"人文山水"惠州雕塑艺术展的思想坦克之一

顾振清

陈长伟《生肖吉祥物》 

艺术家的创意让古老的十二生肖也走上了时尚路线，随着生肖狗变成了可爱、可亲的斑点狗，中国民俗文化的图腾变身为吉祥物。民族传统加上现代意识，兼收并蓄中国传统民俗文化和美国迪斯尼经典视觉样式的精华。这种概念转换的结果使作品带着卡通的形象、披着绚丽眩目的色彩进入生活现实，为绿地增添了一个鲜活的亮点。雕塑兼有幽默和时尚的特点，糅进了传统文化和民族认同的资源，表面有效运用了版画风格来凸现雕塑的视觉外观，体现了当代人日常喜好的神祕色彩的游戏特点。作品在传统价值和当代生活之间找到了一个有趣的连接点。 

Seems to be blessed by the author’s inspiration, the twelve Chinese zodiacs of animals begin to develop a fashionable career. The conceptual replacement from dog to Dalmatian turns the traditional totem of Chinese folk culture to a propitious denotation. Combining Chinese traditional culture and the classical visual symbol of Disneyland Cartoon character, the sculpture quivers with sparkling vigor of cartoon’s fairy colors in our daily lives. With a flavor of humor and fashion, the work takes in the characteristics of the tradition and national acknowledgement by integrating print painting techniques to the sculpture for stressed visual effect, and demonstrates a modern taste to mysterious games. Chen’s work finds out an interesting connection between traditional values and modern life.

陈长伟自述：

中国人的生肖属观念很重，每个生肖都有着美丽的传说，十二生肖的图像体现了蕴含在中国深处的一种文化想象。我用十二种新的动物对传统的十二生肖进行了更替，它们是：斑马（马）、梅花鹿（羊）、海豚（猴）、白头鹰（鸡）、斑点狗（狗）、大象（猪）、袋鼠（鼠）、熊（牛）、豹（虎）、长颈鹿（兔）、恐龙（龙）、鳄鱼（蛇）。这些动物之间或多或少都有着一定的关联。今年是狗年，我特意利用斑点狗（狗）的形象做成一个公用设施的外形，一改公用设施通常中规中矩的样子，想让它们也有些情趣。希望大众使用时能有异样的感受和想象。 

From artist Chen Changwei:

Chinese have a deep-rooted notion of Animal Zodiacs. Each animal has a beautiful legend behind itself. Chinese zodiacs of animals reflected a cultural imagination embedded in the depths of the Chinese culture. I have replaced the traditional twelve animals with another twelve animals which are: Zebra (as corresponding to Horse), Spotted Deer (Sheep), Dolphin (Monkey), Eagle (Chicken), Dalmatian (Dog), Elephant (Pig), Kangaroo (Rat), Bear (Cattle), Leopard (Tiger), Giraffe (Rabbit), Dinosaur (Dragon), Alligator (Snake). There is, more or less, a certain association between each pair of animals. This year is the year of Dog, so the design is a public facility out of the image of Dalmatians (dog), hoping by this chance to soup up the public facilities which always wear serious uniform, and bring different experience to its users.

陈克《根》

雕塑利用榕树根脉为造型元素，并以简洁方正的工业化造型作为整体呈现方式。作品着眼于中国迫切需要关注和思考的城市化进程问题，提示出城市快速发展所带来的环境和人类之间的冲突。当前中国急速推进的城市化进程已然给自然生态环境带来的巨大尴尬，彰显出因片面追求经济增长速度而产生的代价和后果。青铜铸造的巨大根脉，纵横交错，占据了整个作品表面。这种树根覆盖星球的妄想，其实表达了艺术家的一种反乌托邦式的未来社会梦境，凝结的仍是关于人类环境的深切忧虑。可以说，这是艺术家为这个充满变数的时代所塑造的环境纪念碑。它是中国城市发展的见证，也是城市和城市中生活的人们和环境关系的见证。

The sculpture is designed by using tree roots to show the simplified industrialization features. It reflects the artist’s focus on China's urbanization progress problems which need attention urgently than ever, and exhibits the man-nature contradiction due to the rapid expansion of cities. The inappropriateness of natural ecological environment caused by urbanization has spoken out the huge cost the severe consequences suffered by man for pursuing the economic growth unilaterally. The huge root made from bronze, crossed and covering the whole surface of the work, which just resembles author’s impossible fantasy of covering the globe. It is his deep concern and reflection for social problems that grows such a anti-Utopian dream about future on him. The work is a environmental monument for this age of constant changes. It is and will witness the course of China city development and people’s relations to city.  

