Reality is like a stone, and spirit is like an egg.

Epidemic wave after wave, all walks of life, repeated, full of difficulties, as if the difficulties have grown into a monster.

Secular life and survival are deadlocked, and the physical and mental future of the world becomes cautious and fearful.

Stone, who was at the beginning of primitive art in his last life, was unfortunately stuck at the end of mainstream art in this life. Its identity and face are equally embarrassing, more and more like a pot of raw rice.

If you eat it all the time, your body will have obvious discomfort and rejection. Keep burning. Who will make the pot? Who will add firewood?

The saddest scene is that when people lose confidence and start to retreat from the desire to improve their lives with stones, or get tired of expressing their enthusiasm for artistic pursuit with stones, a stone body appears behind them.

However, at present, there is a lack of cultural implantation, art collection and high-end positioning of stone materials. Even if there are more stocks and more exhibitions, it will still be a mediocre day.

In the urgent need of promotion, Shanghai Ornamental Stone Association joined hands with Huishi Rongtong, abandoned the wait-and-see in an extraordinary period, took the lead in facing the attack of the epidemic, set up a traditional seminar on appreciating stones and hiding treasures, and moved to three places with Shanghai as the radiation, breaking through the dullness of the industry.

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The first stop is Shanghai.

For a whole day, four teachers taught, and the stage was non-stop and the audience was packed. From time to time, people poured in at the scene, and there was no aisle, so it was difficult for the stone friends to turn around and move.

But everyone is staring at his ears and neck for fear of missing important words and phrases. This strong initiative of "I want to learn" is in sharp contrast with other scenes in the past, and deeply infected every teacher, You Shi and staff on the scene.

Teacher Yu Ying mentioned in class that traditional stone appreciation is an interdisciplinary knowledge, involving philosophy, aesthetics, literature, religion, fine arts, psychology, folklore, history, architecture, geology and other disciplines, which left a deep impression on me.

It is not only a narrow sense of traditional stone appreciation, but also a broad sense of ancient and modern stone appreciation. This is also the charm of stone, the pride of every stone player's loyalty to stone, and the difficult challenge ahead.

When it comes to the thinness and leakage of traditional stone appreciation, the teacher said that leakage is a kind of incomplete beauty. At that time, this sentence flashed by, and I immediately wanted to expand it.

Stone leakage is quite symbolic of Taoist breathing and breathing, and it is also a kind of access and transparency of Confucianism after years of experience. It is a blank space out of nothing, a breathing space for stone life, and a channel for flowing charm and embodying vitality.

Mr. JUNG WOO's finance course is completely scripted. Kan Kan talked about this and gave professional examples, which are clear and easy to understand. That kind of direct attack on wisdom has concealed the past honor and pride of ordinary teachers.

"three"

The second stop is Suzhou.

Walk into Dashijinsheng. When the stone is smashed, everything in the world is smashed.

At present, the technical foundation has smoothed out the age, gender, class and regional differences of stone species, individuals and ornamental objects, showing an almost unstoppable assimilation force and dispersion trend, and once again realizing the importance of harmonious collocation between individual artistic foundation and stones. As teacher Qin Mingxing said, the mutual achievement between the base and the stone is the stone's confession to the base: First, I can't live without you. Second, in all things, I must be you.

Inadvertently bumped into Li Jinsheng's studio, which was full of tools, and then a workbench, cramped and cramped, messy and crowded. At that moment, I looked around, first creepy, then another kind of fear. Hard-working people work so hard that they feel how quiet the host is, everything from hand to eye to heart, except the base or the base.

In the meantime, I met Xu Yong, a teacher from Hefei. When I was communicating, I caught a glimpse of the stone pictures taken by the teacher, which made me more nervous than others. At that time, I was shocked: the different angles and depths of understanding the stone led to the huge difference in the appearance of the picture. On the stone, looking down at the top, bottom, left and right, looking up half a millimeter, one micron, is the gap between Hong and Da.

Another example is the Gobi stone above, which is estimated to be an early work. When communicating with the teacher, it was agreed that the witness on the left hand side of the base can be extended by about 2.5 cm, the witness on the right hand side can be extended by 5 cm, and the witness on the front side can be extended by 2 cm, even from front to back, and it can be longer and wider in all directions. In this way, the momentum of Shanzi can be fully and optimally exerted. Of course, how much the specific size increases and widens, and how accurate it is, still depends on the actual size of the stone. The stone in the oval sand table above is more comfortable than the wooden base, which is also indirect verification.

Similarly, when entering the Lingbi Mountain House, the owner Wang Yue saw a group of stone friends rushing to take pictures of the bird, and immediately took the initiative to introduce that the circle at the bottom of the base needed to be relaxed, so that the proportion would be more coordinated and the top weight would not be light. However, because the base was made of a whole branch at that time, it had to be abandoned because of the constraints of reality.

Teacher Mao from Suzhou, who specializes in furniture and stone, mentioned that the base is a branch of furniture, so the regulation has its origin and proportion, just like furniture. Indeed, if you give a stone as a base to a teacher who knows both furniture, stone and technology, it will be particularly reassuring.

Taihu Lake water stone, color affinity, crystal clear texture, it is tough and moist in people's eyes, and there is heavy masculinity, or rising from the ground, or crouching in the wilderness, or motionless, giving you god-like strength. ...

Imagine that when it is displayed in the lobby or seaside of a building, it can be arranged in groups and guarded by one person alone. In particular, its sense of sculpture in the viewer's understanding is like an artist's ongoing alternative work.

This is not a return to nature. After entering the room, it has realized people's feelings. You see, it is still and alive at the same time. Move freely in front of you, natural and graceful, aboveboard, and imminent. However, you don't know how it started to be independent of the mother, and you don't know which state it will stay in the future. It not only gives you endless stability and sureness, but also gives you infinite fantasy and mysterious meaning.

