Yang Huishan's main experience

Yang Huishan, 1952, was born in Xiangtan, Hunan Province, on July 6th. She is a China film actress and glass artist.

1976, participated in the TV series "Flowers and Waves". 1978, starring in the movie "The First Step of Wrong".

1984 starred in the film "Little Fugitive" and won the Best Actress Award of 2 1 Taiwan Film Golden Horse Award. In the same year, she starred in the film Sister-in-law Qing Yu and won the Best Actress Award at the 29th Asia-Pacific Film Festival.

1985 starred in the movie "I ended my life like this" and won the Best Actress Award in the 22nd Taiwan Film Golden Horse Award.

1987, Yang Huishan announced his retirement at the peak, devoted himself to modern glass art in China, founded a glass workshop, and studied the special dewaxing casting method of glass. Yang Huishan is also one of the few promoters of modern glass art in China.

From June 6th to 20th, 20654381June 7th, 2005, Yang Huishan Personal Glass Exhibition "Only Compassion: 20th Anniversary Exhibition of Yang Huishan's Great Wish in this Life" was held.

Chinese name: Yang Huishan.

Nationality: China.

Ethnic group: Han nationality

Place of Birth: Taipei, Taiwan Province Province

Date of birth: 1952 July 16.

Occupation: actor, glass artist

Graduate school: Taichung Jingyi Women's University

Representative works: Little fugitive, I have lived my life like this, Sister Qing Yu.

Main achievements: Best Actress Award of Two Taiwan Film Golden Horse Awards

Best actress award of the 29th Asia-Pacific Film Festival

Early experience

Yang Huishan 1952 07 16 was born in Taiwan Province and his ancestral home was Xiangtan, Hunan. 1975 began to participate in taiwanese drama's "Flowers and Waves" and "Jin Yumeng" when studying in the Foreign Languages Department of Jingyi Women's College of Arts and Sciences in Taichung (now the University of Providence). Then he joined Taiwan Province China Television Company as an actor.

Performance experience

1976, participated in the TV series "Flowers and Waves". 1978, starring in the movie "The First Step of Wrong".

1984 won the Best Actress Award of 2 1 Taiwan Film Golden Horse Award for starring in Little Fugitive. In the same year, she won the Best Actress Award at the 29th Asia-Pacific Film Festival for Sister Jade Qing.

1985 starred in "I live my life like this" and played the heroine from youth to old age, which not only left a deep impression on the audience, but also won her the best actress award in the 22nd Taiwan Film Golden Horse Award.

1986, she took over the film My Love directed by Zhang Yi, and retired from the film industry at the peak of her career. During her acting career, she appeared in nearly 140 works, won the Golden Horse Award for Best Actress for two consecutive years, and was recognized as the Best Actress at the 29th Asia-Pacific Film Festival with Sister Jade Qing.

From 65438 to 0987, Yang Huishan left the film of the peak period and devoted himself to the modern glass art in China. He founded a glass workshop and painstakingly studied the special dewaxing casting method of glass.

From groping, experiment to real works, the glass workshop has been deeply expected by the world's first modern Chinese glass art creation group. At the same time, Yang Huishan is one of the few promoters of modern glass art in China.

Main work

Participate in movies

My love-1987, directed by Zhang Yi.

Yu Qingsao-1986-04-24, calling Yu Qingsao.

I have lived like this all my life-1985-10-09, playing Guimei.

Little fugitive-1984, directed by Pei-Shing Chang.

Ten Aces directed by Zhu Yanping.

Double suicide of girls-1980-07- 19, directed by you.

Twenty years old tomorrow-1976, directed by Zhang Chong.

The Wrong First Step-Nothing, directed by Hsiu-shen Liang.

Entrepreneurial process

Yang Huishan is synonymous with "China Modern Glass", and the glass workshop she founded has become one of the best dewaxing casting studios in the world. During the growth of Liuli's studio, Yang Huishan, with his unique artistic talent and keen observation, created sculptures rich in China's traditional language and humanistic thought, which made Liuli's studio on the international art stage in a short time.

