，展品逾两百件⋯⋯ 从黑暗中的摸索， 琉璃工房让失传二千多年的中国琉璃，重新站上世界玻璃艺术的舞台。
1990 年 春雷双龙提耳水晶簋，祭器烛台， 祭盘，祭尊，水晶祭杯 1991 年 水晶祥云双龙蟠座 1992 年 太平有象樽 1993 年 登高 1994 年 小俩口 1995 年 谷粒文镇 1990 Ceremonial Grail, Ceremonial Vessel, Of Heaven and Earth, Ceremonial Candle Holder, Ceremonial Cup 1991 Dragons among Clouds 1992 Crystal vase decorated with elephant-shaped handle 1993 Ascending Heights 1994 The Loving Couple 1995 Symbol of Rice
LIULIGONGFANG’s gui series was born in 1990 after the initial period of heavy loss. Two-thousand years ago, our ancestors showed the greatest level of reverence for the heavens through gui. It symbolized the people’s pursuit for all that was good. This series highlights LIULI’s texture, stability and discipline. The sculpted details are modest, understated and overflow with a passion for culture. Imparting a warmth not unlike that of jade, the evolution of the technique generated a breakthrough by way of LIULI’s transparent quality. Using the color and precise details only achievable through Pâte-de-verre, we established a means to communicate the philosophy of contemporary LIULI. Two key exhibitions during this time were held at the National Palace Museum in Taipei and the Palace Museum in Beijing; the latter marked Yang as the first contemporary LIULI artist to do so. She was also invited to the 1st Annual International Contemporary Glass Exhibition in Venice, Italy and produced Taiwan’s 1st International Glass Art Exhibition that featured two hundred pieces from over thirty internationally acclaimed artists. LIULIGONGFANG has retrieved the two-thousand year old tradition of LIULI from the past and released it onto the international contemporary glass art stage.
1996–1999
大愿 无言之美 倾听 生生不息
这个时期，从上一阶段以技法表现材质，转变成以材质引导技法， 作品的尺寸越来越大，粉烧定色、阴阳模等技法，以及琉璃内在空间的表现， 赋予琉璃更为广阔的创作空间。 “无言之美”，在格局上，从工艺性的创作，进入人文思考的层次， 象征着杨惠姗“中国式”的返璞归真。
艺术家以更大的尺度，挑战脱蜡铸造法的创作极限， 改变了 18 世纪以来，只有铜与大理石是雕塑材质的固有认知。 中国琉璃，提供给雕塑艺术一个新的可能。
1996 年 1997 年 1998 年 1999 年
A Great Wish The Beauty of Non-Speech Heed Attentively Life Eternal
1996 1997 1998 1999
“生生不息”，象征着工房延续下个、下下个十年； “走过的路，已经过去。而要走的路，如此遥远。” 同时，艺术家开始将自身的人生阅历，融入作品。 对于人的关怀，无常的体会， “大愿”、 “倾听”，充分展示了艺术家的生命体验。 1998 年，杨惠姗的作品成为英国维多利亚与艾伯特博物馆收藏纪录上， 继清代后中断了数十年再度收藏的中国艺术品。 上海博物馆、二次于北京故宫博物院展出⋯⋯ 琉璃终究从工艺走向具哲学思考的严肃讨论， 琉璃工房进入第二个十年， 中国琉璃，大声地对全世界说话。
1996–1999 During these years, the emphasis shifted from expressing the material via technique to the material leading the technique. The scale of each piece enlarged. Yang began to explore the techniques and interior space of LIULI as a means of expression and thus broadened the creative scope of LIULI. From the craft standpoint, the Beauty of Non-Speech entered the realm of humanistic thinking; it represents Yang’s return to the fundamentals of “Chinese style”. The artist’s use of a larger scale is a direct challenge to the limits of Pâte-de-verre and redefines the 18th century notion that sculpture art can only exist in bronze or marble. Chinese LIULI offers a new possibility to the world of sculptural arts. Life Eternal represents LIULIGONGFANG’s inestimable future. “A path taken is in the past. The path that lies ahead stretches far and wide.” At this time, the ar tist began to draw inspiration from her personal experiences. Her concern for the human race and her understanding of impermanence are manifested in A Great Wish and Heed Attentively. In 1998, the work of Loretta H. Yang was acquired for the permanent collection of the Victoria and Albert Museum. This marked the first new acquisition of Chinese art the museum has seen since the early 1900s. These years also played host to an exhibition at the Shanghai Museum and the second exhibition at the Palace Museum, Beijing. LIULI finally rose beyond craft to enter a philosophical and intellectual realm. Entering the next ten years, we see a growing connection between Chinese LIULI and the rest of the world.
