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丹麦雕塑家宙弗尔德森有一句名言:粘土表示生命,石膏表示死亡,大理石表示起死回生。 这是一句非常生动的话。 雕塑家从事于形状及体块的制作,但雕塑作品却不是简单的形状与体块的同构。在自然界,自从有了人类,万事万物便无不带上了人的烙印。人一方面按照美的规律来建造自己,另一方面又按照生命现象去重构世界。对于雕塑家的创作来说,其作品无论是具象的,还是抽象的,表现主题都是力图从内涵上探求对生命的领悟与认同,也就是对生命世界的阐发与再造。因此,雕塑作品本身不仅仅具有一定的量(尺度、体量)、一定的形(空间、节奏、韵律)和一定的质(材质、色彩)等物质结构空间,还具有另一个须用心灵而不是视觉来把握的意境构成空间。在这里,心灵的眼睛将雕塑作品所具有的统一、和谐而又富有变化的量、形、质等物质结构要素和观赏者对其艺术体验整合在一起,让我们感受到一个更为巨大的也许最终是精神的现实的存在,而雕塑作品本身只不过是某种更富内涵的能把感情及气氛从雕塑家传递给观众的语言手段。观赏者这种再创造的行为就是能动地去看,去触摸、去体验——用视觉和触觉去“沉思”。
There is a famous saying by Danish sculptor Zev Erdesen: clay means life, gypsum means death, and marble means death. This is a very vivid words. Sculptors engaged in the production of shapes and blocks, but the sculpture is not a simple shape and body isomorphism. In nature, everything has brought human markings since human beings. On the one hand, men build themselves according to the laws of beauty, and on the other hand reconstruct the world according to the phenomena of life. For the sculptor ’s creation, his works, no matter figurative or abstract, are trying to seek the comprehension and identity of life from connotation, that is, the elucidation and reconstruction of life world. Therefore, the sculpture itself not only has certain amount (scale, volume), certain form (space, rhythm, rhythm) and certain material (material, color) and other physical structure space, but also have another need to use the soul and Not the vision to grasp the mood to form a space. Here, the eye of the mind integrates the sculptural works with the elements of the physical, harmonious, and changing volume, shape, and quality, and the viewer’s artistic experience, so that we may feel a greater Eventually spiritual realities exist, and the sculptural work itself is but a linguistic means of something more connotative to convey the emotions and atmosphere from the sculptor to the audience. The recreating behavior of the viewer is to look and feel, touch and experience - to “contemplate” with the visual and the tactile.