论文部分内容阅读
数年前,我曾对笃芳的木雕艺术作了如下的评论:“笃芳的术雕艺术早有定评。他深谙传统雕刻技艺,在中央工艺美术学院学习期间,师从工艺名家郑可教授,对现代艺术造型手法和艺术观念又心领神会,并使之融入传统木雕艺术之中,创立新貌。这次展出的《簪花仕女》、《东坡观砚》、《达摩踏波》、《屈子问天》,皆为上乘之作,造型简练,传神写照,形神兼备,或典丽,或壮美,或神奇,或深沉,莫不引人遐思,给人启迪。”(见《浙江工艺美术》1996年第3期)现在看来,这一概评还是符合实际的。 传统黄扬木雕,一般以精雕细刻见长,但有些作品失之琐碎,缺乏整体感。我以为笃芳的木雕作品在这方面已有很大的突破:保留精雕细刻、严谨工整的优点,向单纯精到方面拓展,似乎达到了“奔放时不离法度,神微处要照顾到气派”(吴昌硕语,大意)的要求。像《簪花仕女》,人物全身和面部都很简练而不简单,而头饰又刻得精到而不失之于琐碎。整个作品谐调统一,高雅典丽。
A few years ago, I made the following comments on Benedict’s woodcarving art: “Benedict’s art of carving art has long been commented.” He is very familiar with traditional carving techniques. During his studies at the Central Academy of Arts and Crafts, Can be professor, on the modern art modeling techniques and art concepts and take the hint, and make it into the traditional art of wood carving, to create a new appearance.The exhibition’s “lady flower”, “Dongpo Guan Yan”, “ Wave ”,“ Qu Yuan asked the day ”, are all excellent, modeling concise, vivid portrayal, shape and spirit both, or classical, or magnificent, or magical, or deep, can not lead to reverie, inspiring people.“ ( See ”Zhejiang Arts and Crafts“ 1996 the third period) It now appears that this summary is realistic. Traditional Yang Yang wood carving, generally known to be carved, but some of the works lost trivial, the lack of overall sense. I think Benedict’s wood carving works have made great breakthroughs in this respect: to retain the merits of carving, rigorous and neat, to purely refined aspects, it seems that reached the ”unrestrained law, divine place to take care of Style “(Wu Changshuo language, the effect) requirements. Like ”Hairpin Ladies", the whole body and face characters are concise rather than simple, but the headdress is carved and refined yet trivial. Harmonious harmonization of the entire work, elegant and elegant.