陈克自述：

在对“人文山水”主题的领悟上，我的雕塑展现的是关于人性的思考，并以社会、人的生存、时代文化的思考作为呈现作品的前提条件。作品在立意上考虑了人与自然生态、社会生态的互动关系，多点照应了生态环境的人文价值。

作品造型借用现有的自然物象，提取其中代表性的、哲学性的意涵，以最直接的方式体现了状态、材料和感觉之间的关系，达到对环境与人的一种关注。从地域空间的角度上来看，关怀人类生存和居住环境的一种地道的人文主义精神。我直接将xx造型作为某种哲学思维的证据摆放在自然空间中，从整体上强调人类生存的总和，强化对人自身认识和理解深度。作品试图揭示出钢筋水泥的城市环境中，自然和人、传统文化和现代文明的关系，并时刻提示我们对自然和人文的内在关系的清醒认知。 

From artist Chen Ke: 

Based on the theme of “Humanistic Shan-shui”, preconditioned upon thinking about the society, state of human existence and contemporary culture, the sculpture is an expression of my reflections on humanity. Standing in meaning on the consideration of the interactive relationship of man, nature and society, this work echoes through several points the humanistic value of ecologic environment.

By extracting the typical and philosophical message from the existing natural phenomena, the work implies a concern for man and nature. And in the same time, it presents in the most direct way the relationship of state, material and feelings. From the perspective of geographical space, the sculpture steers our attention to our living environment and condition. Its way of direct linking of modeling with natural philosophy reinforced the artist's stress on examining human living state and the need to strengthen the awareness and understanding of us. In this world of steel and concrete, the work reveals the relation between man and nature, tradition and modern, and reminds us to always keep sober.

陈文令《雨亭》 

作品的造型像一个超现实的山石融化的图景，它放大、夸张、颠覆了大自然与人的对话关系。亭子的顶棚好似一块巨大的山石，底部像融化的冰，还有流淌下来的晶莹剔透的水滴。造型的消融感意味着记忆和感知的消失和转换，让人体味着时间的可变性。不锈钢材质圆润光滑的曲面和流畅的线条，所营造出来的是一种现代工业文明的冷冰冰的力量和秩序感。作品造型将超现实的梦幻和现实世界的事物进行了有机的融合，尤其具有互动的开放性。观者一旦置身其中，雕塑表面就会对观者形体产生反射，使其陡然感受光和影的虚幻。由此，作品试图提醒人们重新审视自身日常的参照系统及整个外部环境，洞悉其中的微妙变化和转换。 

Like a surrealistic melting stone, the sculpture blows up, exaggerates, and even overthrows the communicative relationship of the nature and its subjective. The roof of the pavilion is like a big mountain stone, the bottom a melting ice, and the middle the dropping rain. The melting image represents the departure or transition of memory and perception, which lets us savor the variability of time. The smooth surface and lines of stainless steel material speaks of the cold sense of force and order of modern industrial civilization. The sculpture involves fantasy and real forms together harmoniously and beholds an interactive openness. The viewers could sense the illusive light and shadow, right away when they stand by, being reflected upon by the surface. In this way people are reminded to compare and reexamine their daily surrounding environment and to realize the exquisite changes and transitions. 

