“纺织的文化遗产 - 壁挂的艺术——二十世纪的奥布松”

系列讲座

Lecture program - theme: ”Cultural heritage on textiles and the art of tapestry - Aubusson 20th century”.

主讲：布鲁诺·伊提耶
Bruno Ythier
法国奥布松国际壁挂中心总策展人

Chief Curator of the International Center of Tapestry Art, Aubusson, France

主办：中国美术学院
雕塑与公共艺术学院纤维艺术系
艺术管理与教育学院艺术管理系

讲座1：壁挂和纺织品艺术策展／博物馆的织物收藏

Curating on tapestry art and textiles / Museum textile collections
2018年12月5日 13:30

December 5th 13:30, 2018

中国美术学院象山校区9号楼：艺术管理与教育学院会议厅

School of Education and Art Management – conference hall, building #9, China Academy of Art

讲座2：壁挂艺术的解读：二十世纪的奥布松

“Interpretations in tapestry”
The art of tapestry - Aubusson 20th century

2018年12月7日 13:30

December 7th 13:30, 2018

中国美术学院象山校区5号楼：雕塑与公共艺术学院纤维艺术系204室

School of Sculpture and Public Art – room 204, building #5, China Academy of Art

布鲁诺·伊提耶
Bruno Ythier

毕业于法国社会科学高等研究院的人类学专业，是纺织品历史与技术史，特别是壁挂、蕾丝和刺绣方面的专家。他是纺织品博物馆的首席策展人，专门从事博物馆的整体概念、艺术作品，也包括博物馆技术学、馆藏组织和馆藏开发等方面。

博物馆经历：位于法国勒图尔纳克的蕾丝制品博物馆（1994-2009），博物馆的整体构思、展览和研讨会的策划展开、作品收藏和科学研究等工作均由布鲁诺·提耶负责。自2010年以来，他作为法国奥布松壁挂美术馆的首席策展人，负责博物馆的创建，纺织人员的培训方向，与国际艺术家在当代壁挂、展览、收藏（储存，保护，研究等）方面合作，并致力于壁挂艺术问题的专业化解读。

Short CV:Graduated in anthropology by EHESS Paris (Ecole des Hautes Etudes en Sciences Sociales). Specialist in history of knowledge and technics in textiles - tapestry, lace and embroidery.Head curator, specialized in textiles museum (conception, works, museography, organization of storages, development of collection, etc.)

Museum experience : Musée des manufactures de dentelles (Lace manufactures museum), Retournac, 1994-2009, creation of the museum, exhibitions, conferences, collection, scientific studies. 

Chief curator of Cité internationale de la tapisserie, Aubusson, since 2010, creation of the museum, direction of the weavers training, collaboration with international artists for contemporary tapestries, exhibitions, collections (storage, conservation, studies, etc.). Specialization about the question of interpretation of art in tapestry.

法国奥布松壁挂美术馆

The new International Center of Tapestry in Aubusson, France.

法国“奥布松”壁挂

奥布松壁挂历史悠久，让人想起曾经有这么一块地方：当时奥布松、费勒坦和一些小镇到处是工作坊，在路易十四统治期间获得“皇室御用”的地位。

这一艺术在这一特定区域发展起来的根源现在仍无从得知，人们对此有诸多猜测（水的质量和养羊业的发达）。虽然中世纪工作坊的数量变化不大，但历史相关资料显示15世纪末期增长幅度很大。壁挂制作开始基本上是家务活计，后来慢慢地发展为一种行业，因为它的质量和多样的装饰效果很快得到了大家的青睐。

17世纪标志着一个转折点。当时从佛兰德斯的进口减少了，出现了大型的皇家和贵族工作坊，导致奥布松的壁挂工人显著增加。在路易十四统治期间，壁挂在装饰中占有重要地位。宫殿、教堂和城堡的墙壁上挂满了大型的壁画，讲述不同的故事。但是，南特敕令的撤销导致生产急速下滑。有新教信仰的织工逃往德国，带走了他们的技术和创造力。

直到1730年左右，奥布松才重新恢复它应有的地位，以哥白林壁挂和博韦毯的生产方式为中心。自此开始，逐渐出现了“奥布松神话”。最深远的变化起于19世纪，当时出现了工业规模的大型制造和生产厂，但是仍保留了卓越的质量和技术。1884年创办的奥布松国家装饰艺术学院(ENAD)更是一大标志，这个学院是当时三所国立学校之一。世界性的展览带来了实验的机会，吸引更多观众来奥布松，欣赏它的产品。

20世纪60年代末期，学校重建，目的是使奥布松变为卓越的艺术中心并将学校提升到国际高度。虽然革新的理念逐渐式微，但是与著名艺术家的合作确保了“奥布松”这一标签。今天，最关键的是重新建立与所有其它当代创作的联系，这也是打造国际城市项目的目标。现在的策划-不管是政府的还是民间的-见证了大家支持艺术表达的热情。

French ‘Aubusson’ tapestry

The tapestry of Aubusson has a long tradition and harks back to a complete area, in which workshops were scattered around Aubusson and Felletin, towns, which, during the reign of Louis XIV, were granted the status of a “Royal Warrant”. 

The seventeenth century marks a turning point with a significant increase in the number of Aubusson tapestry workers as a result of the reduction of imports from Flanders combined with the emergence of the large royal and aristocratic workshops.  Tapestry enjoyed a pre-eminent position in decoration during the period of Louis XIV. Major narrative compositions resonated across the walls of palaces, cathedrals and castles. But the revocation of the Edict of Nantes brought a sharp fall in production. Those weavers that were of the Protestant faith fled to Germany, taking their expertise and their creativity with them.

It was not until around 1730 that Aubusson resumed its rightful place as an important production center in the manner of the manufacturers of the Gobelins and Beauvais. It was from this period that the “Aubusson myth” gradually emerged. 

The most profound changes took place during the nineteenth century, with the emergence of large manufacturers and production on an industrial scale, although exceptional quality and expertise were maintained. This growing development was marked by the establishment of Aubusson’s National School of Decorative Arts (ENAD), in 1884, one of the three State schools of the time. Universal exhibitions represented an opportunity for experimentation and ensured a wider audience for Aubusson and its productions.

At the end of the 1960s, the School was rebuilt with the aim of turning Aubusson into a center of excellence and opening it internationally. Collaboration with prestigious artists has ensured that the “Aubusson” label is maintained although the concept of renewal is gradually running out of steam.

让·吕尔萨

Jean Lurcat

1937年在奥布松附近费尔汀小镇上的照片，照片中的人物有Ady Fidelin, Marie Cuttoli , Man Ray, Picasso , Dora Maar.

Photo in Felletin – a town near Aubusson, with Ady Fidelin, Marie Cuttoli and her husband, Man Ray, Picasso and Dora Maar, 1937

2013年10月，施慧教授，闫飞和策展人布鲁诺·伊提耶

Prof. Shi Hui, Yan Fei and chief curator Bruno Ythier in Aubusson, October 2013

2016年7月10日，法国总统弗朗索瓦·奥朗德位于奥布松壁挂美术馆

Inauguration of the new center with French president Francois Hollande on 10th of July, 2016