The essay is a general investigation of the Chinese glass practice with the influences from Western countries and other domestic craft forms. Parallels are drawn between glass objects produced from Kangxi (1662-1722) to Qianlong period(1736-96) and contemporary periods.
The analyse of the Qing objects demonstrates the close relationship of European glass making, forming and decorating methods, whilst retaining connections with sophisticated Chinese craft forms and characteristics.
The analysis and comparison of the historical experiences will help to understand the context for contemporary practitioners. My own practice is applying as a diagnostic model to illustrate the similarities and distinctions that exist in these two periods, which suggests a pattern of glass activity, and from personal view, the discipline inherent in the pattern will inform future insights.
玻璃在中国的工艺美术史发展中占有比较特殊的地位，一直是位于工艺美术的边缘学科，它的发展不及中国的陶瓷、玉器和青铜那样辉煌，且工艺和审美受到了西方国家和中国传统工艺美术材料的影响，但正是这些来自各方面的影响形成了中国玻璃材料实践的特殊方法体系。（剩余2031字）