From 1990, Yang Huishan began to take the glazed wax casting works developed by her glazed studio to participate in international exhibitions. Her works with Chinese style, mature thinking, great sculpture potential and incredible completion of batik glass have attracted great attention in the international art world. The Japanese newspaper Sankei Shimbun praised Yang Huishan as a "gorgeous turn".

During the period of 1992, Yang Huishan's works were exhibited at the "982" international transparent art exhibition in Venice, Italy, which aroused the discussion of glass art all over the world. Among them, the Buddhist thought and creation of "Golden Buddha" are unique and innovative under the precise interpretation of techniques, which makes the top international masters sit up and take notice.

During the period of 1993, Yang Huishan and Liuli Workshop were exhibited in Beijing Palace Museum, and six expert discussions were held. The Palace Museum has collected seven works, including Yang Huishan's "Pharmacist Glazed Buddha", and presented this collection to Yang Huishan for the first time.

1995, the most important master of glass art in the world, Libinsky and Brecht (libersky &; Brychtova), LivioSeguso of Italy, Kyoheifujita of Japan and DaleChihuly of the United States participated in the first Taiwan Province International Modern Glass Art Exhibition sponsored by China Times and Glass Workshop together with Yang Huishan. In this exhibition, Yang Huishan created "Thousand Buddhas" through the color and transparency of glass, with the theme of feeling the sadness of the world. When Brecht saw Yang Huishan's works, he said: Libinsky and I have been in the glass art world for forty years. In fact, we have tried to experience all creative thinking. But we have known the essence of glass, such as the characteristics of internal space and internal light, for nearly ten years. Your working history is only seven or eight years, but I see that you have reached the core.

From 65438 to 0996, Yang Huishan's new personal creation "800 billion buddhas on earth" was grandly exhibited in the Mitsukoshi Department Store Art Museum in Nijo Castle, Tokyo. Mr. Takahashi Fujita, the most famous master of glass art in Japan, visited the opening ceremony to congratulate him. The representative works of this exhibition are 85cm wide, 55cm high and weigh 80kg. They are large-scale works like hills covered with Buddha statues, which have aroused enthusiastic response in Dunhuang art circles and Japanese glass art circles.

1997, the Palace Museum in Beijing once again collected Yang Huishan's work Between Heaven and Earth. This work is 100 cm high and 80 cm wide. It is a bright and pure newborn baby in the middle of the huge and magnificent mountain wall, peaceful and quiet in a deep sleep. Yang Huishan's sculptures are full of spirit and profound thinking, and have been widely concerned and affirmed by all walks of life again.

From 65438 to 0998, Yang Huishan broke through the technical limitation of dewaxing casting, and completed more than ten large glass works with a diameter of about one meter and weighing hundreds of kilograms, which promoted the creation of glass to a serious sculpture category. Whether it's Moon Shadow on a Pine Tree, Endless Life or Similar, China's strong tradition and language integration have absorbed modern ideas, mastered the technology of dewaxing and casting glass, provided a new vision for the international glass art world, attracted the attention of the most famous museums in the world-Victoria and Albert National Museum, Shanghai Museum and Beijing Palace Museum have been inviting exhibitions and collections, and china glass has finally entered a museum with thousands of years of history.

From 65438 to 0999, Yang Huishan exhibited in Guangzhou Art Museum and Shenzhen Guan Shanyue Art Museum successively, and two works, Eight Hundred Billion Buddhas on Earth and Great Round Mirror Wisdom, were permanently collected. In September, Yang Huishan held the "92 1 Yang Huishan Fundraising Charity Sale" in Taipei Yuan Qi Shopping Center, and * * * raised 6.8 million yuan, all of which were donated to earthquake relief. At the end of the year, in the "Dream Only and Reality-Yang Huishan Millennium Creative Guanyin Exhibition" held by sogou Art Museum, a number of cast Guanyin works were exhibited, showing the overall concept of integrating reality and reality, which created a new milestone for Yang Huishan personally. At the same time, Yang Huishan attended the Shanghai International Art Festival, which was the first exhibition of famous works. The book Workshop of Yang Huishan, Zhang Yi and Liuli published by Tianxia Culture is prefaced by Mr. Yu, and the corporate culture and spirit advocated by the workshop are recognized by more people.

