传神写意与当代情怀——中国写意雕塑论

发布时间：2018-01-22 05:28

本文关键词： 写意雕塑理论实践　出处：《民族艺术研究》2016年02期 　论文类型：期刊论文

【摘要】："写"是中国书画艺术从古至今一直沿用的动词,它标明一种以"笔"为工具书写符号来表意的方式,因此,在中国的"笔墨"艺术、"书法"艺术中尤为常用。书法中的点线、横竖结构具有独特的生命韵律。而中国的"写"迥异于西方的"画",既有物质材料的不同,又有运笔使用技法的差异,是民族文化传统的历史积淀,是以笔技与笔力进行人的情意表达的积淀。写意,是"写"中出"意",由"写"而表意,不但是所写的符号形象作品的"表意",而且是"写"者本身的生命情态与神思的"表意"。"写意"一词,当代艺术理论中主要是用以对中国绘画的一种表现特征与手法的概括,与"工笔"相区别。"写意"已经成为了融会贯通于中国诗、书、画、塑等多种艺术种类之中的一种核心形式语言,在艺术理论中不断被重新阐释与推演。20世纪后半期,以"写意"概念来表述中国雕塑艺术的独特追求逐渐开始盛行,并有普遍化之趋势,雕塑艺术出现了以"写意"对抗西方写实主义与抽象表现主义的集体想象。吴为山教授首次提出了"写意雕塑"这一理念。20世纪90年代,吴为山的雕塑作品就已经开始显露出中国传统文化中的写意精神。2002年,在厦门举办的"第八届雕塑论坛"上,他将"写意雕塑"这一概念作为学术理论正式提出。继而,又在2005年"首届中国美术金彩·长安论坛"上做了以《我看中国雕塑艺术的风格特质——论中国古代雕塑的八大类型》为题的报告,将中国古代雕塑大致归纳为八种风格类型,这成为中国写意雕塑理论的重要支撑。"写意雕塑"理念的提出,既是对20世纪以来雕塑艺术前辈们艺术创作的一个总结,也是吴为山对雕塑艺术不懈追求的一种表达,更是知识分子们对于中国艺术与西方艺术相得益彰的一种理论想象。
[Abstract]:"write" is a verb that has been used in Chinese painting and calligraphy art since ancient times. It indicates a way to express meaning by writing symbols with "pen" as a tool, therefore, the art of "brush and ink" in China. "calligraphy" art is particularly commonly used. In calligraphy, the point line, vertical structure has a unique rhythm of life, and the Chinese "write" is very different from the Western "painting", there are different material materials. There is also the difference in the use of techniques, which is the historical accumulation of national cultural tradition, and the accumulation of human feelings expressed by pen skills and pen power. Freehand brushwork is the expression of "meaning" in "writing" and is expressed by "writing". It is not only the "ideographic meaning" of the symbolic image works written, but also the life modality of the "writer" and the "freewill" of the contemplation. "freehand brushwork" is the word "freehand brushwork". Contemporary art theory is mainly used to generalize a kind of performance characteristics and techniques of Chinese painting, which is different from "meticulous brushwork". "freehand brushwork" has become a comprehensive understanding of Chinese poetry, books and paintings. One of the core forms of art, such as plastic, has been reinterpreted and reinterpreted in the second half of the 20th century. With the concept of "freehand brushwork" to express the unique pursuit of Chinese sculpture art gradually began to prevail, and there is a trend of generalization. Sculpture art appeared the collective imagination of "freehand brushwork" against Western realism and abstract expressionism. Professor Wu Wei-shan first put forward the idea of "freehand brushwork sculpture" in 90s of the 20th century. Wu Weishan's sculpture works have already begun to reveal the spirit of freehand brushwork in Chinese traditional culture. In 2002, the 8th Sculpture Forum was held in Xiamen. He put forward the concept of "freehand brushwork sculpture" as an academic theory. In 2005, "the first Chinese Art Golden Color 路Changan Forum" made a report entitled "I see the style characteristics of Chinese Sculpture Art-on the eight types of Ancient Chinese Sculpture". The ancient Chinese sculpture is roughly divided into eight styles, which has become an important support of the theory of freehand brushwork sculpture. The idea of "freehand brushwork sculpture" is put forward. It is not only a summary of the artistic creation of the predecessors of sculpture art since 20th century, but also an expression of Wu Wei-shan 's unremitting pursuit of sculpture art. It is a theoretical imagination for Chinese art and western art to complement each other.
【作者单位】：中国艺术研究院;东北师范大学美术学院;
【基金】：国家社科基金青年项目“新世纪底层叙事研究”(项目编号:12czw080) “中国博士后科学基金第54批面上资助”项目(博士后编号125144);“中国博士后科学基金第八批特别资助”项目(博士后编号125144) 吉林省“十二五”教育科学规划重点项目“风景写生教学引领学生进入艺术状态研究”ZD15003系列成果之一~~
【分类号】：J305
【正文快照】： 一、神韵之间——“写意雕塑论”的提出“写意”一词,当代艺术理论中主要将其用以对中国绘画的一种表现特征与手法的概括,与“工笔”相区别。元夏文彦《图画宝鉴》卷三:“(仲仁)以墨晕作梅,如花影然,别成一家,所谓写意者也。”写意,是不追求用笔工细,而注重表现客观对象的内在

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