三、全面开花上世纪七十年代至八十年代初那几年,王笃芳的木雕艺术逐渐走向成熟。他创作了《簪花仕女》和《泼水节》等黄杨木雕作品,初步形成了民族传统与创新和谐统一的艺术风貌。《泼水节》创作于1979年。笃芳从西双版纳回来后,脑海中不断浮现着泼水节上傣族姑娘那活泼优美又有点调皮的身影。创作的欲望按耐不住,终于有一天把《泼水节》的立意和构图定下来了。作品上,一位傣族少女,当她把一盆清水泼洒向选定的对象之后,正在欣喜地观赏她这一行动的效果。这姑娘,身材苗条,在活动中形成宽松的S形曲线,左手抬起,似乎要遮挡住自己的脸面,拿水盆的右手却拉向右下边,使雕塑的各个角度都富有变化。造型单纯洗炼,衣服贴身,甚少衣纹,突出了既健康又美的女体。面部表情又聪明又纯 Third, the full bloom Seventies of the last century to the early eighties that years, Wang Dufang wood carving art gradually maturing. He has created works of “boxwood ladies” and “Songkran” and other boxwood carvings, initially forming the artistic style of harmony and unity between national traditions and innovation. “Songkran Festival” was created in 1979. Benedict Fang came back from Xishuangbanna, the mind of the Dai girl in the Songkran Festival continue to emerge that lively and beautiful and a little naughty figure. Desire of creation can not stand, finally one day “Songkran” concept and composition set down. In her work, a Dai girl, after she spilled a pot of fresh water to a selected audience, was delighted to see the effect of her action. The girl, slim and slender, formed a loose S-shaped curve during the activity. With her left hand raised, it appeared that she had to cover her face and take the right hand of the water basin to the lower right, which made the sculpture vary from angle to angle. Simple style scouring, personal clothing, very few clothes pattern, highlighting the both healthy and beautiful female body. Facial expressions are smart and pure