Yang Huishan

essential information

Early experience

Yang Huishan was born in Taipei, Taiwan on July 16, 1952. Her ancestral home is Xiangtan, Hunan Province. In 1975, when she was studying in the Department of foreign languages at Taichung Jingyi women's College of Arts and Sciences (now Jingyi University), she began to participate in Taiwan TV company's series "blossoming waves" and "Golden Jade League" and other dramas, and then joined Taiwan China TV company as an actress.

Acting experience

In 1976, he appeared in the TV series "waves". In 1978, he starred in the film "the first wrong step.". In 1984, she won the best actress award of the 21st Taiwan Film Golden Horse Award for her leading role in the film little fugitive. In the same year, she won the best actress award of the 29th Asia Pacific Film Festival for her film sister Yu Qing. In 1985, she starred in "I've lived my life like this" and played the heroine from youth to old age. She not only left a deep impression in the eyes of the audience, but also won the best actress award in the 22nd Taiwan Golden Horse Film Awards for this film. In 1986, she took on the film "my love" directed by Zhang Yi and quit the film industry at the peak of her career. In her acting career, she has performed nearly 140 works, won the Golden Horse Award for Best Actress for two consecutive years, and won the recognition of best actress at the 29th Asia Pacific Film Festival with "sister Yu Qing". In 1987, Yang Huishan left the film at the peak and devoted herself to modern Chinese glass art. She founded a glass workshop and studied the special glass casting method. from exploration, experiment to real works, glass workshop has always been the world's first modern Chinese style glass art creation group. At the same time, Yang Huishan is also one of the few promoters of modern Chinese glass art.

