中西方雕塑空间对比研究
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摘要
一件完整的雕塑作品,除了作品本身所占的三维空间和作品所承担的艺术理想之外,作品在塑造的时候依赖雕塑家对空间的认识和把握能力,在解读的时候依赖观众,不同观众以个人意识解读出不同的作品涵义,辅助完成了雕塑的二次创造,从而赋予了雕塑“艺术”的意义。中西不同的社会文化背景致使形成不同的雕塑风格,西方文化传统肯定人的力量,注重科学实践,雕塑造型追求真实、酷肖;中国雕塑受传统文化中儒释道精神的影响,雕塑造型求“神似”讲“气韵”,追求雕塑主体与外在空间环境的呼应。
中西方雕塑空间的对比研究一直是雕塑家们努力研究的重要课题。本文的雕塑空间是一个广义的空间概念,分为:雕塑的可知空间、雕塑的可视空间、雕塑的可感空间三部分。在雕塑的可知空间里着重分析中西不同的历史、文化、思想对于两国雕塑家艺术思维的影响,以及雕塑艺术的表现形式;在雕塑的可视空间内,分析中西雕塑的可见形式和表现技法;在雕塑的可感空间里,分析由中西不同文化和审美理想造就的雕塑形态。以及在对比“可知”、“可视”、“可感”空间之后的目的:观者既能和雕塑家产生情感的共鸣,又能在共鸣之后衍生新的艺术思维,完成雕塑艺术二次创造,达到艺术的升华。雕塑家则在中西雕塑的“可视”、“可知”、“可感”空间对比之后,明晰中西雕塑的差异,理清思路,创作具有中国特色的当代雕塑。
雕塑是个空间的艺术,雕塑创作前的可知空间、雕塑完成后的可视空间、雕塑被解读时的可感空间,三者合而为一,雕塑才有意义;雕塑还是个发展的空间艺术,新世纪、新空间、新思维、新发展,知差别而后作,雕塑才有生命力。
A complete work of sculpture depends on the three dimensions taken up by itself and assumed artistic ideas, as well as depends on the realization and control abilities of sculptor to space when molding production, and depends on audience when reading, different meanings understood by different audience, assist the re-creation of sculptor and consequently endow the sculpture with meaning of“art”. The different social cultural backgrounds between Chinese and western countries form different sculpture styles. The western cultural traditions affirm people’s energy, and put emphasis on scientific practice, and the sculptures take people as the main body and aspire after reality and resemblance. Chinese sculptures aspire after“spiritual resemblance”and“artistic conception”.
The comparative study on Chinese and Western sculptures’spaces is always sculptors’key task, this paper’s sculpture space is a generalized space conception, which is divided into three types including knowable space of sculpture, visible space of sculpture and sensible space of sculpture. The knowable space of sculpture focuses on analyzing the influences on the two sides’artistic ways of thinking aroused by different histories, cultures and ideas of China and the West, and the representation forms of sculpture art. The visible space of sculpture focuses on analyzing the visible forms and representation skills of Chinese and Western sculptures. The sensible space of sculpture focuses on analyzing the sculpture configurations built up by different cultural and esthetic ideals. And the purpose after comparing the“knowable”,“visible”and“sensible”spaces: audience could make emotional resonance with sculptors, as well as derive new artistic thinking, finish the re-creation of sculptures and achieve sublimation of art. And sculptors will be clear on the diversity of Chinese and Western sculptures and create the modern sculptures with Chinese characteristics.
Sculpture is an art of space. The sculpture has meanings as of knowable space before creation, isible space after accomplishing sculpture and sensible space of reading sculpture which are all in one. Sculpture is also a developing space art with new century, new space, new idea and new development and it will have vitality when creating after knowing differences.
中西方雕塑空间的对比研究一直是雕塑家们努力研究的重要课题。本文的雕塑空间是一个广义的空间概念,分为:雕塑的可知空间、雕塑的可视空间、雕塑的可感空间三部分。在雕塑的可知空间里着重分析中西不同的历史、文化、思想对于两国雕塑家艺术思维的影响,以及雕塑艺术的表现形式;在雕塑的可视空间内,分析中西雕塑的可见形式和表现技法;在雕塑的可感空间里,分析由中西不同文化和审美理想造就的雕塑形态。以及在对比“可知”、“可视”、“可感”空间之后的目的:观者既能和雕塑家产生情感的共鸣,又能在共鸣之后衍生新的艺术思维,完成雕塑艺术二次创造,达到艺术的升华。雕塑家则在中西雕塑的“可视”、“可知”、“可感”空间对比之后,明晰中西雕塑的差异,理清思路,创作具有中国特色的当代雕塑。
雕塑是个空间的艺术,雕塑创作前的可知空间、雕塑完成后的可视空间、雕塑被解读时的可感空间,三者合而为一,雕塑才有意义;雕塑还是个发展的空间艺术,新世纪、新空间、新思维、新发展,知差别而后作,雕塑才有生命力。
A complete work of sculpture depends on the three dimensions taken up by itself and assumed artistic ideas, as well as depends on the realization and control abilities of sculptor to space when molding production, and depends on audience when reading, different meanings understood by different audience, assist the re-creation of sculptor and consequently endow the sculpture with meaning of“art”. The different social cultural backgrounds between Chinese and western countries form different sculpture styles. The western cultural traditions affirm people’s energy, and put emphasis on scientific practice, and the sculptures take people as the main body and aspire after reality and resemblance. Chinese sculptures aspire after“spiritual resemblance”and“artistic conception”.
