Research On The Imagery Of Contemporary Jade Carving

Chinese jade carving has a long history and has won the reputation of "Eastern Art" worldwide with its unique artistic style and strong ethnic characteristics.It is an important component of the splendid culture of the Chinese nation.As the core concept of traditional Chinese aesthetics,"imagery" is the soul of Chinese art,and the "meaning oriented" thinking it brings has a profound impact on the development of Chinese culture and art.The art of Chinese jade carving has been continuous from the emergence of the Chinese nation to the present day.The concept of "advocating meaning" in Chinese civilization has been throughout its development,and has integrated the nature and social and cultural characteristics of jade in various historical stages.With the artistic style of "imagery",it is reposed in jade carving art works,and has caused significant artistic achievements in various periods.Chinese jade carving art has developed into the contemporary era.With the integration of contemporary Chinese and Western cultural exchanges,it has broken through the traditional art tradition of being conservative,and has emerged a large number of jade carving works with national characteristics that showcase the leapfrog and disruptive nature of the times.The aesthetic characteristics of "imagery" also integrate the world’s humanistic spirit and contemporary thinking.This article takes the "image" in traditional Chinese aesthetics as the starting point,and combines Western "image" theory,contemporary aesthetic methodology,and contemporary sculpture language characteristics.Combining research methods from various disciplines,based on example analysis,it explains the connotation and specific expression of the aesthetic characteristics of "imagery" in contemporary jade carving,further revealing the necessity of "imagery" in the development of contemporary jade carving creation,Looking forward to the future of contemporary Chinese jade carving art.This study is mainly divided into three parts,from the introduction of relevant concepts to the characteristics of contemporary imagery based jade carving art,and then to the difficulties encountered in the development of contemporary imagery based jade carving art.Finally,based on the previous text,suggestions and prospects are proposed,which are related and progressive layer by layer.The first part of this article is an important part of the entire text,which will use a large amount of space to introduce "imagery",relevant Western art theories,and contemporary jade carving art,in order to clarify the development status and creative ecology of contemporary imagery jade carving art creation.At the same time,combined with examples of works,a large amount of data is sorted and summarized to summarize the new presentation and style characteristics of "imagery" in contemporary jade carving works.The second part of this article will be based on the current situation of social history,and further explore a series of times’ problems encountered in the development of contemporary imagery jade carving,such as the monotonous lack of artistic language of jade carving caused by the "homogenization" of contemporary jade carving,the emergence of "schematization" of contemporary jade carving and the lack of "peak phenomenon" of jade carving.On the basis of a clear understanding of phenomena,clarify the context of the times,trigger reflection,and seek solutions to problems.In the third part of this article,based on the analysis of the above issues and the characteristics of contemporary jade carving development,the deep reasons and internal logic for the strong vitality of contemporary image jade carving will be summarized.Finally,a reasonable outlook will be made on its development trend.In order to promote the reflection of social consciousness in contemporary jade carving,promote the expression of personalized language in contemporary jade carving,inherit and promote the spiritual connotation of jade culture,and build a new "peak" of contemporary jade carving.