《合·光》陶瓷首饰，是一场中国绘画与诗词情怀的艺术展现。它将陶瓷作为画布，通过陶瓷的绘画语言，诠释了那些古老传统中流淌的人文精神。在这个快速变化的时代里，通过将温和的陶瓷与坚硬的金属结合，本作品旨在捕捉生命中那些即便是转瞬即逝也依旧闪烁着的美丽与坚韧。
在这件作品中，陶瓷的柔和与金属的坚强交织在一起，仿佛是在讲述生命的脆弱与坚硬共存的故事。每一朵花瓣、每一条金属线都仿佛在歌颂生命的多样性与复杂性。它们象征着生命的各个阶段：青春的生机勃勃、成熟的从容沉稳、老年的平和静谧。这件作品是对生命的颂歌，对时间的赞美。它提醒我们要在每一个瞬间中寻找生命之美，珍惜每一次的相遇，感激每一刻的存在。这不仅是对坚韧不拔的人类精神的反思，也是一种在日常生活中找寻和光的邀请。

"He light" ceramic jewelry, is a Chinese painting and poetry feelings of the art show. It uses ceramics as a canvas and interprets the humanistic spirit flowing in those ancient traditions through the painting language of ceramics. In this era of rapid change, by combining mild ceramics with hard metals, this work aims to capture the beauty and tenacity of life that still shines even when it is fleeting.
In this work, the softness of ceramics and the strength of metal are intertwined, as if to tell the story of the coexistence of the fragility and hardness of life. Every petal, every wire seems to celebrate the diversity and complexity of life. They symbolize the various stages of life: the vitality of youth, the calm and calm of maturity, the peace and quiet of old age. This work is an ode to life, a tribute to time. It reminds us to look for the beauty of life in every moment, cherish every encounter, and appreciate every moment of existence. This is not only a reflection on the tenacious human spirit, but also an invitation to find light in everyday life.

《合·光》陶瓷首饰，在文化价值的传承与传播上，通过诗词意境、绘画语言、文人精神三个核心维度，构建了传统文化与当代艺术的对话桥梁。作品不仅是对中国古典美学的复现，更以创新的艺术形式赋予其现代生命力，实现了文化的活态传承与跨时空传播。中国诗词是传统文化中最具情感张力的载体之一，而《合·光》通过陶瓷与金属的材质语言，将诗词中的抽象意境转化为可触可感的视觉符号。将中国绘画的技法与意境融入陶瓷创作，使首饰成为“可佩戴的微型水墨画。《合·光》的创作逻辑，暗合中国文人“以器载道”的传统，将艺术首饰升华为精神载体。 体现中国 “格物”传统下的创作观，宋代文人主张“格物致知”，通过观察万物探寻宇宙规律。我对花卉形态的极致雕琢（如花瓣弧度、叶脉走向），正是这一传统的延续：陶瓷部分的细腻塑形，体现对自然之“理”的敬畏；金属部件的精密锻造，则是对“工欲善其事，必先利其器”匠人精神的实践。 在作品中体现中国哲学思想如君子比德”的象征体系， 作品通过材质与造型的象征性，传递文人价值观：陶瓷的温润暗喻“君子如玉”的谦和品性；金属的刚毅象征“浩然正气”的士人风骨；花卉的枯荣对应“穷则独善，达则兼济”的生命态度。 这种象征体系，使首饰超越装饰功能，成为佩戴者的精神图腾。

"He · Guang" ceramic jewelry, in the inheritance and dissemination of cultural values, through the three core dimensions of poetry, painting language, and literati spirit, builds a dialogue bridge between traditional culture and contemporary art. The work is not only a repetition of Chinese classical aesthetics, but also endows it with modern vitality with innovative art forms, realizing the living inheritance and cross-time dissemination of culture. Chinese poetry is one of the carriers of the most emotional tension in traditional culture, and "He · Guang" transforms the abstract mood in poetry into tangible visual symbols through the material language of ceramics and metal. The techniques and artistic conception of Chinese painting are integrated into ceramic creation, making jewelry a "wearable miniature ink painting. The creative logic of" He · Guang "coincides with the Chinese literati's tradition of" carrying the way with the device ", and sublimates artistic jewelry into a spiritual carrier. Reflecting the creative view under the Chinese tradition of" grid things ", the literati of the Song Dynasty advocated" grid things to knowledge "and explored the laws of the universe by observing everything. My extreme carving of flower forms (such as the radian of petals and the direction of veins) is the continuation of this tradition: the delicate shaping of ceramic parts reflects the awe of the" reason "of nature; The precision forging of metal parts is the practice of the craftsman spirit of" if you want to do a good job, you must first sharp your tools. In the works, the symbolic system of Chinese philosophy is embodied, and the works convey the values of literati through the symbolism of materials and shapes: the warmth of ceramics implies the modest character of "a gentleman is like jade"; The fortitude of metal symbolizes the character of a scholar who is "noble and upright"; The withering and prosperity of flowers corresponds to the life attitude of "being poor is good, and being good is good. This symbolic system makes jewelry go beyond the decorative function and become the wearer's spiritual totem.

中国美术学院博士，任职杭州师范大学美术学院设计系首饰金工工作室。 2003年开始致力于研究金属工艺、陶瓷、艺术首饰创作。作品入选第九届、第十届、第十二届、第十三届、十四届全国美展,获第八届、第九届全国陶瓷创新评比大赛金奖；第十届全国陶瓷创新评比大赛铜奖、浙江省美展优秀奖、部分作品被中国美术馆、今日美术馆、山东博物馆、中国美术学院民艺馆、英国V&A博物馆收藏。

Doctor of China Academy of Art, working in Jewelry and Goldwork Studio, Department of Design, Academy of Fine Arts, Hangzhou Normal University. In 2003, he began to study metal technology, ceramics and artistic jewelry creation. His works were selected into the 9th, 10th, 12th, 13th and 14th National Art Exhibition, and won the gold medal of the 8th and 9th National Ceramic Innovation Competition; the 10th National Ceramic Innovation Competition Bronze Award, Zhejiang Art Exhibition Excellence Award, some works are collected by China Art Museum, Today Art Museum, Shandong Museum, China Academy of Fine Arts Folk Art Museum, British V & A Museum.