Spirit cover

Spirit

Rating 3.3
Word count
104K words
Chapters
246
ISBN
9787115474094

Tags

Summary

The character ling (灵) means spirit or divine efficacy, and also denotes goodness; the accumulation of benevolence is called ling. The upper part of the character is an abbreviated form of hui (慧, wisdom), signifying intelligence; the lower part is huo (火, fire), signifying shining flame. Ling thus symbolizes the innovative wisdom and sparks of inspiration within the 'Xin Jiyi' (New Craft) project. 'Xin Jiyi · Ling' showcases more than two hundred fine craft artworks by young artists from China and abroad, spanning ceramics, metal, fiber, glass, lacquer, wood, paper, and dyeing, and seeks to build an academic framework for young scholars and advance the discipline of modern craft art.

Editor's review

Ling is a singular work distilled by Liu Runfu from years of experience in design, creation, and teaching. It goes beyond the conventional design-technique manual, reading more like a philosophical meditation on the relationship between 'object' and 'mind,' 'hand' and 'thought.' Taking his own transition from designer to artist as a thread, the author draws on a wealth of handcrafted objects—from lacquerware and ceramics to metalwork—to set out, in accessible terms, how 'inspiration' is no mystical visitation but arises from a deep sensitivity to the properties of materials, an extreme focus on craft processes, and a delicate observation of everyday life. The book's esteem for 'hand-feel' and its insistence on 'slow work yields fine results' are especially precious in an age that prizes efficiency and quick success. It imparts not only the 'technique' of creation but, more importantly, inspires a 'way' of inward looking and sedimentation. For readers, its value lies in offering a possible path to counter restlessness and recover focus, helping us understand that true 'inspiration' is often born in the quiet moments of repeated dialogue between hand and material. The book's own design is meticulous, with text and images in harmony and paper of a warm touch; it is itself a collectible 'object,' and the reading experience accords closely with the ideas it conveys.

Who it's for

A good fit for

  • Learners with a strong interest in craft art and handmade design who wish to explore the origins of creation.
  • Designers and artists in creative industries who are experiencing a drought of inspiration or seeking a breakthrough.
  • Readers who wish to cultivate focus and perception in daily life and to practice a philosophy of 'mind and hand as one.'
  • Those who appreciate Eastern aesthetics and the philosophy of making, and who wish to explore the beauty of objects and the cultural meanings behind them.

Not a good fit for

  • Readers seeking a purely technical manual with clear steps and immediate practical techniques.
  • Readers impatient with philosophical reflection and personal, experiential narration, who prefer structured knowledge and fast reading.

Reading tips

  1. Read at a slower pace, and alongside the book's images, savor the textures and making processes the text describes.
  2. While reading, try pairing the book with a simple handmade activity, such as shaping clay or practicing calligraphy, to experience 'handmaking' and 'flow' firsthand.
  3. There is no need to finish it in one sitting; keep it as a bedside or desk book and dip into chapters at random when you need calm or inspiration.

About the publisher

Posts & Telecom Press China · Founded in 1953

Posts & Telecom Press is known for its strengths in science and technology, computing, and information and communications titles, and has extended its publishing into photography, art, software learning, and inspirational growth, giving it a fairly diverse range. Its catalog includes computing and communications works such as Refactoring and Patterns (Revised Edition) and Huawei Switch Learning Guide (Second Edition), alongside bilingual collector's editions such as The Little Prince (Chinese-English-French illustrated collector's edition), The Great Gatsby, and Three Days to See. Beijing Ten Years: 1980-1990 and Ghost Blade: WLOP Personal Illustration Collection reflect its presence in photography and art. Its authors include Antoine de Saint-Exupéry, Helen Keller, Joshua Kerievsky, Wang Da, Zhang Zhaozeng, and WLOP.