陈文令自述：  

人文精神是特定文化所推崇的基本价值，是对人的生存意义的{zg}追求。“心量广大，无有边畔”，一山一水又何尝不是如此呢？我在作品中深入寻找着一个临界点，力求能打开幽蔽的精神场域，使作品转换为一个传递人文资源的载体。

雕塑的主体是一座放大的山水盆景，峰峦起伏的山石是真山真水的写实造型。山石上淌水的形象，圆润光滑，顶部像柔化的盆景。水滴拉长为柱子，用以支撑顶棚。雕塑所使用的不锈钢这种材质具有假性的外貌特征，却营造出了一种颇具真实感的幻象。传统趣味的山水景物，也因此被置换成不合时宜的现代化材料制品。抛光后的不锈钢能够反射周围环境的影像，并使反射在上面的任何事物都变得扭曲和破碎。于是，那些已经斑驳的传统文脉就成了模糊不清的旧梦和往事。作品突显出了现代文明与传统文化之间的解构与重建、历史与现实、抽象与具象、想象与真实的矛盾冲突，而所有对比的范畴又都同存为一体。这意味着作品不仅仅只是一个观赏的对象，而且是一个思考的对象、观念投射的对象。

用于支撑的水滴和顶棚组合成一个风雨亭的样式。下雨时，流淌下来的水流和雕塑的水滴相互辉映，托庇其下的人们自己的影子也辉映在作品中，相互交融。作品与自然也相互融合，从而完成人类自身与自然天道的相互融合，从而达到人文人格的升腾境界。

From artist Chen Wenling: 

Humanistic spirit is the fundamental value of its exclusive mother culture, and it equals the highest pursue for the significance of life. “The mindset reaches the endless with no boundary”. Why could a pile of hills or a drop and water not be? This work seeks to find a critical point and strives to open the half-hidden spiritual space and provide a media of humanistic resources communication.

The main body of the sculpture is an enlarged landscape bonsai. Stone with fluctuant surface is molded realistically from its original form, and flow of water drops on the stone softens the top. While the surface made by the polished stainless steel betrays its artificial feature, thus a fairly realistic illusion being created. When Chinese traditional landscapes turn to modern products of technical material, when stainless steel mirrors the surrounding environment, and when the reflected images develop to be misshaped and broken, you can feel the clue of tradition has lost its visibility, like the vague, dream-like past memories of one’s life. This work highlights that all the contrastive pairs - the conflict and interrogation between modern and traditional civilization, the deconstruction and construction, the passed and the present, the abstract and the concrete, the imagined and the real - coexist in this world. Rather than appreciated, it is an art work more of thinking and casting value upon. 

This is a design of “wind and rain” pavilion. The real rain drops echo with the sculpted one, and people’s shadows projected within the sculpture…This harmonious combination of art, people and nature finally contributes the holy enhancement of Humanism.

洪易《植物娃娃》 

作品创造性地汲取并弘扬了中国民间艺术的精华。娃娃树的创意似乎来自万物有灵的古老民间童话。人树同体的想象力，赋予了植物以人的身份和情感特征，寓意的就是山山水水、整个环境皆有生命。雕塑以铸铜为媒材塑造浑圆饱满的量体，让民俗化的人物造型更显天真浪漫、充满喜悦。艺术家在雕塑表面作画，鲜艳、别具一格的花纹图案，透射出他尽情挪用民间艺术积淀时所迸发的智性光芒。用笔的自由奔放，全然不受线条、形体所约束；而特殊烤漆的色彩也极其活泼，光泽艳丽。也许艺术家心存幻想，认为视觉享受可以让人暂时忘却现实的艰辛，才让这个植物娃娃更为接近传统节庆风俗中的某种吉祥物。娃娃一头多面，艺术家以迥异的手法勾绘出多个不同性格的面孔，幽默、轻松而富有戏剧张力。 

This is a great work of creativity on the essence of Chinese folk art. The originality of the botanic moppet seems to come from the folk fairy tale which believes that everything has a life. The association plants human identification and emotional features to the botanic tree, which extends to the purpose of content: The whole environment has its life. Material is copper, which is so thick and dense as to make the folklore character more naïve and joyful. The author has swayed his brush freely on the surface without any limitation, adopting unique flower patterns, bold lines and imaginative shapes, and besides the lively and bright colors, the work also sparks with his wisdom in transplanting the essence of folk art. Maybe it is through the visual enjoyment of this mascot-like moppet has wanted the author to fancy about a world of pleasure. By using artistic methods, the author makes it several faces of different facial expressions in one head, a sense of humor and a sense of dramatic impression.

