文章Journal

一个时代的“精神气候”，究竟怎样渗入造像的面容与身躯？

How exactly does the "spiritual climate" of an era permeate the face and body of a sculpture?

一说到“永乐造像”，我们首先想到的，当然是明代永乐时期。

When we talk about "Yongle Buddhist sculptures," we naturally think of the Yongle period of the Ming Dynasty.

一张照片横挂在教堂的梁柱上，他的精神世界也在这里被分成了两个空间——照片之下，是他的生活、照片之上，是他的信仰与灵感。

A photograph hangs across the church pillars, dividing his spiritual world into two spaces—below the photograph lies his life; above it, his faith and inspirati...

当你踏入空间的那一步，你就已经落入了空间的“陷阱”。

The moment you enter the space, you are already caught within its “trap”.

我们持续作展览与图录，并不只是为了呈现艺术品，更是为了保存一种与作品相遇的方式。

We continue to make exhibitions and catalogues not only to present artworks, but to preserve a way of encountering them.

古代的雕塑、绘画为什么会成为高净值人群的资产配置选择？

Why have ancient sculptures and paintings become asset allocation choices for high-net-worth individuals?