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入门初学时,先生们是那么教的:雕塑——凝固的艺术,坚硬厚重,是固定不变的。二战时期,亚历山大·卡德尔率先使用轻盈材料,造型比较灵巧,采用悬吊方式,微风掠过,作品动起来了。之后,学科间在快速交错与融合。雕塑界呈现开放状态,在造型过程中,塑造、雕刻、构造三驾马车齐头并进。谈及具象,对应的是抽象与意象,三者怎么划分?实际并不泾渭分明,没有明确界限。划分基础是现实参照系,其理论根源是柏拉图的“镜子说”、“模仿论”。意象并不全在具象与抽象之间,意象有时是悬在空中、飘忽不定的。言及具象,我只想说一句,“具象雕塑与用具象手法创作的雕塑不是一回事”。
Beginners, the gentlemen taught that: sculpture - solidified art, hard and heavy, is fixed. During World War II, Alexander Kadel took the lead in the use of lightweight materials, modeling more dexterity, the use of suspension, the breeze passing, the works moved. After that, interdisciplinary rapid interlacing and integration. The sculpture community is in an open state. In the modeling process, the troika is molded, carved and constructed. When it comes to figurative, it corresponds to abstract and imagery. How are the three divided? The reality is not entirely different and there is no definite boundary. The division of the foundation is a realistic frame of reference, the theoretical source of which is Plato’s Mirror Theory and Platonic Theory. Imagery is not entirely between figurative and abstract images, sometimes suspended in the sky, erratic. Words and figurative, I just want to say, “figurative sculptures and sculptures created by the use of elephant means is not the same ”.