Teacher Jiang Min teaches. When he interprets the origin, advantages, bases and furnishings of famous stones in history, you can feel that a person who comes from a scholarly family benefits from attaching importance to the inheritance of his ancestors, and is even more infected by the calm on-site temperament when he is knowledgeable. The level of knowledge and experience is your fledgling panic. He Qian Fan is too calm.

Through Jiang Min's class, we can learn more about the truth and interests of the secular life of the ancients. The ancients always regarded artworks and antiques, including stones, as the indispensable essence and core in halls, study rooms, bedrooms and gardens, so as to embody and entrust the feeling of life and the wisdom of life. In the words of the ancients, rules, knowledge, aesthetics, art and belief are all life itself, and they all penetrate into the actual details of life furnishings.

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And why do stones, especially traditional stone appreciation, stand out from the crowd and lead the way, so that the spirit and body of literati can be converted together? In addition to the free will of stone and the hidden thoughts contained in the three-dimensional sculpture of unruly soul, I'm afraid the introverted cultivation expressed by stone is more in line with our China people's aesthetic view of life and existence and the definition of national mind. Our nation is an introverted nation, a nation that publicizes but does not vent. All ideas are completed only in the heart, and he only communicates with heaven and earth, with God and with things.

This is my trip. After experiencing the majesty of Lingbi stone, the affinity of Taihu stone, the rigidity of quartz stone and the whiteness of Kunshi stone, I suddenly felt pregnant.

The most fundamental thing is that the problem of stones is the problem of people's cultivation. The aesthetics of stone is the aesthetics of stone man. The essence of stone is the essence of man. This is the key and meaning of stone.

Stone is not only the excavation and giving of culture, the pouring and continuation of feelings, but also the cultivation and all-round development of aesthetics, and the pursuit of spirit and ideal.

Beauty is the purpose and motive force of art, and art is the symbol of human emotional creation and preservation of future generations. Each of us is a party of this era, a sower of beauty and a promoter of art.

The beauty of stone, especially the beauty of traditional stone appreciation, is beyond the beauty of artificial works of art, and there is no formula or standard at all.

Aesthetics, regardless of talent differences, is a kind of accumulation acquired, provided that a person's comprehensive knowledge and cultivation are high. Beauty is the cycle of self. Behind the low aesthetic feeling is the weakness of appreciation, which means insight into subtle differences. Acquired training, continuous exploration, diversity cultivation, and aesthetics depend on these processes, which are formed from countless practices.

In particular, the aesthetic appreciation of stone requires complex high-end aesthetics to control and manage, and the ultimate difficulty and charm are understandable but unspeakable.

Suzhou's stone language says that appreciating stones requires beauty, but it is not blindly pursuing perfection. This is a dead end. There is no definition of the beauty of stone appreciation. He said that in China, a bright future may break the limitations of stone appreciation, but relatively speaking, only traditional stone appreciation can't be played: interesting territory, leisurely meaning and peaceful spirit are all people need to pursue in life ...

This virtually reflects the improvement and progress of our aesthetic consciousness in today's stone industry. But in reality, the vulgarity of a large area with low aesthetic feeling, the barren creativity and the lack of free expression are still self-denial that people at this latitude and this level can't solve. Where are people's initial intentions, doubts, even inspiration, even courage, and even true personal feelings?

Cui Jian wrote in Eggs under the Red Flag: Reality is like a stone, and spirit is like an egg. The stone is hard, but the egg is alive.

Shi Shifei, the curator of Rongtong brand, let's put aside his usual tolerance for choosing and playing with stones for the time being. Teacher Zhiji laid an egg in front of the real stone.

Moreover, the angle art of his stone photography, the authenticity of pictures and the breakthrough point of cultural elements are all practical examples for stone friends to learn. In addition, he endowed the concept of stone foundation with the technique of contemporary architectural space, which is a great impetus to contemporary stone appreciation.

More importantly, Teacher Zhiji cooperated with Huishi, taking the cutting-edge cultural and artistic viewpoints as a reference. In the National Grand Theatre in the capital, * * * has opened up various kinds of stone materials, and put nine life arts, such as "Qin, chess, books, paintings, poems, wine, flowers, incense and tea" into them, showing the artistic conception of slow life and clearly advocating these nine poetic lifestyles of people's inner rest. By the way, this coincides with the six arts that teacher Zhang Wei once put forward in the south.

This is also the original intention and purpose of Shanghai Shixie and Huishi Rongtong to establish a seminar on traditional stone appreciation. President Du Haiou said that in the future, the class will not only be held in conjunction with local collectors, but also consider the location, museums, art galleries, public art and so on. At the same time, teachers, artists and religious people from all walks of life engaged in art will be invited to open their eyes for stone friends, broaden their concepts, advocate the positive energy concept of stone appreciation, integrate art with platform and life, and promote a brand-new way of stone appreciation communication.

During the trip, President Du put himself in the other's shoes and asked if he was tired all the way and what he gained. It is really commendable that the whole process is so careful, so sincere, so thoughtful and so hands-on. The opening and release of Huishi Rongtong Cloud Pavilion based on 3D, VR and AI technologies actually conveyed the gospel of online publicity and roaming to every collector and stone friend, and also pushed the activity to a climax.

With ancient inheritance and cohesion, pioneering fields and scientific and technological advantages, and the support and dedication of all talents who love stone art in China, * * * pushes stones to cultural factors and artistic achievements that can be appreciated by all mankind, and stubbornly safeguards the excellent genes of Chinese culture.

Look, the future direction is not entirely in the past experience.

? (To be continued)