In 2000, inspired by the Yuan Dynasty mural "Thousand Hands and Thousand Eyes Guanyin" in the third cave of Dunhuang, Yang Huishan sculpted a three-dimensional Guanyin with a height of about190cm and a width of about150cm, and held "Today's Dunhuang Millennium-Yang Huishan Modern china glass Art Exhibition" with 40 other Buddha statues in the exhibition center of Dunhuang Research Institute, Gansu Province, which is known as "Cave 493 of Dunhuang". At the end of the same year, a statue of Guanyin with a height of 347 cm was exhibited at the "Yang Huishan Thousand Hands and Thousand Eyes Guanyin Exhibition" in Xinguang Sanjie Department Store. This year, the glass workshop held the "National Glass Sculpture Design Competition" together with the American Chinese Business Expo in Los Angeles, USA.

Yang Huishan's first contact with stained glass stems from the fact that when he was filming "My Love with Zhang Yi", the props borrowed from the glass works of art in the boutique. The transparency and penetration of the sculpture made Yang Huishan marvel at its beauty. After exploring this place, he learned that these artworks came from various countries, but there was no China. Soon after, Yang Huishan and Zhang Yi quit the film circle, hoping to find something to focus on creating their eternal value. The fond memories of glass artworks let them step into the world of glass making.

At first, the two men took blowing as their main technique. However, Zhang Yi realized the limitations of blowing and began to study various books. He came across the technology of "pate-de-verre", which can be accurately copied and mass produced. And Yang Huishan is the most powerful practitioner around him.

At first, Yang Huishan adopted the groping method of indigenous steelmaking and practiced according to the steps in the book. However, because the control of materials, time and temperature is almost unprofessional, in order to further master the technology of "dewaxing casting", Yang Huishan and Zhang Yi went to the new york Experimental Glass Workshop in the United States for further study, but there are still many key problems in the process of dewaxing casting in this studio.

For Yang Huishan, the most important thing in this study trip is to get in touch with world-famous glass works, which opened her eyes and deepened her yearning and persistence in glass art creation. Although she studied generally since she was a child, she was particularly outstanding in music and art. Almost all her paintings at school were taken to other classes by teachers to observe. This artistic cell, which has been sleeping for more than 30 years, gradually wakes up on the road of her contact with glass creation. Although she started from scratch without a teacher in the process of learning wax casting glass creation, her artistic talent is gradually being developed.

Due to imperfect equipment and inexperience, Yang Huishan and Zhang Yi have been exploring glass technology for three and a half years. They have been in debt as high as 75 million yuan, but they still haven't finished a work. All the burnt glass works were buried in the backyard of the freshwater glass workshop, which became a glass tomb with an area of more than 10 square meter, reminding their partners of the process of starting a business. Yang Huishan tasted it: "There is no shortcut to learning, only the heart." She described taking this road as entering a dark and long tunnel, but as long as there is a glimmer of hope ahead, she firmly believes that she can get out.

From 65438 to 0987, when I entered the glass industry, I chose dewaxing and precision casting as technologies, because I believed it had great creative space. Regarding the background knowledge of this technology, Yang Huishan and General Manager Zhang Yi wrote in the book: "It originated in Egypt and revived in France in the19th century." The goal of years of struggle is only to achieve "a unique secret skill that only the French can master." However, in 199 1, Liuli Workshop was officially invited to participate in the World Industrial Commodities Exhibition held in Qinghai, Japan. During the conversation, Yu Changxiong, a famous Japanese glass artist and collector, revealed that in fact, dewaxing casting technology appeared in China more than 2,000 years ago, and suggested that they go and see the glazed ear cups unearthed from the tomb of Liu Sheng, the King of Zhongshan, Mancheng County, Hebei Province.

This shocked Yang Huishan and Zhang Yi, who were determined to speak for china glass. This Western Han ear cup, which is only the size of a palm, has become the foundation for the glass workshop to settle down. "Handing down china glass from generation to generation" and "China culture is our dignity" have become the unchanging core concepts of the glass studio.

