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黄宝庆
1954年出生，福建省罗源人。高级工艺美术师，1980年毕业于福建工艺美术学校（现福州大学工艺美术学院）雕塑专业。现为中国工艺美术学会常务理事、福建省工艺美术学会常务副会长、福建省青年美术家协会副主席、福建省漆艺研究会顾问、福建省宝玉石协会顾问、闽江学院客座教授。
20多年来，他一直从事全省工艺美术行业管理、雕塑、寿山石雕创作、研究，尤其是近些年倾力于工艺美术史论研究、寿山石文化研究、寿山石雕设计、创作。10多年来多次受聘担任福建省工艺美术系列职称高级评委会委员，全国工艺美术大师作品展评委，以及中国工艺美术馆专家组成员等。其寿山石雕《道家始祖·老子》获2007年“百花杯”中国工艺美术精品展金奖。
寿山石，质润石温，抚如凝脂，类玉之感，甚得文人喜爱。又兼之绚烂幻化，雅士掌玩，实乃垂青之物。
Shoushan Stone, which is smooth and warm, being touched as grease, and looks like jade, is greatly loved by the literary men. Also it’s splendid and diversified that refined men like to play with it and it’s really a thing of interest.
说起来，有着悠久历史的寿山石雕刻，虽不乏佳作，然而对于它的文化定位和理论建构还有甚多缺憾，我国最早的一本关于寿山石的著述《观石录》（清康熙年间高兆撰）也仅对寿山石制的140方印章进行了赏评和将寿山石做了简单的分类，全篇不满3000字。之后的《后观石录》（清康熙年间毛奇龄撰）也只有不足4000字品玩式的记录。两录虽具开拓作用，但难以称得上著作，不过为文化随笔而已。纵有后来的诸如陈子奋的《寿山印石小志》、张宗果的《寿山石考谱》、方宗王圭的《寿山石志》、陈石的《寿山石雕艺术》等专著，虽填补了一些研究空缺，但也实难形成对寿山石文化的整体建构，在这理论研究的贫营养状态中，寿山石雕艺虽时有奇葩，然而更多显示出的是崇重沿袭，惰于个性表现的形式规律。较少出现改弦更张的新举，然而黄宝庆“笔”下的寿山石，却呈出了新意，最近他创作了《道家始祖——老子》以一种造型反衬的手法，试探了对这位千古哲人的精神刻画。
黄宝庆习石多年，又兼及其他门类的艺术，以外而观内，探索着寿山石雕刻的新语言，他由院校走向民间，由传统契合当代，试探着寿山石雕艺的新路，体现了“我雕刻”这一主体意识。《道家始祖——老子》这件获得2007年“百花杯”中国工艺美术精品展金奖的作品，是他新思路的体现，有了这样的尝试，接下来就是应思考寿山石雕刻艺术如何发展，如何带动整个寿山石雕艺的转化和升华特别是理论建构方面的问题了。近几年在理论研究方面黄宝庆作了许多工作，尊重学习传统，但并不醉心于传统的满足，师心不师迹。然而，寿山石艺术毕竟尚有许多还未开垦的处女地，寿山石文化之于中国，我们对其时有深厚情感的，若之于世界对其又会怎样看待呢？这些问题，恰恰是理论、创作实践中应当关注并解决的问题，是值得我们深思的。试想，如果将来的寿山石艺术成为我们理论建构中的“艺术大家”，那么，“观石见性”当会更加融入我们的心灵。
Huang Baoqing has studied stone for years, and arts of other categories by observing the inner. Through the outside, he is trying to find out a new language of the carving of Shoushan stone. From institutions to the common world, by combining the tradition with the modern, he is exploring a new way of the carving arts of Shoushan stone, which embodies the subjective consciousness of "i carve". His work "the ancestor of Taoism--Laozi", which has won the golden award of "hundred flower cup" in Chinese excellent industrial art works exhibition in 2007,is the embodiment of his new thoughts. After such an attempt, what he should think is how to develop, transform and sublimate the whole carving arts of Shoushan stone, especially its theoretical structure. In recent years, Huang Baoqing has done a lot in theoretical research. He learns the tradition with respect, but without indulging in it with satisfactim. Nevertheless, there are a lot of virgin lands still to be cultivated in the arts of Shoushan stone to China, we have deep feelings to the culture of Shoushan stone. But to the world, what will people look on it? These problems, which should be paid attention to and solved in theoretical and creative practice, are worth deeply considering. Try to think that if the future art of Shoushan stone becomes the "master of arts" in our theoretical structure, then, "to know the quality of stone by observing" will come into our hearts and minds more deeply.