Contents

  1. 版权信息
  2. 前言
  3. 寄语
  4. 学术组
  5. 安然
  6. 蔡文
  7. 曹毕飞
  8. 曹纯
  9. 曹余露
  10. 常瑞红
  11. 陈辉 原博
  12. 陈健捷
  13. 陈路茵
  14. 陈怡
  15. 成乡
  16. 代磊
  17. 代延平
  18. 戴翔
  19. 迪柏塞斯·派尔
  20. 丁大为
  21. 董汇洋
  22. 竺娜亚
  23. 杜蒙
  24. 多田えり佳
  25. 艾米丽·沃
  26. 冯晓娜
  27. 高冈太郎
  28. 高桥治希
  29. 高佳玉
  30. 耿玉花
  31. 宫崎瑞土
  32. 巩志伟
  33. 郭小燕
  34. 郭小一
  35. 海老冢季史
  36. 韩熙
  37. 郝赛
  38. 原
  39. 何鹏飞
  40. 洪美连
  41. 胡成
  42. 胡东方
  43. 胡俊
  44. 胡秀姝
  45. 华雍
  46. 黄静
  47. 黄晓望
  48. 黄智俊
  49. 霍巍
  50. 贾简智
  51. 姜弋
  52. 姜倩
  53. 姜海明
  54. 解玄
  55. 今井美幸
  56. 金贞华
  57. 金知瑞
  58. 李克泰
  59. 李程
  60. 李付彪
  61. 李鹤
  62. 李静
  63. 李明谦
  64. 李骞
  65. 李宪阳
  66. 李小筠
  67. 李迎军
  68. 李振宁
  69. 林汉聪
  70. 刘东
  71. 刘红生
  72. 刘辉
  73. 刘娜
  74. 刘润福
  75. 刘铁军
  76. 刘骁
  77. 刘云芬
  78. 刘芷含
  79. 卢荣
  80. 吕青
  81. 吕中泉
  82. 罗小戍
  83. 康梦纯
  84. 马莉
  85. 爱兹瑞欧·伊思兰姆
  86. 罗比欧·伊思兰姆
  87. 雷扎
  88. 马小生
  89. 马玉(马玉婷)
  90. 宫代
  91. 闵复基
  92. 宁晓莉
  93. 欧阳雨梦
  94. 庞礡
  95. 彭倩
  96. 彭怡
  97. 钱麒光
  98. 秦洁璐
  99. 秦岭
  100. 任英歌
  101. 三神慎一朗
  102. 三田村有芳
  103. 杉村纱季子
  104. 申文广
  105. 史忠文
  106. 宋海峰
  107. 薮内公美
  108. 晁男
  109. 唐梦骥 叶颖博
  110. 田静
  111. 王成武
  112. 王克震
  113. 王乐耕
  114. 王琪
  115. 王沁
  116. 王瑞萍
  117. 王文文
  118. 王晓昕
  119. 王艺
  120. 王玉峰
  121. 王悦
  122. 汪旺(汪红荣)
  123. 吴波
  124. 吴德灏
  125. 吴化雨
  126. 武超
  127. 谢白
  128. 谢雪君
  129. 熊开波
  130. 熊松涛
  131. 熊涛涛 周汉新
  132. 徐凯
  133. 徐珊
  134. 许润辉
  135. 薛吕
  136. 严悦
  137. 闫峰
  138. 杨帆
  139. 杨佩璋
  140. 杨世儒
  141. 姚岚
  142. 尹航
  143. 于洋
  144. 俞均鹏
  145. 苑国祥
  146. 岳嵩
  147. 刘秀妍
  148. 增村真实子
  149. 张凡
  150. 张赛勇
  151. 张海东
  152. 张红娟
  153. 张莉
  154. 张福文
  155. 张一藩
  156. 张宇飞
  157. 赵斌
  158. 赵静
  159. 赵康林
  160. 郑晓东
  161. 郑晓辉
  162. 钟声
  163. 周洪涛
  164. 周茜
  165. 周云
  166. 朱冰
  167. 庄虹
  168. 学生组
  169. 白阅雨 褚林青 胡楠 刘清 杨慧超 杨柯
  170. 蔡勇盛
  171. 曹成艺
  172. 陈洁
  173. 陈俐宇
  174. 陈诗琪
  175. 陈恂浪
  176. 陈洋
  177. 陈烨铌
  178. 陈玥晗
  179. 慈程 龙菲
  180. 崔向前
  181. 方笑晗
  182. 冯健达
  183. 冯唐菡
  184. 付少雄
  185. 付一郎
  186. 高尚
  187. 高禹婵
  188. 高裕华
  189. 郭瑞峰
  190. 韩旭
  191. 何茂平
  192. 何茂藤
  193. 华石
  194. 蒋恬力
  195. 蒋银娥
  196. 金多晶
  197. 金儒真
  198. 孔栋辉
  199. 李婧怡
  200. 李萌
  201. 李梦婷
  202. 李若汐
  203. 李雨桑
  204. 梁树菲
  205. 林健聪
  206. 林晓燕
  207. 刘昊
  208. 刘利 张媛媛
  209. 刘帅
  210. 刘晓明
  211. 刘鑫
  212. 麦莉媛
  213. 彭惺婷
  214. 钱亮
  215. 任海明
  216. 石尚
  217. 宋龙雨
  218. 宋爽
  219. 隋莹莹
  220. 孙嘉羚
  221. 孙秋爽
  222. 孙志浩
  223. 檀寅莲
  224. 王婧
  225. 王菊娥
  226. 王琳
  227. 王茜
  228. 王雅萱
  229. 谢立子
  230. 杨清宜
  231. 叶晓君
  232. 伊琨
  233. 袁方洲
  234. 袁玥
  235. 张爱苹
  236. 张丹
  237. 张海丹
  238. 张佳伟
  239. 张石临
  240. 赵瑾雅
  241. 郑铁木
  242. 朱铭杰
  243. 学术组
  244. 学生组
  245. 后记
  246. 内容提要