洪易自述：

作品由中国传统花盆与花木造型做结合，利用拟人法的艺术概念及丰富的图腾色彩，将生命与花木相做比喻，说明生命的重要价值及任何可能性；无论是花木或生命，皆是大地万物之灵，成长在大自然这个环境下，接受供给与滋养，孕育出更多美的可能。

生命如同一棵花木，在成长过程中，环境里的一切人事物都有可能成为变量，对其造成影响，而环境所造成的影响并不会随着时间及岁月淡去，而是一步一步逐渐累积变成体内的养分，慢慢发酵而日益茁壮。

而这样的概念运用在生命个体上也是如此，一个生命在过程中，会遇上许多外在环境变量，然而无论变量是好是坏，都会使生命产生更多美的可能。这些在生命中出现的每个变量经过岁月的累积终将变甜美的回忆及经验，成为生命个体里不可或缺的因素，也是生命中最有价值之处。

从传统花盆孕育出丰富的花木，象征生命充满任何可能性，鲜艳的图腾如同美丽的生命绽放出更多美的可能，为生命增添更多希望色彩。

From artist Hung Yi: 

This work combines Chinese traditional flowerpot and plant sculpture and has utilized the anthropopathic art concept and abundant totem tint, to demonstrate the important value and extensive possibility of life by comparing the life to the flowers and the trees. Both plants and life are growing in Nature, receiving nutrients and gestate various beautiful possibilities.  

Life is just like a plant. During the process of growing up, all men and things in the environment can be the variables which are influential to it. What's more, the influence will not disappear as time lapses; instead, it will become part of the nutrient in the tree and grow up with it.

So is life. A life will meet many variables in the course of becoming mature too. But that’s where more beautiful possibilities derive from, for better or worse. The most treasured values about life shall be that as time passes by, each variable would become one’s sweet memory and an indispensable factor in life. 

The tree from traditional flowerpot symbolizes possibilities in life, while its shining totems bloom out more beauties of uncertainties and hope for life itself.

姜杰《诗桥》 

作品名为诗桥，实际上是以拱型桥为蓝本、载体，将宋代诗词名句这一中国传统文化的瑰宝植入当代雕塑语言之中，赋予作品全新的外观形象。拱型桥表面的铸铁文字，将古代文人在惠州留下的非物质的文化财富有机地转化为真实、可视、可感的物质形态。艺术家别出心裁的艺术表现方式，使不朽的人文精神润物无声地贯注于极富体积感、可作{yj}陈列的雕塑形象之中，让作品成为传承古代文脉、沟通先哲境界最为直接的媒介。诗句铺排在桥面上，使“诗”与“桥”这两个古典因素相得益彰。在公共空间中，拱型桥雕塑因其身形小巧，除了儿童可以登临其上、体验步步生诗的感受之外，成年公众还能把它当作小憩的长凳。诗桥可居可游的实用性，不仅使城市环境平添了一份具有民族文化底蕴的浪漫主义气息，而且形象地阐述了“诗意地栖居”这一极富人文关怀的城市居住理想。 

The Bridge of Poems, replants the traditional culture represented by the arching bridges and Song poems into the contemporary sculpture language, and dresses itself to a new appearance. The iron Chinese characters on the surface of the bridges transform the nonmaterial culture to some real, visible, and touchable materials. The author drops the rain of humanism to the hard and on-earth sculpture and molds it to a direct media to inherit tradition and speak to the ancestors. “Bridge” and “poems” match each other traditionally in the public space, where the small bridges welcome kids stepping on poem lines and adults leaning beside. The practical bridge decorates the city with a romance rooted deeply in culture, and has reinforced mankind’s inhabitance ideal on “poetic living”.

