从面相到气质都变了 ！ 最近 38岁赵丽颖 一组国风写真流出，无数网友惊呼： 还记得刚出道那会，她 经常被嘲"土得掉渣" 。 直到她逐渐 开始尝试新中式 ，妆造才让人眼前一亮又一亮。 红裙妒杀石榴花，举手投足都是 中式美学的含蓄与热烈 。 整个人不仅气场全开，还透着东方女性独有温婉知性。 难怪连欧洲贵族，都要感叹一句 ： 审美的尽头，就是中国风！ 克莱顿庄园的中式房间 Architectural Digest 图 可惜许多国人，对西方艺术趋之若鹜， 却对自家5000年审美积淀视如敝履。 殊不知， 那些被国际大牌疯抢的设计灵感，早被老祖宗玩得炉火纯青 ！ 天津博物馆《春闺倦读图》里的 手镯和宠物项圈 ，被某G、某地亚原样复刻； 南宋《罗汉图》中 人字拖镶满宝石 ，奢侈到让大牌抄都不敢抄！ 北宋《岁朝图》的"油画肌理"，比 莫奈还早了整整900年 …… 这哪里是巧合？根本就是降维打击！ 翻开西方艺术史，更是 写满对中式审美的狂热追捧 —— 17世凡尔赛宫 ，路易十五对中式屏风、瓷器爱不释手； 18世纪英国 ，乔治四世不惜血本，也要打造"东方幻境"； 20世纪华伦天奴创始人 ，直接把家改成"中式美学展览馆"。 每一 ...

Core Viewpoint - The "Fourth China Good Craftsmanship Exhibition" showcases 110 pieces of traditional craftsmanship, emphasizing the new standards of "material beauty, craftsmanship, vessel charm, and timeliness" in contemporary contexts, while maintaining the essence of traditional Chinese craftsmanship [7][9][12]. Group 1: Material Beauty and Craftsmanship - The concept of "material beauty" transcends mere appreciation of materials, highlighting the wisdom of artisans in bringing out the natural spirit of materials [8][9]. - The essence of "craftsmanship" is rooted in the idea of "slow work yields fine products," with continuous innovation in techniques across various crafts such as lacquerware, embroidery, and carving [8][9]. - Wang Lihua's embroidery piece "Nine Dragons" exemplifies contemporary Su embroidery, merging poetry, painting, and calligraphy into a single artwork [8][9]. Group 2: Vessel Charm and Timeliness - The "vessel charm" is about embodying intangible concepts within tangible forms, as seen in the ceramic work "Like a Dream" by Chen Rongchun and Chen Hanqing, which resonates with literary themes [9][10]. - The exploration of "timeliness" in contemporary craftsmanship is a focal point of the exhibition, questioning whether craftsmanship should adhere to traditional techniques or embrace new materials and forms [10][11]. - Two notable works, "Narrative" and "Dinosaur," challenge traditional material values by utilizing everyday waste materials, prompting discussions on the essence of craftsmanship [10][11]. Group 3: Cultural Continuity and Innovation - The exhibition reflects a unique approach to modernization in Chinese craftsmanship, emphasizing respect for tradition while seeking breakthroughs within a framework of "inheritance/innovation" [12][14]. - The works presented, such as Fan Zefeng's Zisha teapot and Wang Lei's woven paper piece, illustrate the dynamic interplay between traditional symbols and contemporary materials, creating new meanings [13][14]. - The exhibition serves as a cultural landmark, showcasing the deep cultural connotations of Chinese craftsmanship while maintaining a strong identity in a globalized context [14].