Main works

Take part in the film

Entrepreneurial history

Yang Huishan is synonymous with "modern Chinese glass". The glass workshop she founded has become one of the best dewaxed casting studios in the world. With her unique artistic talent and keen observation, Yang Huishan created sculpture works rich in traditional Chinese language and humanistic thought, which made the glass workshop enter the international art stage in a very short time. In 1990, Yang Huishan began to exhibit her glass casting works in the international market. Her works of Chinese style, mature thinking, great potential for sculpture, and incredible completion of exfoliated glass have attracted great attention in the international art community. Japan's Sankei news praised Yang Huishan as a "gorgeous turn.". In 1992, Yang Huishan's works were exhibited in the international transparent Art Exhibition "982" in Venice, Italy, which aroused the discussion of glass art from all over the world. Among them, the unique new style of "golden Bergamot" Buddhism thought and creation, under the precise technical interpretation, makes the top international masters look at it with new eyes. In 1993, Yang Huishan and Liuli workshop were exhibited at the Palace Museum in Beijing and held six expert discussions. The Palace Museum has collected seven works of Yang Huishan, including "pharmacist liuliguang Tathagata" and presented them to Yang Huishan for the first time. In 1995, libensky & brychtova of the Czech Republic, Livio Seguso of Italy, kyoheifujita of Japan and dale Chihuly of the United States, the most important masters of glass art in the world, participated in the first exhibition of taiwan sponsored by China Times and glass workshop in Taipei with Yang Huishan at the invitation of glass workshop This is the second international exhibition of modern glass art. In this exhibition, Yang Huishan creates "Thousand Buddhas" through the color and transparency of colored glass with the theme of earthly sentimentality. Brechtwa, when seeing Yang Huishan's works, said: libinski and I have been in the glass art circle for 40 years. In fact, we have tried to experience all the creative mentality. However, the thinking experience in the essence of glass, such as the characteristics of internal space and internal light, has been nearly ten years. Your work has a history of only seven or eight years, but I have seen you come to the core. In 1996, Yang Huishan's personal creation of "eight hundred billion Buddhas in the world" was solemnly displayed in the Sanyue department store Gallery in Tokyo, the palace of Japanese arts and crafts. Japan's most famous glass art master, Mr. tengtian Qiaoping, came to the opening ceremony to congratulate. The representative work on display is 85 cm wide, 55 cm high and weighs 80 kg. It is a large-scale work like a small hill covered with Buddha statues, which has aroused warm repercussions in the art circles of Dunhuang and glass in Japan. In 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. In the middle of the huge mountain wall, it is a bright and pure newborn baby, sleeping peacefully and peacefully. Yang Huishan's sculptural spirit and deep thinking are once again widely noticed and affirmed by all walks of life. In 1998, Yang Huishan broke through the technical limitation of dewaxing casting and completed more than ten pieces of super large glazed works with a diameter of about one meter and a weight of several hundred jin. The creation of glazed works was upgraded to a serious sculpture category. Whether it's "the moon shadow of pine and bamboo", "the endless life" or "the joy of the great circle", the strong traditional Chinese language combines modern ideas, and the high mastery of glass dewaxing casting technology provides a new vision for the international glass art world, and also attracts the attention of the world's most famous museums - Victoria and Albert National Museum, Shanghai Museum and Beijing Museum The continuous invitation exhibition and collection of the Palace Museum, China's glass, has finally entered a stage of Unfinished History of thousands of years. In 1999, Yang Huishan successively exhibited in Guangzhou Art Museum and GuanShanYue Art Museum in Shenzhen. Her two works, eight hundred billion Buddhas in the world and the wisdom of the big round mirror, won permanent collection. In September, Yang Huishan held a "921 Yang Huishan's collection disaster relief fair" in Taipei Yuanqi shopping center, and raised 6.8 million yuan, all of which were donated for earthquake relief. At the end of the year, at the SOGO art gallery in Taipei, Yang Huishan's Millennium creative Avalokitesvara exhibition, a number of casting Avalokitesvara works were exhibited, presenting the concept of unity of virtual and real, creating a new milestone for Yang Huishan's personal creation. At the same time, Yang Huishan participated in Shanghai International Art Festival and the first exhibition of famous works. Tianxia culture publishes the book "in this life: Yang Huishan, Zhang Yi and Liuli workshop", which is prefaced by Mr. Yu Qiuyu. The enterprise culture and spirit advocated by Liuli workshop are recognized by more people. In 2000, inspired by the Yuan Dynasty mural "thousand hands and thousand eyes Avalokitesvara" in Dunhuang Cave 3, Yang Huishan sculpted a three-dimensional Avalokitesvara with a height of about 190 cm and a width of 150 cm. Together with another 40 Buddha statues, Yang Huishan held the "Millennium Dunhuang now rises again - Exhibition of modern Chinese glass art" in the exhibition center of Dunhuang Research Institute in Gansu Province, which was awarded the "Millennium Dunhuang now rises again" It was praised as "the 493 caves of Dunhuang" and remained in Dunhuang forever. At the end of the same year, a 347 cm tall Avalokitesvara was on display at the grand wish of this life - Yang Huishan's Avalokitesvara exhibition. 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 colored glaze came from the fact that when she worked with Zhang Yi to shoot "my love", the props borrowed glass works from the boutique. Yang Huishan was amazed by the transparency and penetration of the sculptures. She explored the origin and learned that these works of art came from various countries, but there was no China. Soon after, Yang Huishan and Zhang Yi quit the film circle, hoping to find something they can concentrate on and create their eternal value. The beautiful memories of glass art let them step into the world of glass making. at first, they took blowing as their main technique. However, Zhang Yi realized that blowing had its limitations and began to study all kinds of books. By chance, he read about the "pate de verre" technique, which can be accurately reproduced and mass produced. He also made extremely exquisite and subtle glass products, so he devoted himself to the study of this new technique. Yang Huishan was the most powerful practitioner beside him. At first, Yang Huishan explored the way of indigenous steelmaking and practiced according to the steps in the book. However, due to the fact that she was almost a layman in material manipulation, time and temperature control, in order to further master the technology of "dewaxing casting", Yang Huishan and Zhang Yi went to the new York experimental glass workshop for further study, but the studio was not good at dewaxing casting There are still many key problems to be solved. for Yang Huishan, the most important thing in this study trip is to get in touch with the world-famous glass works, which broadens her horizons and deepens her yearning and persistence for glass art creation. Although her studies were mediocre since childhood, her performance in music and art was particularly outstanding. Almost all of her paintings in school were taken to other classes by the teachers. This artistic cell, which has been sleeping for more than 30 years, gradually wakes up on the way of her contact with glass creation. Although in the process of learning dewaxing and casting glass creation, she has no teacher to teach herself from scratch, but her artistic talent is gradually being developed from then on. Due to imperfect equipment and lack of experience, Yang Huishan and Zhang Yi have been exploring glass techniques for three and a half years. They once had a debt of 75 million yuan and have yet to complete a work. However, the burnt glass works are all buried in the backyard of Danshui glass workshop, which is more than one meter deep and covers an area of 1.5 square meters

Chinese PinYin : Yang Hui Shan