很久以来,我们一直盼望着能看到一本我们自己的工艺美术理论专著。特别是我国工艺美术面临转折、变革时期,既要总结、继承、宏扬丰富的遗产,又要开拓、建设具有时代精神、富于生命活力,可以参与国际竞争的工艺美术的今天,人们尤其感到工艺美术理论建设的迫切性。在这种时候,看到李砚祖《工艺美术概论》问世,使美术理论界感到欣喜,是十分自然的。写作一部中国工艺美术概论,其复杂和困难可想而知。摆在李砚祖面前的工作量,有点像是为一个不曾被系统勘察过的自然区域作出全面的介绍。他首先要遍历全境,即便是“鸟瞰”、“远眺”,也不容有大的疏漏:接下来便是选择。如果前一步主要靠苦工和修养,后一步便需要作者的识见。现在纵观《工艺美术概 For a long time, we have been looking forward to seeing a monograph of our own art and craft theory. In particular, when the arts and crafts of our country are faced with a turning point and a period of change, we must not only summarize, inherit and promote the rich heritage, but also open up and build the arts and crafts with the spirit of the times, full of vitality and participation in international competition. The urgency of art theory construction. At this time, it is quite natural to see Li Yan-zu’s introduction of the “Introduction to Craft and Arts” and the delight of the fine arts theory circle. Writing an introduction to Chinese arts and crafts, its complexity and difficulty can be imagined. The amount of work before Li Yanzu is a bit like a comprehensive introduction to a natural area that has not been systematically surveyed. He must first traverse the whole territory, even if the “bird’s eye view”, “overlooking”, there should be no big omissions: the next is the choice. If the previous step depends mainly on hard work and self-cultivation, the latter step requires the author’s knowledge. Now look at the "arts and crafts overview