We pay attention to the development of national culture and make greater efforts to produce colored glasses with China characteristics. In the past 20 years, we have been striving for balance and cultural balance, and at the same time, we care about the' culture' part of the glass workshop more than the' industry'. Yang Huishan

Studying China culture and cultivating the ability to care about history is Yang Huishan's constant homework. Culture is rooted in national blood. Using China symbols and integrating them into modern design concepts to show new ideas is also a lesson that glass workshops have been striving for self-improvement. Yang Huishan recalled that a friend once advised them to simply immigrate to the United States and live a leisurely life in the hard years at the beginning of their business. But the thought that from now on, she doesn't even have to read Chinese newspapers, and future generations can't speak Chinese makes her feel chilly. That wasn't the life she wanted, so they went back to Taiwan Province Province and wanted to leave something for China in their lifetime. They believe that as long as they have fighting spirit, they can survive. In their minds, the success of glass workshops does not depend on how much money they earn. If they can set a value and set an example for this society, even if there is nothing in their pockets, it will not affect their pride.

A good sculptor, in addition to skilled technology and precise techniques, the most important trait is interest, oh! It should be said that it is fanaticism. Sometimes I even fear that my skills are too good and I will become a' craftsman'. If my skills are too good, my works will become rigid and sample. Yang Huishan

1996, Yang Huishan entered the third cave in Dunhuang and saw the Guanyin statue with thousands of hands and eyes. Knowing that the mural will eventually disappear, he is determined to keep it forever with glass sculpture, which is a great wish in this life.

Yang Huishan's work "The stained glass in the pharmacy glows like a Buddha" was presented to Yakutski in Nara.

It is on display at the Shanghai Art Museum in China, which also has a collection of 36 bergamot of Yang Huishan. The exhibition "Yang Huishan's Love for China Glass" held in China Hui Art Museum is the first collection of modern glass works "Golden Feed Pharmacist Glass as Bright as Buddha" in Hong Kong.

1997, Yang Huishan's work "Between Heaven and Earth" was exhibited in "1997 China Contemporary Sculpture Art Exhibition" in Beijing, China, and this work was once again collected by the Palace Museum in Beijing.

The National Museum of Women's Art in the United States has a collection of Yang Huishan's great wishes.

1998 The second invitation exhibition of the Palace Museum in Beijing, China, collected Yang Huishan's works "Endless Life, Bright and Brilliant".

Taiwan Province Taipei Shin Kong Mitsukoshi Department Store Nanxi Store "Yang Huishan china glass Art International Tour Exhibition".

1999 China Guan Shanyue Art Museum held an exhibition of Yang Huishan's works, and permanently collected the work Great Circle Mirror Wisdom.

China Guangdong Art Museum held the Yang Huishan Glass Exhibition, and the museum also collected Yang Huishan's 800 billion buddhas on earth.

Taiwan Province Taipei Yuan Qi Shopping Center held "92 1 Yang Huishan Collection Works Relief Charity Fair", * * * raised 6.8 million yuan, and all the money was donated to the earthquake relief in Chi Chi, Taiwan Province Province.

Sogou Department Store exhibited "Only Dreams and Reality-Yang Huishan Millennium Creative Guanyin Exhibition". The cast Guanyin works on display present the concept of emptiness and reality, which is a new milestone of Yang Huishan's personal creation.

In 2000, "Millennium Dunhuang-Yang Huishan Modern china glass Art Exhibition" was held in the Exhibition Center of Dunhuang Research Institute in Gansu Province, China. Yang Huishan was the first modern artist to send his works to Dunhuang. The exhibition center also collected Yang Huishan's works "Ancient Dunhuang" and large-scale sculpture "Thousand Hands and Thousand Eyes Guanyin", and held the "Yang Huishan Modern china glass Art Exhibition" in Shenyang, China.

The exhibition "Great Wish for Life" at shin kong mitsukoshi Cultural Center in Taipei shows Guanyin with a thousand hands, with eyes reaching 347 cm. Yang Huishan believes that it is more meaningful to continue the enthusiasm for Dunhuang Buddhist art than to inherit it personally. After Taipei, the exhibition "Great Desire of Life" toured Taichung, Kaohsiung and Singapore in Taiwan Province Province, with nearly 400,000 visitors.