2000 年 2001 年 2002 年 2003 年 2004 年 2000 2001 2002 2003 2004
顺心如意 轩昂鼎立 云中神龙 十三喜娃娃 花舞琉璃
As You Wish Tripod of Lofty Dignity The Cloud-Riding King Steed Thirteen Jovial Baby Dolls The LIULI Flower Tango
2000–2004
2000-2004
进入千禧年后的新世纪， 琉璃工房的作品先后获选为奥斯卡奖及艾美奖贵宾礼品， 屡获肯定。
As LIULIGONGFANG entered the new millennium, it received endorsements from the gifting divisions of both the Academy Awards and Emmy Awards.
在这个时期，作品明显展示出艺术家个人创作的风格。 “云中神龙”，突显出了杨惠姗从一位表演艺术家， 将过去的累积升华，在琉璃雕塑艺术家的领域里，继续她的表演。 如意，鼎，娃娃⋯⋯ 在席卷全球的 SARS 面前，在文化的荒芜中， 琉璃工房在江西捐献修建了希望小学，继续创作有益人心的作品。 喧哗嘈杂里， 选择自己要走的路，一步一步走下去。 2001 年，应美国宝尔博物馆之邀， 与美国首席琉璃大师戴尔·奇胡利共同联展， 成为跨越东西方的玻璃艺术盛事， 作品“大愿”当即为博物馆所收藏。 杨惠姗也成为前往法国展示琉璃创作的第一位华人女艺术家， 在“花舞琉璃”，艺术家以粉烧定色的技术， 超越了 Gallé 未能完成的梦想， 实现了创作属于心中的那朵民族情感花朵的承诺。
The artist’s personal style flourished during this period. The Cloud-Riding King Steed showcases Yang’s gift in the past as a performance artist as well as LIULI sculpture. A ruyi, a ding vessel, a doll... Faced with the SARS epidemic and a cultural void, LIULIGONGFANG built the Hope Elementary School in Jiangxi, China; it is a physical extension of their motto: to continuously create art for the good of the heart. Amid the chaos, we at LIULIGONGFANG forged our own path. In 2001, by invitation of the Bowers Museum in the United States, Yang participated in a joint exhibition with American LIULI pioneer Dale Chihuly. During this momentous meeting of East and West, the museum acquired A Great Wish for their permanent collection. In this time, Yang also exhibited in France, becoming the first Chinese artist to do so. With the LIULI Flower Tango produced through the color placement technique, she created what Emile Gallé once dreamt of accomplishing. This accomplishment realized her internal promise of creating art that resounds with the passion of a nation.
2005 年 2006 年 2007 年 2008 年 2009 年 2010 年 2011 年 2005 2006 2007 2008 2009 2010 2011
没有你，不行 丽水悠游好 多情花好 玄武－潜龙富贵向机先 云龙之境 四方礼赞聚宝瓶 光明在我
Without You, There Is Nothing Lovely Water Journey Floral Sentiments – The Four Gentlemen Series Xuanwu of the North – Fortune and Prospects Realm of the Cloud Dragon In Praise of the Tulip, a Vase of Riches I Am Illuminated
2005–2011
2005–2011
走过了 20 个年头，作为华人第一个琉璃脱蜡铸造工作室， 全球最重要的华人文化品牌。 二十年的岁月，对工房人而言，是学习，是挫折，是成长。 对外界大众而言，是文化创意产业的典范，是传奇。
In twenty brief years, LIULIGONGFANG had established itself as the world’s first Chinese LIULI Pâte-de-verre workshop and the most pivotal Chinese cultural brand. To LIULIGONGFANG, it was twenty years of learning, setbacks and growth. To the public, LIULIGONGFANG became a model and legend of a creative culture industry.
