聆听东方艺术回响：“美育公益课堂”带领佛山ASJ学子走近传统雕塑与非遗通草画

近日，广东省宋庆龄基金会“美育公益课堂”第二期讲座在佛山ASJ如期举行，再度为同学们开启了一场沉浸式的中华传统文化体验之旅。

本次讲座特邀两位深耕艺术领域的专家，分别围绕中国传统雕塑与非遗通草画展开讲述。通过生动的讲解与互动体验，让同学们得以近距离感受东方艺术之美。

Recently, the second lecture of the Guangdong Soong Ching Ling Foundation's "Aesthetic Education Charity Classroom" was held as scheduled at Foshan ASJ, once again opening an immersive experience of traditional Chinese culture for students.

This lecture specially invited two experts who are deeply involved in the field of art to talk about traditional Chinese sculptures and intangible cultural heritage sketch paintings respectively. Through vivid explanations and interactive experiences, students can experience the beauty of oriental art up close.

中国传统雕塑的历史可追溯至新石器时代，是中华文明中最具代表性的艺术形式之一。

在首场讲座上，广州美术学院教授吴雅琳以《中国传统雕塑的魅力》为题，为同学们讲解了中国传统雕塑的艺术精髓，并深入解读了部分雕像作品背后蕴含的人文内涵以及民间泥塑的特点。

The history of traditional Chinese sculpture can be traced back to the Neolithic Age, and it is one of the most representative art forms in Chinese civilization.

In the first lecture, Wu Yalin, a professor at Guangzhou Academy of Fine Arts, explained the artistic essence of traditional Chinese sculpture to the students with the title "The Charm of Traditional Chinese Sculpture", and deeply interpreted the humanistic connotations behind some sculptures and the characteristics of folk clay sculptures.

讲座中，吴雅琳教授首先打破了学生对于“美”的单一认知，从中西方雕塑审美差异性出发，指出中国传统雕塑艺术更注重“精、气、神”的审美追求，落实到雕塑作品中，便是“精神、气韵、神采”的融合。

During the lecture, Professor Wu Yalin first broke the students' single understanding of "beauty". Starting from the aesthetic differences between Chinese and Western sculptures, she pointed out that traditional Chinese sculpture art pays more attention to the aesthetic integration of "essence, energy and spirit", which is also the key to understanding Chinese sculpture.

为让同学们理解抽象的艺术概念，吴雅琳教授把中国传统雕塑的审美追求，清晰拆解为“写真、写意、写神”三个层次。她以天龙山佛造像、南朝墓道镇墓神兽、韦陀像和唐代彩绘俑、兵马俑等为实例，从雕塑形态、刻画细节等方面生动解读了中国传统雕塑在这三个层次上的独特审美追求。她表示，“写意”和“写真”的最终目的都是追求“写神”，了解“写神”在造像中的价值，才能真正读懂中国的雕塑艺术。

In order to help students understand the abstract artistic concept, Professor Wu clearly broke down the aesthetic pursuit of traditional Chinese sculpture into three levels: "portrait, freehand brushwork, and spiritual brushwork." She took the Tianlong Mountain Buddha statues, the tomb beasts of the Southern Dynasty tombs, the Veda statues, and the painted figurines and terracotta warriors of the Tang Dynasty as examples to vividly interpret the unique aesthetic pursuit of traditional Chinese sculpture at these three levels in terms of sculpture form and details. She said that the ultimate goal of "freehand brushwork" and "portrait" is to pursue "spiritual brushwork". Only by understanding the value of "spiritual brushwork" in sculpture can we truly understand Chinese sculpture art.

 除宫庭、陵墓、石窟等雕塑之外，同学们还在讲座中了解到了非遗民间泥塑，比如天津泥人张、潮汕大吴泥塑，生动展现了传统雕塑在民间语境下的别样生命力。

此外，吴雅琳教授亦展示了自己的雕塑代表作《霓裳羽衣》《十二地支》《剑斩风浪》等，从创作实践角度诠释了传统精神在当代雕塑中的延续与转化，让佛山ASJ的学子们直观感受到中国雕塑不仅是技艺的传承，更是文化精神与审美理想的载体。

In addition to sculptures such as palaces, mausoleums, and grottoes, students also learned about intangible cultural heritage folk clay sculptures in the lecture, such as Tianjin Clay Figure Zhang and Chaoshan Dawu Clay Sculptures, which vividly demonstrated the unique vitality of traditional sculptures in a folk context.

In addition, Professor Wu also displayed her own sculpture masterpieces, explaining the continuation and transformation of traditional spirit in contemporary sculpture from the perspective of creative practice, allowing Foshan ASJ students to intuitively feel that Chinese sculpture is not only the inheritance of skills, but also the carrier of cultural spirit and aesthetic ideals.