姜杰自述：

惠州西湖有六桥，烟霞桥，拱北桥，迎仙桥，西新桥，明圣桥，圆通桥。

历史上与惠州颇有渊源的诗人有苏轼和杨万里，他们都在惠州留下的xx诗句。苏轼的诗词代表了北宋文学的{zg}成就，他的xx词句“但愿人长久，千里共婵娟” 至今脍灸人口。宋哲宗邵圣元年（1094年）至邵圣三年他和爱妾朝云曾于惠州居住。曾有诗云：“罗浮山下四时春，卢橘黄梅次第新，日啖荔枝三百颗，不辞长作岭南人。”此后，南宋大诗人杨万里曾于宋孝宗淳熙六年（1179年）至十一年间任职广东，先后在惠州写下诸多精彩的诗作。其中有一首咏惠州城湖地理的经典之作：“左瞰丰湖右瞰江，三山出没水中央，峰头寺寺楼楼月，清煞东坡锦绣肠。”

本组作品借鉴了惠州多桥这一特点，在草坪上安置五件形如桥的拱型雕塑。拱型桥的桥面由以上几组特意收集来的苏轼和杨万里的xx诗句组成。诗句长短大小有所不同，每个颇有厚度的方块文字俱由生铁铸造而成，呈镂空状。对仗的诗句铺排，音韵、节奏的诗歌魅力巧妙地转化为视觉享受。诗桥安置在公园内，观众入园，可以让儿童在桥上行走，玩耍，读诗，认字，坐，倚，以达到寓教于乐的效果。作品通过现代雕塑的表达方式，把汉字的造型美生成到环境之中，成为我们足下的桥梁和基石。

From artist Jiang Jie:

The West Lake in Huizhou has its six bridges: Yanxia, Gongbei, Yingxian, Xixin, Mingsheng and Yuantong. 

The great poets Su Shi and Yang Wanli of Song Dynasty both left well-known lines in Huizhou. Su Shi, the representative of ultimate literal accomplishment of Northern Song, whose line “I wish you longevity only in hope to always share the beauty of the moon with you” has won universal praise, lived in Huizhou with his wife in 1094. One of his poems said, “Spring seems to be all seasons in Luofu Mountain and around. Ripe oranges and plums tempt people one after another in woods. Three hundred litchi nuts a day can feed anyone to be addicted being a Southerner, and they would.” Shortly after, Yang Wanli of Southern Song also contributed many beautiful poems at Huizhou when he served for the government in Guangdong. Here is the quote of a classic one: “With lakes be the left side and river the right, three hills stand out in the center of the water. Watching the moon in every temples and pavilions on the hill peaks, Dongpo (Su Shi) was prevailed by the peace to give up his great ambitions.”

This work is born for sake of the fact that Huizhou has numbers of bridges, with 5 pieces of arching bridges placed in the grass field. The surfaces of the bridges are paved by characters composed of a collection of Su Shi and Yang Wanli’s poems. The thick Chinese characters are forged sticking out, and the poetic beauty of the parallel and rhythmic language trickily transforms to a visual charm. The Bridge of Poems welcomes visitors and allows kids play with and teach themselves when hanging out here. A way of expression as modern sculpture has given a rebirth to Chinese characters to reflect its beauty and position as the paving stone of our every footstep.  

焦兴涛《亭》 

亭子向来是中国传统建筑美学的一种化身。而一个亭子样式的雕塑则是一个活脱脱的异数。这个亭子的四壁和顶棚、飞檐一律是镂空的铸铁材料，构成铸铁材料的最基本元素却属于一种雕塑语言，即一个个类似汉字“大”的人形符号。无数个细小的人形符号首尾相连，显然是通过焊接构成片、面乃至整个作品的网状结构。艺术家利用这种自创的“新材料”来重新定义亭子的美学样式，既有化整为零之意，又有聚沙成塔之念。作品的制作过程实质上就是把亭子的文化表皮翻过来、颠过去的一遍遍剖析和反省。藉此，艺术家试图以别具匠心的方式解构中国传统建筑的整体感和超稳定性。这个整体xx的亭子，其反常规状态却让人了耳目一新。它与周围的环境紧密相连、丝丝入扣。日月天地，尽皆纳入。作品呈现出的可居可游、虚怀若谷、坐拥天下的胸怀，其实是对雕塑、建筑概念的一种双向翻新。 