若要为二十年的学习做个总结，张毅说， “仁”。 对人的关系对自然与山水的体悟，关乎人，也关乎“仁”； 两个人，和睦相处，两个人， “己所不欲，勿施于人”， 春秋战国的儒学中心，一字道尽。 “没有你，不行”与“丽水悠游好”即体现了“人心”的意义。 这个时期，适逢北京奥运与上海世博会，全世界的焦点。 工艺美术，成为此时重要的民族文化展现。 努力呈现揉合当代与工艺的民族风格，也成为琉璃工房的愿景。 “玄武”以中国五行思想，对应五种神兽，定位，奋起，展现一个“更高更远” 的新的可能。 “四方礼赞聚宝瓶”融合脱蜡铸造与吹制、金箔贴制，在文 化寓意上加入现代的想象，展现艺术家对生命的礼赞。 “光明在我”的龙 作品，传递了属于民族的自信与昂扬。 以当代的琉璃材质，表现文化传统的精神与造型，诠释现代民族工艺美术。 此时，第一个琉璃艺术博物馆成立。琉璃工房更荣获香港设计中心主办之 “DFAA 亚洲最具影响力设计大奖”，正如张毅所说 ： “中山靖王墓耳杯与 金缕玉衣，楚墓里的丝织品，颜色，及编织的方式，今人大概现在也完成 不了。这样的角度看，没有传统与现代之分。” 2010 年， “千手千眼千悲智”， “千一自在”，双双为上海世博会中国馆典藏。
If we were to form a conclusion based on the past twenty years of learning, Chang Yi would sum it up in one word: benevolence. The relationship between people and our relationship with nature is all about benevolence. Two people existing in harmony exist under Confucius’ philosophy: what you do not wish for yourself, do not do to others. The core of Warring States Period Confucian thought is benevolence. Without You, There Is Nothing and Lovely Water Journey expound on the concept of the “human heart”. This period drew international attention as it coincided with both the Beijing Olympics and the Shanghai World Expo. Craft art became a key cultural and national indicator. It was LIULIGONGFANG’s intent to merge and present the contemporary classic by means of craft. Xuanwu of the North is based in the Chinese Five Elements philosophy with five corresponding mythical beasts; it expresses the possibility of “higher and further”. I Am Illuminated showcases a dragon as a profession of a nation’s pride and high-spirit. We expresses the spirit and form of traditional culture through contemporary LIULI; it is our interpretation of contemporary craft art heritage. LIULIGONGFANG founded its first LIULI art museum during this period and received the Most Influential Design Award from the Hong Kong Design for Asia Awards. Thousand Arms, Thousand Eyes, Possessing the Knowledge of Sorrow and Free Mind were both acquired by the Shanghai World Expo China Pavilion in 2010.
【第三展区】
【Exhibition Section III】
永远不断地创作
Continuously Creating
25 周年艺术家系列
25th Anniversary Artist Series
佛像与花，是艺术家杨惠姗永恒的创作主题。
Buddha and flowers have been a constant inspiration for artist Loretta H. Yang.
琉璃佛像艺术，对杨惠姗而言； 是无常的象征，脆弱，华丽，然而，稍纵即逝。 是无我的象征，透明，清澈，如佛经所谓 ： “身如琉璃，内外明澈”。 是人间修持，在高温中工作，在高难度，高失败里工作， 是人在艺术创作中最困难的锻炼。 1987 年，杨惠姗的第一件作品，即是一尊佛头。 25 年来，佛像在杨惠姗的创作里，贯穿始终。 说慈悲，说无常，是她心里唯一的想法。 花，是杨惠姗对生命的另一种诠释表现。 法国琉璃艺术大师 Emile Gallé 那种深信一朵花是一个宇宙的生命哲学， 是杨惠姗心灵向往的境界。 她决心有一天，要让中国琉璃有那样的色彩和质感。 100 多年后，杨惠姗经过无数次的试验， 为这个世代，这片土地，开出一朵朵属于民族的琉璃花。
For Yang, Buddhist LIULI art represents impermanence, fragility, opulence and fleetingness. It represents a selflessness, transparency and clarity; like the Buddhist scripture that states: “may my body be as LIULI, pure and flawless.” It is an exercise in life–working under extreme conditions and facing extreme difficulties and high failure rates; it presents the most difficult training in the creative process. Buddha has permeated Yang’s work over the course of 25 years; her first sculpture in 1987 was of a Buddha head. It is her way of approaching the ideas of benevolence and impermanence. The flower symbolizes Yang’s another interpretation of life. French LIULI great Emile Gallé subscribed to the life philosophy that a single flower represents an entire universe; this is a universe that Yang yearns for. She vowed that one day, Chinese LIULI would be as outstanding in both color and texture as Gallé’s glass. One hundred years post-Gallé, Yang has created LIULI flowers that bloom with the intensity of a nation. Multiple–casting technique, combination of Pâte-de-verre glass with other materials, color placement technique, combination of with Pâte-de-verre and blown glass.... Both design and technical breakthroughs support the spirit of invention. The artist applies her life philosophy into her LIULI art to pave the road for the next twenty-five promising years of Chinese LIULI.