In 200 1 year, Bowles Museum, Orange County, California, USA held the "Glass Art Trilogy" exhibition. Yang Huishan's works "No Phase, No Phase" series are exhibited together with the works of American glass master Dale Chihuly. The Bower Museum also has a permanent collection of Yang Huishan's great wishes.

In 2002, Yang Huishan and Zhang Yi were hired as consultant professors in the glass art department of Tsinghua University Academy of Fine Arts in China, and a glass art laboratory was established.

In 2004, the Yang Huishan Modern Glass Art Exhibition with the theme of "Impermanence in Life-Illusion and Eternity" was held in the Exhibition Center of Capazza Art Museum.

In 2005, Yang Huishan's series "Flowers and the Full Moon" was invited to participate in the American Particle Theory Exhibition, and she was the only china glass artist invited to participate.

In 2006, Black Ass, the first animated film of a-hha directed by Zhang Yi and produced by Yang Huishan, was officially released.

In 2007, Yang Huishan was invited to exhibit "Intersection-Intersection" with WilliamCarlson and StevenWeinberg, two master artists with more than 30 years of glass creation experience, at LeoKaplanModern, the top art museum in new york, USA.

The Corning Glass Museum, the most authoritative professional glass museum in the world, has collected Yang Huishan's Understanding of Clarity, which affirms that Yang Huishan has become one of the important writers of modern glass art creation.

Yang Huishan Glass Art Exhibition in Normandy.

Yang Huishan's "Influence 20 Like Glazed Installation Art Exhibition" was exhibited in China Glazed Glass Museum. This is an unprecedented open experiment, which combines glazed glass, video, sound and animation to become a creative display of new words of contemporary art in glazed workshop for 20 years.

The glass workshop and projector manufacturer Otto Code Technology Company merged into "Glass Otto Code", with Yang Huishan as the creative director.

In 2008, Pacific sogou Department Store held "Understanding-Yang Huishan Modern Glass Art Exhibition". "Yang Huishan Modern Glass Art Exhibition" was exhibited in Kuala Lumpur. 5 12 Sichuan Wenchuan earthquake charity sale donation, Liuli Workshop donated Yang Huishan's large-scale creations-"Bodhi in Heaven and Earth" and "Amitabha Buddha", and all the proceeds were donated to disaster relief. Yang Huishan's "Harmony and Enlightenment" glass tea set is a performance item of Olympic cultural activities in the Tan Dun musical "Tea" opera, which is the first time that glass has been put on the Beijing National Grand Theatre in China. "One bubble, two lives"; Steven Weinberg and Yang Huishan's creative exhibition of glass art is on display at Paragon Shopping Center.

In 2009, "Thousands of Hands and Eyes Protect the World" Yang Huishan 20-year Glass Buddha Exhibition was exhibited in Foguangshan Foguangyuan Art Museum in Kaohsiung, Taiwan Province and Foguangshan East Temple in Malaysia. Foguang Mountain has a collection of 9 Yang Huishan glazed Buddha statues, which is expected to become the representative of the collection of "Buddha Memorial Hall" in Foguang Mountain.

-Pavilion glass fountain, the first outdoor glass sculpture fountain designed and created by Yang Huishan, has been the largest fountain created by dewaxing casting in the world for two years and won the highest glass fountain record in MalaysiaBookofRecords.

Anfamen Temple in Xi, China —— "Protecting the world with thousands of hands and eyes —— Yang Huishan Glass Buddha Exhibition for 20 years".

On 20 10, Zhang Yi and Yang Huishan were invited by Taiwan Province Foreign Trade Association to serve as consultants for Taiwan Province Pavilion of Shanghai World Expo. In the same year, Yang Huishan was invited to design clothes and souvenirs for the goodwill ambassador of the Taiwan Province Provincial Pavilion at the Shanghai World Expo.

At the invitation of new york Corning Museum, Yang Huishan gave a week-long lecture on glass art teaching in the studio of the museum's glass art teaching center. She is the first China woman invited by Corning Museum to give a lecture.

20 1 1 Zhang Yi and Yang Huishan are invited as spokespersons for the Taiwan Province Provincial Pavilion of the Shanghai World Expo, and they are also invited to design a commemorative work of lanterns for the Taiwan Province Provincial Pavilion.

