传神写意与当代情怀——中国写意雕塑论

Vivid Freehand Brushwork and Contemporary Feelings——Freehand Sculpture of Contemporary China

"写"是中国书画艺术从古至今一直沿用的动词,它标明一种以"笔"为工具书写符号来表意的方式,因此,在中国的"笔墨"艺术、"书法"艺术中尤为常用。书法中的点线、横竖结构具有独特的生命韵律。而中国的"写"迥异于西方的"画",既有物质材料的不同,又有运笔使用技法的差异,是民族文化传统的历史积淀,是以笔技与笔力进行人的情意表达的积淀。写意,是"写"中出"意",由"写"而表意,不但是所写的符号形象作品的"表意",而且是"写"者本身的生命情态与神思的"表意"。"写意"一词,当代艺术理论中主要是用以对中国绘画的一种表现特征与手法的概括,与"工笔"相区别。"写意"已经成为了融会贯通于中国诗、书、画、塑等多种艺术种类之中的一种核心形式语言,在艺术理论中不断被重新阐释与推演。20世纪后半期,以"写意"概念来表述中国雕塑艺术的独特追求逐渐开始盛行,并有普遍化之趋势,雕塑艺术出现了以"写意"对抗西方写实主义与抽象表现主义的集体想象。吴为山教授首次提出了"写意雕塑"这一理念。20世纪90年代,吴为山的雕塑作品就已经开始显露出中国传统文化中的写意精神。2002年,在厦门举办的"第八届雕塑论坛"上,他将"写意雕塑"这一概念作为学术理论正式提出。继而,又在2005年"首届中国美术金彩·长安论坛"上做了以《我看中国雕塑艺术的风格特质——论中国古代雕塑的八大类型》为题的报告,将中国古代雕塑大致归纳为八种风格类型,这成为中国写意雕塑理论的重要支撑。"写意雕塑"理念的提出,既是对20世纪以来雕塑艺术前辈们艺术创作的一个总结,也是吴为山对雕塑艺术不懈追求的一种表达,更是知识分子们对于中国艺术与西方艺术相得益彰的一种理论想象。

＂Writing＂is the verb used in Chinese writing and painting all the way from ancient times to pres- ent and it means a way to express certain meanings with the signs produced with brushes. Therefore writing is commonly used in Chinese painting and calligraphy. Dots, lines, horizontal strokes and vertical strokes all have lives and souls. The Chinese ＂writing＂ is largely different from western ＂painting＂ with different mate- rials and techniques. This is because of the different national and cultural traditions and the different ways to express feelings and emotions. Freehand brushwork is to express feelings in and from writing; meanings are expressed not only from the works of signs but also from the artist＇ s life and thoughts. The word ＂Xieyi＂ （freehand brushwork）, which is distinguished from＂ Gongbi＂, is a generalization of the features and methods of a kind of Chinese painting in contemporary art theories. Freehand brushwork has become a core language used in many Chinese art forms like poetry, calligraphy, painting and sculpture and has got new interpreta- tions and development in art theory. In the second half the 20th century, the pursuit of applying freehand brushwork in Chinese sculpture art became popular and prevalent as a measure to resist the western realism and abstract expressionism. In this context, Wu Weishan advanced the concept of ＂freehand sculpture＂. As early as 1990s, Wu Weishan＇ s sculptures had manifested freehand brushwork of traditional Chinese culture. As an academic theory, it was first advanced officially by Wu in 2002 on The Eighth Sculpture Forum held in Xiamen. Then in 2005 on First China Art Golden Color： Chang＇ an Forum , he made a report titled The Styles and Features of Chinese Sculpture Art in My Eyes on the Eighth Types of Ancient Chinese Sculptures in which he summarized eight types of ancient Chinese sculptures. This report provides strong theoretical support for Chinese freehand brushwork sculpture. ＂Freehand sculpture＂ is both a summary of the artistic cre- ations of the sculptors since the 20th century and a reflection of Wu Weishan＇ s perseverant pursuit of sculp- ture art, and it＇ s more of a theoretical imagination of artists to combine Chinese arts with Western arts.