复铸法与异材质结合， 粉烧定色与脱蜡结合吹制⋯⋯ 从格局与技法的突破中，依附着永远创作的灵魂。 艺术家将生命哲学，化作手上的琉光。 为中国琉璃未来的 25 年，尽最大的可能。
无相无无相 佛存在的根本，是人的烦恼， 对生命无常的不安。 《金刚经》里说： “一切有为法，如梦幻泡影。” 生命的虚妄短瞬，彷佛宇宙中的小小气泡， 杨惠姗想象佛的慈悲， 观想解脱困顿、不安的智慧， 让她的心，平和安静。 在似透非透的四方空间里， 顿悟“非有非空”的自在无碍。 我想象自己退到一个宇宙中最高的地方， 回头看看短短五十年的生命， 杨惠姗是不是一个宇宙里的小小气泡？ 那些气泡，升起的，像是生命，又那么虚幻？ 那么绚丽，那么不能掌握。 这不就是人生吗？
艺术家终其一生，寻找一种创作的完美精确语言，杨 惠姗以琉璃材质的可能性，找到了自己的艺术语汇。 融合“脱蜡铸造”与“热浇铸”两种技法。杨惠姗以“复 铸法”，让原来写实的佛像，突然有了一种抽象的“相”。 生命的无常，竟有琉璃能够如此贴切诉说。 “无相无无相”系列，意味着杨惠姗琉璃佛像系列的转 变。在佛像作品中，原本的个别性、方便性，几乎都 不见了，因为那是“我”，一种割舍不了的尘世固执；取 而代之，是只用一尊世间佛像重复出现，代表多如恒 河沙数的佛相。 生死之苦，原来是这么的深沉的体验，然而，你突然 知道什么叫看尽一切本无，而知道当下即是的意义。 2012 年，杨惠姗甚至将构形更为简化，代之以反复 出现的法相。 在无相里，似真似幻的花影，法相，成为杨惠姗的琉 璃佛像艺术的新语言。琉璃的材质性格，仿佛天地般 诠释了东方宗教哲学里的真意。这是她安详对待生命 的方法，也是作为一个中国玻璃美术开拓者，在美学 上的辉煌贡献。
Formless, But Not Without Form The basis of existence in Buddhism is human suffering, and dissatisfaction with the non-permanence of life. The Diamond Sutra states: “All existence is karma, illusory as a dream of bubbles on a pond.” Illusory and transitory life resembles the tiny bubbles in the cosmos. And the compassion of the Buddha is, for Loretta H. Yang, the knowledge that liberates the self from suffering and restlessness and brings tranquility and peace to the mind. In infinite space, which seems at the same time both penetrable and impenetrable, comes the sudden realization of free mind in the non-existence and non-emptiness of the world. “I imagine myself removed to the highest point in a universe and I look back on the brief span of fifteen years in my life and I wonder if Loretta H. Yang is a bubble of vapor in the cosmos?” “These bubbles of vapor rise, are they living, or are they illusory? They are so exquisite, and yet they cannot be held. Isn’t that true for life as well?”
An artist can spend a lifetime searching for the perfect medium to convey their ideas. Loretta H. Yang found hers through the combination of Pâte-de-verre and pour casting. Through casting, Yang transforms lifelike Buddha sculptures into abstract forms. The impermanence of life is a concept that LIULI can convey so perfectly. The Formless, but not Without Form series marks a turning point in Yang’s Buddhist sculpture. The recognizable characteristics and ease of Buddhist figures have all but disappeared to make way for the concept of the “self” – an unshakable mortal stubbornness. The artist repeats a single image of Buddha to represent the infinite existence of Buddha. The hardships in life and death are profound experiences. They allow you to see that “everything is actually nothing” and the meaning of the “present”. In 2012, Yang’s style deviated toward the minimal and exercised the usage of repeated imagery. In Formless, reality, illusion and Buddha became the new language of Yang’s Buddhist art as LIULI became the spokesperson for oriental philosophy. It was through this tranquil state that Yang faced the world and her artistic contribution as a Chinese LIULI arts pioneer.