In Songshan Wenchuang Garden, Taiwan Province Province, the glass tire project was established, and the TMSK Xiaoshantang restaurant was established. Invited to "Taipei World Design Exhibition 20 1 1" to exhibit "See Bodhi-Yang Huishan Transquality Glass Art Exhibition" and "No Phase-No Phase-Yang Huishan and Zhang Yi Glass Image Installation Art Exhibition".

Taiwan Province Kaohsiung Foguang Mountain Buddha Memorial Hall opens. One of the main museums in this museum, Guanyin Temple in Luojiashan, Putuo, is a statue of Guanyin with thousands of hands and eyes, which was carved by Yang Huishan. Guanyin statue is 388 cm high.

20 12 L campus public welfare training and education innovation forum was held in Taiwan Province Taipei practical university. Jason wu, a famous fashion designer, and Yang Huishan and Zhang Yi, founders of Glass Workshop, were invited to give speeches.

20 13, "Exploration of Glass on Earth-Joint Exhibition of Yang Huishan and Zhang Yi" was held in Hongkong Hall, China. In April, "Exploration of Glass World-Joint Exhibition of Yang Huishan and Zhang Yi" was exhibited in China Art Museum. Yang Huishan's "A China Glass Flower-Dancing in the Spring Breeze More Easily" was collected, which is the first time that China Art Museum has collected glass works.

Lv Chengzuo, who has been photographing the works of the glass workshop, observed that after returning from Dunhuang, the Buddha statues in Yang Huishan were softer and more relaxed, no longer confined to the appearance, but emphasized the expression of emotions, which corresponded to the Buddhist language, as if they had entered the realm of "no phase" and "no possibility". Generally speaking, after Dunhuang, Yang Huishan's creative concept has been deepened and expanded. From a single, well-behaved Buddha statue to a reflection of time and space, including the relationship between Buddha and Buddha, man and Buddha, it is manifested in large-scale works such as 800 billion buddhas on earth, hundreds of millions of years in Dunhuang, and between heaven and earth. 1998 released more than a dozen super-large works, such as Beauty Without Words, Dacheng and Brilliance.

Winning record

Personality assessment

The British National Victoria and Albert Museum has two works, bright and perfect. At that time, the curator Dr. Alan Berg said in a speech at the collection ceremony: "This museum only collects the best works of art and handicrafts." This museum specializes in collecting handicrafts and fine arts, and it is the most authoritative and representative museum for collecting applied fine arts in the world. This time, it is an exception to collect works by living artists. )

Yang Huishan's works, both technically and creatively, have reached a new height in the glass art world. Ms. Tina Oterno (Curator, Corning Glass Museum)

In Yang Huishan's "No Phase, No Phase" series, she explained a profound spiritual significance with the tangible glass, and also showed her profound religious beliefs. She believes that the unique nature of glass is transparent and crystal clear, which endows the depth of glass philosophy perfectly and subtly. -Dr. Petra Kelly (curator, Bauer Museum, USA)

Yang Huishan's art combines technology and philosophy, and skillfully combines the past and the present. She skillfully uses light, color and shape to show that glass is transparent, unchangeable, inseparable and detached, so it is just right. -arman Rabe (Director, Research and Collection Department, Paul Museum, USA)

Yang Huishan's works prove that she has laid a solid ideological foundation in thousands of years of oriental traditional culture, and her works arouse the meaning and experience in our hearts. -Antoine Le Pierre (descendant of modern French glass artist Pate de Ville)

Yang Huishan is my hero and soul mate. I always feel as if I have known her for a long time. Her works show a beautiful mind and atmosphere. -steven weinberg (American modern glass artist)

Yang Huishan's beautiful works opened a new horizon for me, and I also saw the profound influence of China culture on her, and she also established her own creative language. -William Carson (American modern glass artist)

Yang Huishan was an artist of her time. She has completed the comprehensive performance of art: the most vivid modernity, the richest life talent and the most meaningful wisdom, combined by the most complicated things, hoping to capture the essential state. Today, the western world, full of curiosity about Buddhism, will certainly find itself in her works. -Robert de Blond (famous French glass artist)