Pavilion is a common language of Chinese architectural aesthetics, but a sculpture out of the pavilion shape is a wholly exception. The iron materials for walls, roof, and mutules are all made through a unique sculpture art approach of mini human figure looking like Chinese character “大”. The human figures are all welded and connected end by end from a point to a surface and the whole network. The author’s self-made “new material” is redefining the beauty of a pavilion design, by the denotation of either “breaking up the whole into parts”, or “making a mickle by many a little”, while the process of production, shall be a journey of repeated self-thinking and reflection on the cultural skin of the pavilion. This artistic method is a creative deconstruction to the completeness and super stability of Chinese architectural tradition, so its unusual state would be a refresh for eyes. Every single details of it are integrated into the environment, and on the contrary it absorbs the outer world within as well. Either visited or lived and displaying an open-minded and modest mindset, such a pavilion speaks a two-way renovation of architectural and sculpture conceptions. 

焦兴涛自述：

传统文化符号的只言片语中折射出的历史意识和文化记忆让我痴迷，而以怎样的形式与当代文化对接，则使我兴趣盎然。我试图从个体经验的角度去感受其中的冲突、联系和意义。

很多人都有这样的经验，当你盯着书中的某个汉字，并长时间地观察它的间架结构，你会发现感觉中熟悉的某个字，突然间变得非常陌生。传统的艺术样式，在当代文化的审视下，已经成为一种文化符号，其中所折射出来的历史意识和文化记忆，就如同汉字一样，既令人熟悉又让人体验到一种全新的陌生。

这座以铸铁的小人和一些过去以及当代的符号焊接而成的亭子，其实是具有建筑样式的雕塑。它那种朦胧暧昧的虚幻感，正契合了我们对传统文化符号的零散记忆，以及那些随着岁月不断变化、调整、添加的当下和日常的因素。镂空的四壁和顶棚具xx效果，进入其中的人或物都会成为景中的一部分。同时数量巨大的小人构成一个独立的空间，又对观者产生一种莫名的压力，就如同文化对我们的压力一样，传统因素和现代人的关系，在中国亭子的造型中丝丝入扣地表现出来，镂空的视觉感受，又把周围的环境因素全都纳入其中。

雕塑单纯的古典造型和数量巨大的小人形成强烈对比，并试图将传统文脉与人文关怀均蕴藉其中。这是对中国传统建筑符号的重新理解，并由此获得一种对传统文化发展至今天的阐释角度和个人的参与体验。 

From artist Jiao Xingtao: 

How would the traditional culture with its symbols reflecting historical and cultural awareness meet modern elements? I attempt to feel the consequent conflicts, relations, and messages from a personal perspective. Many people have such experience like long-time staring at some Chinese character and studies of its structure would make one suddenly feel unknown about the familiar shape. The traditional art style has become a cultural symbol, when faced to the contemporary critics, the historical and cultural reflections are felt close, yet totally unfamiliar sometimes like the stared Chinese character. 

Made of human figures and any old and new symbols, the pavilion is a sculpture of architectural design. The dreamy and inexplicit sensation rightly fits in our scattered memories of the traditional culture and our understanding of the constantly changing, adjusting, self-supplementing nowadays. Any object in it becomes a part of the work. The independent space circled by quantities of mini-human forms pressure to the viewer like culture to us. The relationship between traditional elements and man is displayed with no reservation, and because of its perspective visual effects, it drinks in the beauty of the surrounding environment.

A strong contrast of the pure classical sculpture and enormous miniature human figures expresses a minding about the traditional and humanity, a rethinking of the traditional architectural symbols, and a perception of new angles of explanation and personal experiences on the development of traditional culture.