更见菩提 如果苦厄满天， 是否依然慈悲欢喜？ 如果处处浑沌， 如何安心见性？ 从动荡，从困顿， 菩提 更见澄明。
2010 年，在连续的熬夜雕塑后的一个清晨，艺术家 杨惠姗的左耳突然失聪，她自己形容，就像一个坏掉 的电话，有吱吱的杂讯，失去了对空间的判断。生命 的失序，成了艺术家的生活障碍。 煎熬里，艺术家选择不停地创作。从抗拒，否认， 一位原连创作时都不听音乐，保持心中宁静的艺术 家，最后协调，拥抱这个状态，这个命题。 更见菩提，以两个相异的材质，琉璃拥抱不锈钢铁丝， 铁丝为琉璃带来新的命题。 铁网，根根交错，冰冷且杂乱。 如同生命中的束缚，充满不安。 琉璃，透明，澄澈，具有生命与涵义。 见心明性，仿佛顿悟。 铁网的材质，深入透明的琉璃中，形成一种对话。融 合属性不同的两种材质，过程中，常常瞬间碎裂，只 得继续，修行。 就像闯入珍珠蛤中的一粒石砾，异质，一层层地，被 耐心的裹覆，终究成为泛出温婉光泽的珍珠。 协调中，于是豁然开悟，更得智慧。 人活着，越苦，也就越能看见菩提。
Enlightenment If suffering and sin filled the world, Would there still be benevolence and joy? If the world was rife with chaos, How would we discover peace and awareness? Through unrest, Through hardship, Bodhi Sees with clarity.
One morning in 2010, af ter sculpting for several c o nse cu ti ve nights a mid sc o rc hing he at, Ya ng suddenly lost hearing in her left ear. She described it as a static-filled telephone receiver. The disorder in life became a barrier in life. The artist decided to work through this suffering setback. For someone who preferred to work in silence in order to maintain her tranquil peace of mind, she resolved to embrace this new state of being, this new proposition on life. Enlightenment takes two materials, LIULI and stainless steel wires, and creates a codependency and a new proposition on life. Wires intersect, cold and disorderly. Like the constraints of life, they are filled with unrest. LIULI is transparent and clear, rich with life and significance. To recognize your true nature is not unlike gaining enlightenment. Steel wires reach into the depths of LIULI to create a dialogue. Merging two dissimilar materials often leads to issues during production. The only solution is to persist, to refine. Like a grain of sand that invades a mollusk and initiates the formation of a pearl, it envelops itself in layers of patience until a shiny pearl emerges. Proce ss le ads to wisdom by me ans of sudde n enlightenment. The harder one’s life, the more one recognizes Bodhi.
焰火禅心 烈焰炙身， 汗水映火舞， 意志点亮生命， 炼 艳火莲华一朵。 刹那 即静 即禅。
A Realm of Zen within Fire A fire burns from within, Sweat dances across flickering flame, Life illuminated by willpower. Smelting, A flower born from fire, Suddenly – Calm, Silence.
A proposition on life, the dialogue between two styles of two artists A n ar tist’s creative language emerge s through technique. To discover that language is the realization of the artist’s “dream”. In the 19 th century, French LIULI master Emile Gallé created Rose de France, the most affecting flower in the world of glass. It debuted at the 1878 World’s Fair in France and garnered widespread acclaim. Gallé believed that each flower embodied a single universe; this philosophy became Yang’s spiritual aspiration.
一个生命的命题， 两个艺术家风格的对话 玻璃的技术，是玻璃艺术家的语言，找到语言，艺术 家的“梦”才能实现。 十九世纪，法国琉璃艺术大师 Emile Gallé 以他一生 的精力，创造了玻璃史上最动人的花朵“法国玫瑰”。 在 1878 年的万国博览会上，让全世界为之惊艳。那 种深信一朵花是一个宇宙的生命哲学，成了杨惠姗心 灵向往的境界。 用没有生命的材质，说生命的故事，是艺术家毕生的 使命。 然而 Gallé 的花，不能不“依附”在瓶子上，他的花 不能离开瓶身“活”出来。2010 年，杨惠姗在高温中 将吹制的巨大琉璃瓶结合脱蜡铸造花朵，让花朵离开 瓶身站出来，呈现花朵的真实。自炼狱般的极端炙烈 之后，呈现出细腻淡雅的禅静，赞颂着生命。 2012 年，张毅改以在沙模中预先埋入脱蜡花朵，在 沙模中进行吹制，同时接合花朵与瓶身，让琉璃浆按 照自己的意志，自由、奔放，凝结成最自然的状态， 在充满不定性中，展现了随性、不受拘束的生命禅意。 杨惠姗水墨般的意蕴，张毅枯寂中的生机，是两位艺 术家赞颂生命的不同对话与创作表现。 焰火 炼的生命，禅心。
Yet Gallé’s flowers were dependent on the body of the vase; he was unable to separate the two for the flowers to come to life. In 2010, Loretta H. Yang connected a large blown-glass vase to a Pâte-de-verre flower. She suspended the flower from the body of the vase to reveal its inherent truth. From an internalized fire comes a delicate and elegant realm of zen, a tribute to life. In 2012, Chang Yi embedded a cast flower within a sand mold. He then applied glass-blowing to the mold and at the same time, combined the flower with the body of the vase. This gave LIULI the freedom to form in the most natural state. From instability comes an unaffected Zen life philosophy. Yang’s water-ink painting like expression, Chang Yi’s vitality within solitude, these are the artists’ tributes to life through divergent dialogues. Life within fire – Zen.