The comparative study on Chinese and Western sculptures’spaces is always sculptors’key task, this paper’s sculpture space is a generalized space conception, which is divided into three types including knowable space of sculpture, visible space of sculpture and sensible space of sculpture. The knowable space of sculpture focuses on analyzing the influences on the two sides’artistic ways of thinking aroused by different histories, cultures and ideas of China and the West, and the representation forms of sculpture art. The visible space of sculpture focuses on analyzing the visible forms and representation skills of Chinese and Western sculptures. The sensible space of sculpture focuses on analyzing the sculpture configurations built up by different cultural and esthetic ideals. And the purpose after comparing the“knowable”,“visible”and“sensible”spaces: audience could make emotional resonance with sculptors, as well as derive new artistic thinking, finish the re-creation of sculptures and achieve sublimation of art. And sculptors will be clear on the diversity of Chinese and Western sculptures and create the modern sculptures with Chinese characteristics.
Sculpture is an art of space. The sculpture has meanings as of knowable space before creation, isible space after accomplishing sculpture and sensible space of reading sculpture which are all in one. Sculpture is also a developing space art with new century, new space, new idea and new development and it will have vitality when creating after knowing differences.
引文
1梁思成.中国雕塑史[M].北京:百花文艺出版社,1998.
2胥建国.精神与情感—中西雕塑的文化内涵[M].北京:北京商务印书馆,2003,8:18-34.
3赖兴才.中西古代雕塑的空间观念[J].龙岩学院学报,23(5):93.
4黄宗贤,吴永强.中西雕塑比较[M].河北河北美术出版社,2003:179-180.
5同上
6胥建国.精神与情感—中西雕塑的文化内涵[M].北京:北京商务印书馆,2003,8:314 .
7钱绍武漫谈艺术[DB∕OL] http://www.xiaoshuo.com/readbook/0011010753_12235_7.html8同513
9李修平.李零<入山与出塞>[J].台湾东亚文明研究学刊,2006,3(1):301
10郎天咏.盛世风神——隋唐雕塑艺术[M].北京:文物出版社,2004,8:8
11许正龙.雕塑学——立体材料艺术探索[M].沈阳:辽宁美术出版社,2001,8:144.
12许正龙.雕塑学——立体材料艺术探索[M].沈阳:辽宁美术出版社,2001,8:147.
13叶庆文.雕塑艺术[M].杭州:中国美术学院出版社,1997.
14黄宗贤,吴永强.中西美术比较十书——中西雕塑比较[M].石家庄:河北美术出版社,2001,8:18.
15张建波.文化透析——雕塑之于空间意识的意义[J].艺术百家,2003(4).
16王永先.双林寺[M].太原:山西人民出版社出版,1999,4:11.
17胥建国.精神与情感——中西雕塑的文化内涵[M]北京:商务印书馆2003,8:304.
18王宏建,袁宝林.美术概论[M]北京:高等教育出版社,1994.
19亨利·托马斯,达纳·李·托马斯.大画家传[M].成都:四川美术出版社,1983:27.
20皮力.国外后现代雕塑[M]南昌:江西美术出版社,2000:126.
[1]梁思成.中国雕塑史[M].北京:百花文艺出版社,1998
[2]胥建国.精神与情感—中西雕塑的文化内涵[M].北京:北京商务印书馆,2003
[3]黄宗贤,吴永强.中西雕塑比较[M].河北:河北美术出版社, 2003
[4]郎天咏.盛世风神——隋唐雕塑艺术[M].北京:文物出版社,2004
[5]许正龙.雕塑学——立体材料艺术探索[M].沈阳:辽宁美术出版社,2001
[6]叶庆文.雕塑艺术[M].杭州:中国美术学院出版社,1997
[7]王永先.双林寺[M].太原:山西人民出版社, 1999
[8]王宏建,袁宝林.美术概论[M]北京:高等教育出版社,1994
[9]亨利·托马斯,达纳·李·托马斯.大画家传[M].刘明毅,唐伯祥译.成都:四川美术出版社,1983
[10]刘凤君.考古中的雕塑艺术[M].济南.山东画报出版社,2009
[11]张辉,吴晓鸥.图说世界雕塑[M].长春:吉林人民出版社,2009
[12]吴为山,传义.中国佛教艺术[M].南京:南京大学出版社,2008
[13]滕晓松.过程与结果[M].长沙:湖南人民出版社,2008
[14]长宁生.权利与荣耀——罗马帝国与中国汉代雕塑艺术比较[M].西安:陕西人民出版社,2002
[15]张涵.美学大观[M].郑州:河南人民出版社,1986
[16]冯友兰.中国哲学史[M].北京:商务印书馆,2006
[17]陈芳.中西艺术精神的缘起:中国先秦与古希腊艺术之比较[M].北京:京华出版社,2000
[18]徐华.两汉艺术精神嬗变论[M].上海:学林出版社,2003
[19]皮力.国外后现代雕塑[M]南昌:江西美术出版社,2000
[20]赖兴才.中西古代雕塑的空间观念[J].龙岩学院学报,25(5).