随后，越秀区少年宫非遗通草画高水平美育团队讲师周颖带来了《通草画——跨越文化的艺术瑰宝》的讲座分享。她不仅梳理了通草画的历史脉络与技艺细节，更通过现场体验让学生们“触摸”非遗技艺，让承载着海上丝路文明的东方名片，在校园里得到新的传承。

Subsequently, Zhou Ying, lecturer of the high-level aesthetic education team of Tongcao Painting, an intangible cultural heritage of Yuexiu District Children's Palace, gave a lecture on "Tongcao Painting - an artistic treasure that spans cultures". She not only sorted out the historical context and technical details of Tongcao painting, but also allowed students to "touch" the intangible cultural heritage skills through on-site experience, so that the Oriental business card carrying the Maritime Silk Road civilization can be inherited on campus.

通草画并非普通画作，而是清代专门为满足西方市场需求而诞生的“外销画”。周颖讲师结合历史背景向同学们介绍，1757 年清廷关闭江海关、浙海关、闽海关，之后仅保留广州粤海关通商；也正因这一政策，广州逐渐成为通草画的核心产地。在当时，通草画不仅是中西贸易中的重要商品，更是西方社会了解中国风貌与文化的重要窗口。

Tongcao paintings are not ordinary paintings, but "export paintings" created in the Qing Dynasty specifically to meet the needs of the Western market. Lecturer Zhou Ying introduced to the students based on the historical background that in 1757, the Qing government closed Jiang Customs, Zhejiang Customs, and Fujian Customs, and then only retained Guangzhou and Guangdong Customs for trade; and because of this policy, Guangzhou gradually became the core producing area of Tongcao paintings. At that time, Tongcao paintings were not only an important commodity in Sino-Western trade, but also an important window for Western society to understand Chinese style and culture.

关于通草画的独特性，周颖讲师重点介绍了其材质与技法。她提到，通草画的“纸”并非传统宣纸，而是由蓪脱木的茎髓剖切而成；技法上，通草画既保留中国工笔重彩的细腻，又融入西方透视法与光影处理，成为中西审美交融的早期典范。

Regarding the uniqueness of Tongcao painting, lecturer Zhou Ying focused on its materials and techniques. She mentioned that the "paper" of Tongcao painting is not traditional rice paper, but is cut from the stem pith of the wood. In terms of technique, Tongcao painting not only retains the delicacy of Chinese meticulous painting, but also incorporates Western perspective and light and shadow processing, becoming an early example of the integration of Chinese and Western aesthetics.

为让学生更直观感受，周颖讲师现场展示了通草画的原材料、绘画工具，并介绍了不同题材的通草画作品 —— 从记录官宦生活场景，到描绘商贩、工匠的市井百态，再到花鸟鱼虫、戏剧节庆等民俗画面，每一幅都是清代生活的“历史照片”，让当时的社会风貌跃然眼前。

In order to give students a more intuitive experience, lecturer Zhou Ying showed the raw materials and painting tools of Tongcao painting on site, and introduced Tongcao painting works with different themes - from recording scenes of life of officials, to depicting the various scenes of merchants and craftsmen in the market, to folk scenes such as flowers, birds, fish and insects, drama festivals, etc. Each picture is a "historical photo" of life in the Qing Dynasty, making the social scene at that time vivid before their eyes.

活动尾声，她带领学生沉浸式体验通草画绘制。同学们不仅亲手创作了简单的通草画小品，更在这个过程中，真切触摸到通草画技艺的细腻匠心，感受到非遗传承的力量。

At the end of the activity, she led the students to experience immersive sketching. Not only did the students create simple Tongcao painting sketches with their own hands, but in the process, they truly touched the delicate craftsmanship of Tongcao painting and felt the power of intangible inheritance.

从传统雕塑到非遗通草画，从古代的匠人精神到当代的文化自信，此次“美育公益课堂”讲座不仅拓宽了佛山ASJ学子的艺术视野，也让他们对于传统文化认同与传承有了新的理解。

学校将继续携手广东省宋庆龄基金会，通过高质量、深内涵、重体验的美育课程，让港澳青少年找到属于中国人的审美语言与文化根基。

From traditional sculptures to intangible cultural heritage sketches, from ancient craftsman spirit to contemporary cultural confidence, this "Aesthetic Education Charity Classroom" lecture not only broadened the artistic vision of Foshan ASJ students, but also gave them a new understanding of traditional cultural identity and inheritance.

The school will continue to work with the Guangdong Soong Ching Ling Foundation to help Hong Kong and Macao teenagers find the Chinese aesthetic language and cultural foundation through high-quality, in-depth, and experience-focused aesthetic education courses.