一朵中国琉璃花 每一朵花， 都是对生命的探询。 片刻乍现， 换来绝美永恒。 柔和含蓄， 酝酿顽强绽放。 花如此， 人生亦如此。
琉璃的花，开在民族里的情感 1987 年，杨惠姗在纽约麦迪逊大道的一家古董店里， 她生平第一次看见 19 世纪的 Pâte-de-verre 作品，一 只小老鼠叼着一根胡萝卜，老鼠是鼠灰色的，胡萝卜 就是一根栩栩如生的胡萝卜，然而，整个作品只有拳 头大小，当时，距今 25 年，然而，她深深地被那样 的材质、质感和色彩迷惑。 她决心有一天，要让中国琉璃有那样的色彩和质感。 Emile Gallé，是杨惠姗心中的一个名字，那个运用色 彩，对植物、花朵的描绘，在琉璃光影里闪动的人， 是心中从不消逝的影像。 Emile Gallé 说过，花朵的颜色，是上帝创造的颜色。 他对花朵的热爱，对颜色的展现，对自然的讴歌，是 对上帝的荣耀。 杨惠姗心灵深处的梦颜色是什么？她努力的用花朵去 呈现自己每一段时间的生命状态，她希望那是在民族 情感下，独一无二的绽放，是诗意的，是呈现她对生 命的诠释。 她的花，放到很大很大，挑战 Pâte-de-verre 的极限， 经过放大，花的颜色逼近真实，在“真实”与“不真实” 的矛盾里，产生出奇怪的“真实”，依附在一种脆弱的 琉璃材质去呈现，是生命中的谦卑和悲悯。 二十五年来，杨惠姗非常清楚，心中的那个民族情感 里的花朵，一定要完成。 她默默的做，每一阶段的创作，都是为了心中那个承 诺，那个当年在纽约看到胡萝卜小老鼠时许下的承诺。 她可能不知道，这个承诺已为这个世代，这片土地；开 出一朵属于民族的琉璃花。
A Chinese LIULI Flower Each and every flower Is an inquiry into life. A moment of bloom, Enduring beauty. Subtle, unspoken, Rumblings of a persistent flourishing. Such is the flower, Such is life.
The LIULI Bloom in the Cultural Sentiment In an antique shop on New York’s Madison Avenue in 1987, Loretta H. Yang saw her first 19 th century Pâtede-verre piece. The design was of a small mouse with a carrot in its mouth; the mouse was gray, the carrot lifelike. Although the piece was no larger than a fist, it left an indelible mark on Yang and twenty-five-years later, she recalls its mesmerizing allure just as vividly as she did then. She vowed that one day, she would create Chinese LIULI with the same colors and quality. Emile Gallé is a name close to Yang’s heart. His use of color and interpretation of plants and flowers in LIULI are remarkable; he is a constant influence. Gallé once said that flowers’ colors are created by God. His passion for flowers, use of color and tributes to nature are all in praise of God’s glory. What is the color that tints the depths of Yang’s heart? She works hard to recreate each stage of her life through flowers, she hopes for those flowers to bloom with pride and individuality; it is poetry, it is an interpretation of the state of life. Yang enlarges her flower sculptures to great proportions to challenge the restraints of Pâte-de-verre; using realistic colors, she toys with the dichotomy of what is real and what is not and in turn, fabricates a new and unexpected reality. A new reality that is dependent on the fragile nature of LIULI – this is a metaphor for the humility and compassion in life. For twenty–five years, Loretta H. Yang has had an explicit understanding that she needs to complete these flowers – flowers that reflect her ownership and passion for her heritage. She works quietly, each creative stage a tribute to the vow she took when she first lay eyes on that Pâtede-verre mouse in New York. Little does she know that her modest vow has allowed the pride of a nation to blossom in this era and across this land.