[21]张建波.文化透析——雕塑之于空间意识的意义[J].艺术百家,2003(4)
[22]李修平.李零<入山与出塞>[J].台湾东亚文明研究学刊,2006,3(1)
[23]钱绍武.漫谈艺术[DB∕OL] http://www.xiaoshuo.com/readbook/0011010753_12235_7.html
2胥建国.精神与情感—中西雕塑的文化内涵[M].北京:北京商务印书馆,2003,8:18-34.
3赖兴才.中西古代雕塑的空间观念[J].龙岩学院学报,23(5):93.
4黄宗贤,吴永强.中西雕塑比较[M].河北河北美术出版社,2003:179-180.
5同上
6胥建国.精神与情感—中西雕塑的文化内涵[M].北京:北京商务印书馆,2003,8:314 .
7钱绍武漫谈艺术[DB∕OL] http://www.xiaoshuo.com/readbook/0011010753_12235_7.html8同513
9李修平.李零<入山与出塞>[J].台湾东亚文明研究学刊,2006,3(1):301
10郎天咏.盛世风神——隋唐雕塑艺术[M].北京:文物出版社,2004,8:8
11许正龙.雕塑学——立体材料艺术探索[M].沈阳:辽宁美术出版社,2001,8:144.
12许正龙.雕塑学——立体材料艺术探索[M].沈阳:辽宁美术出版社,2001,8:147.
13叶庆文.雕塑艺术[M].杭州:中国美术学院出版社,1997.
14黄宗贤,吴永强.中西美术比较十书——中西雕塑比较[M].石家庄:河北美术出版社,2001,8:18.
15张建波.文化透析——雕塑之于空间意识的意义[J].艺术百家,2003(4).
16王永先.双林寺[M].太原:山西人民出版社出版,1999,4:11.
17胥建国.精神与情感——中西雕塑的文化内涵[M]北京:商务印书馆2003,8:304.
18王宏建,袁宝林.美术概论[M]北京:高等教育出版社,1994.
19亨利·托马斯,达纳·李·托马斯.大画家传[M].成都:四川美术出版社,1983:27.
20皮力.国外后现代雕塑[M]南昌:江西美术出版社,2000:126.
[1]梁思成.中国雕塑史[M].北京:百花文艺出版社,1998
[2]胥建国.精神与情感—中西雕塑的文化内涵[M].北京:北京商务印书馆,2003
[3]黄宗贤,吴永强.中西雕塑比较[M].河北:河北美术出版社, 2003
[4]郎天咏.盛世风神——隋唐雕塑艺术[M].北京:文物出版社,2004
[5]许正龙.雕塑学——立体材料艺术探索[M].沈阳:辽宁美术出版社,2001
[6]叶庆文.雕塑艺术[M].杭州:中国美术学院出版社,1997
[7]王永先.双林寺[M].太原:山西人民出版社, 1999
[8]王宏建,袁宝林.美术概论[M]北京:高等教育出版社,1994
[9]亨利·托马斯,达纳·李·托马斯.大画家传[M].刘明毅,唐伯祥译.成都:四川美术出版社,1983
[10]刘凤君.考古中的雕塑艺术[M].济南.山东画报出版社,2009
[11]张辉,吴晓鸥.图说世界雕塑[M].长春:吉林人民出版社,2009
[12]吴为山,传义.中国佛教艺术[M].南京:南京大学出版社,2008
[13]滕晓松.过程与结果[M].长沙:湖南人民出版社,2008
[14]长宁生.权利与荣耀——罗马帝国与中国汉代雕塑艺术比较[M].西安:陕西人民出版社,2002
[15]张涵.美学大观[M].郑州:河南人民出版社,1986
[16]冯友兰.中国哲学史[M].北京:商务印书馆,2006
[17]陈芳.中西艺术精神的缘起:中国先秦与古希腊艺术之比较[M].北京:京华出版社,2000
[18]徐华.两汉艺术精神嬗变论[M].上海:学林出版社,2003
[19]皮力.国外后现代雕塑[M]南昌:江西美术出版社,2000
[20]赖兴才.中西古代雕塑的空间观念[J].龙岩学院学报,25(5).
[21]张建波.文化透析——雕塑之于空间意识的意义[J].艺术百家,2003(4)
[22]李修平.李零<入山与出塞>[J].台湾东亚文明研究学刊,2006,3(1)
[23]钱绍武.漫谈艺术[DB∕OL] http://www.xiaoshuo.com/readbook/0011010753_12235_7.html