FAQ

Is this book purely about artistic creation?
It concerns not only artistic creation but also a kind of education in living and thinking. Through creation the author discusses philosophy, practice, and how to get along with the world; the core is 'thinking through the hands,' so its reach is broad.
Can I understand it without a craft background?
Absolutely. The author shares his insights in extremely plain and sincere language; the point is not to grasp complex techniques but to perceive the inner journey and aesthetic thinking behind them, so the bar is not high.
How does this book differ from Liu Runfu's other works?
Ling focuses more on the inner logic of creation and philosophical synthesis, the intellectual crystallization of years of practice, and is more systematic. Earlier books such as Making Is Divine and Beautiful are more scattered notes on specific works and reflections; this book can be seen as a deepening and elevation of his thought.

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About the author

刘润福 Author

Liu Runfu is an author about whom little public information is currently available; his nationality, dates of birth and death, and educational background are not clearly recorded. One work by him is held in the collection, titled Ling (Spirit), commonly classified under theory. Based on the available information, this work is the main window into the author's writing profile, and its subject matter leans toward theoretical reflection rather than fictional narrative or practical guidance. Because more biographical material is lacking, it is difficult to judge the full range of his writing style, but the title and classification suggest that the work may discuss an abstract concept and carry a speculative bent. For readers interested in theoretical writing, Liu Runfu's Ling may be a text worth noting; its reach and reception await further disclosure before assessment.

唐延强 Author

Tang Yanqiang: publicly available information about him is currently limited, and details of his life, such as nationality, dates of birth and death, and educational background, have not been clearly recorded. According to the library's holdings, only one work by him, Ling (Spirit), is cataloged, and it is commonly classified under theory. On the basis of this single title and its classification alone, it is difficult to form a complete picture of his writing; nevertheless, it may be inferred that his interests lie in relatively abstract and conceptual topics, and that his writing tends toward speculation and theoretical exposition rather than narrative or lyric expression. Because further works and external commentary are lacking, the specific features of his style, the development of his ideas, and the actual influence of his work among readers and in academic circles still require additional material before a more accurate assessment can be made. This entry is compiled solely from the available bibliographic information and is intended to provide readers with basic clues; it will be revised in due course if new material comes to light.

鲁晓波 Author

Public information about Lu Xiaobo is limited; only two of his works are held in the collection, commonly classified under theory and literary appreciation. His representative works include Ling (Spirit) and Hearts Linked, Overcoming Hardships Together: Selected Design Works for United Epidemic Response. Judging from the title and classification, the former may explore aesthetic perception and literary appreciation, combining speculative thinking with sensibility; the latter is a collection of design works on the theme of fighting the epidemic, presenting the design community's collective practice of responding to social concerns and fostering public emotion through visual language during a special period. The two books span rather different subjects—one leaning toward individual sensibility and artistic experience, the other grounded in real-world issues and design action—showing the author's range of attention between theoretical reflection and editorial work. Because biographical information is unavailable, his education, positions, and creative career cannot be traced; readers may turn to the above works to understand his writing interests and thematic vision.

许涛 Author

Xu Tao is an author about whom little public information is available, and whose identity and background have not been clearly documented. Judging from the four works held in the library, his writing interests span a remarkably wide range of fields, including military affairs, management, computing, and theory. World Aircraft Carriers: A Complete Overview reflects his attention to naval equipment and military history; Creating the Future: Sparking Your Disruptive Thinking turns to innovative thinking and the cultivation of personal capabilities; and The Authoritative Guide to DingTalk Mini Program Development for Enterprise Digital Transformation focuses on the practice of enterprise digitalization and specific development technologies. A fourth title, Ling, leans more toward theory or speculative reflection. Overall, Xu Tao's writing combines knowledge organization with practical guidance and addresses different readerships, including military enthusiasts, business managers, and technology developers, showing an interdisciplinary and application-oriented approach. Because biographical information is lacking, it is difficult to offer a deeper account of his background or creative trajectory.

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