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作为一种可被传授的知识的形——散论传统雕塑中形的文化特征

As a Kind of Knowledge Pass-on Shape——Disperse Discussion of Cultural Characteristic of Shape in Traditional Sculpture
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摘要 关于日常语言 日常语言一般是作为实用交流的工具,这已经成为一种共识,它区别于艺术语言这种摒弃实用的仅仅作为审美的一种媒介;但是艺术语言在某一阶段或几个阶段都流行某一种或几种样式,这些样式构成了艺术语言自身的日常,这也是艺术语言自身内部要求求新的原因。 关于传统雕塑 自杜尚以来或者说用黑格尔对现代社会中的艺术加以理解的话,日常语言通过仅仅改变语境使之成为艺术,这显然有别于遵循艺术语言自身的日常并使之进入日常语言或改变艺术语言自身的日常的艺术,这种遵循艺术语言自身的日常或试图摆脱某些日常进而创造出某些新的样式并使之重新进入日常的雕塑,我称之为传统雕塑。 About Daily Language: Daily language generally conducts as a practical communication implement, which has become a common view. It distinguishes from art language, a media of practicality spurned and only used for appreciation of beauty. However, during a certain period or several periods, art language is in fashion via a way or several ways, which comprises of self routine of art language, and this is also the reason for self inner innovation required of art language.About Traditional Sculpture: Since Duchamp or understanding the art in modern society with Hegel's words, making daily language into routine art only via changing language environment apparently differentiates from abiding by routine of art language itself or changing daily art of art language itself. This sculpture of abiding by the routine of art language itself or attempting to get rid of routine so as to create new modes and make it reenter routine is called traditional sculptureAbout Shape of Sculpture: Traditional sculpture is shown by means of shape, namely, the whole sculpture is composed of three-dimensional, spatial and visual and tactile shape. Even if tinct is added, that's not tinct, but variegation. Color, which doesn't reply on anything except shape, is the attachment of shape. In sculpture, shape and shape are composed of sculpture mode and uniqueness of sculpture mode. Therefore, 'shape' in sculpture is radical. Due to usage of habit, without doubt it's dangerous to replace 'mode' with 'shape' to some degree. Analogously, due to usage of habit, as for sculpture, 'shape' is more accurate and unique than 'mode'.
作者 贺棣秋
出处 《雕塑》 2004年第4期38-39,共2页 Sculpture
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