1954年出生，福建省罗源人。高级工艺美术师，1980年毕业于福建工艺美术学校（现福州大学工艺美术学院）雕塑专业。现为中国工艺美术学会常务理事、福建省工艺美术学会常务副会长、福建省青年美术家协会副主席、福建省漆艺研究会顾问、福建省宝玉石协会顾问、闽江学院客座教授。
20多年来，他一直从事全省工艺美术行业管理、雕塑、寿山石雕创作、研究，尤其是近些年倾力于工艺美术史论研究、寿山石文化研究、寿山石雕设计、创作。10多年来多次受聘担任福建省工艺美术系列职称高级评委会委员，全国工艺美术大师作品展评委，以及中国工艺美术馆专家组成员等。其寿山石雕《道家始祖·老子》获2007年“百花杯”中国工艺美术精品展金奖。
寿山石，质润石温，抚如凝脂，类玉之感，甚得文人喜爱。又兼之绚烂幻化，雅士掌玩，实乃垂青之物。
Shoushan Stone, which is smooth and warm, being touched as grease, and looks like jade, is greatly loved by the literary men. Also it’s splendid and diversified that refined men like to play with it and it’s really a thing of interest.
说起来，有着悠久历史的寿山石雕刻，虽不乏佳作，然而对于它的文化定位和理论建构还有甚多缺憾，我国最早的一本关于寿山石的著述《观石录》（清康熙年间高兆撰）也仅对寿山石制的140方印章进行了赏评和将寿山石做了简单的分类，全篇不满3000字。之后的《后观石录》（清康熙年间毛奇龄撰）也只有不足4000字品玩式的记录。两录虽具开拓作用，但难以称得上著作，不过为文化随笔而已。纵有后来的诸如陈子奋的《寿山印石小志》、张宗果的《寿山石考谱》、方宗王圭的《寿山石志》、陈石的《寿山石雕艺术》等专著，虽填补了一些研究空缺，但也实难形成对寿山石文化的整体建构，在这理论研究的贫营养状态中，寿山石雕艺虽时有奇葩，然而更多显示出的是崇重沿袭，惰于个性表现的形式规律。较少出现改弦更张的新举，然而黄宝庆“笔”下的寿山石，却呈出了新意，最近他创作了《道家始祖——老子》以一种造型反衬的手法，试探了对这位千古哲人的精神刻画。
黄宝庆习石多年，又兼及其他门类的艺术，以外而观内，探索着寿山石雕刻的新语言，他由院校走向民间，由传统契合当代，试探着寿山石雕艺的新路，体现了“我雕刻”这一主体意识。《道家始祖——老子》这件获得2007年“百花杯”中国工艺美术精品展金奖的作品，是他新思路的体现，有了这样的尝试，接下来就是应思考寿山石雕刻艺术如何发展，如何带动整个寿山石雕艺的转化和升华特别是理论建构方面的问题了。近几年在理论研究方面黄宝庆作了许多工作，尊重学习传统，但并不醉心于传统的满足，师心不师迹。然而，寿山石艺术毕竟尚有许多还未开垦的处女地，寿山石文化之于中国，我们对其时有深厚情感的，若之于世界对其又会怎样看待呢？这些问题，恰恰是理论、创作实践中应当关注并解决的问题，是值得我们深思的。试想，如果将来的寿山石艺术成为我们理论建构中的“艺术大家”，那么，“观石见性”当会更加融入我们的心灵。
Huang Baoqing has studied stone for years, and arts of other categories by observing the inner. Through the outside, he is trying to find out a new language of the carving of Shoushan stone. From institutions to the common world, by combining the tradition with the modern, he is exploring a new way of the carving arts of Shoushan stone, which embodies the subjective consciousness of "i carve". His work "the ancestor of Taoism--Laozi", which has won the golden award of "hundred flower cup" in Chinese excellent industrial art works exhibition in 2007,is the embodiment of his new thoughts. After such an attempt, what he should think is how to develop, transform and sublimate the whole carving arts of Shoushan stone, especially its theoretical structure. In recent years, Huang Baoqing has done a lot in theoretical research. He learns the tradition with respect, but without indulging in it with satisfactim. Nevertheless, there are a lot of virgin lands still to be cultivated in the arts of Shoushan stone to China, we have deep feelings to the culture of Shoushan stone. But to the world, what will people look on it? These problems, which should be paid attention to and solved in theoretical and creative practice, are worth deeply considering. Try to think that if the future art of Shoushan stone becomes the "master of arts" in our theoretical structure, then, "to know the quality of stone by observing" will come into our hearts and minds more deeply.