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在我所认识的雕塑家中,许正龙是一位擅长于象征手法来表达理念的艺术家。他似乎完全不同于过去我曾评论过的雕塑家吴少湘,比较之下,他也有吴少湘所常用的“隐寓”,但其目的却不是用来表现同“弹性”的关系,进而引起人类生命力的联想,达到作者所期待的强力。许正龙的“隐寓”更多的是以经过改造的具体的形体来表达抽象的意念,这就是“象征”。他总是以他独特的视角观照雕塑,昭示一些人生社会的命题。其基调往往是凝重的,富有悲剧性的。 作为生活在本世纪最后几年的雕塑家,我读他的作品还要看到他所处的雕塑环境,这似乎是荒谬的,但显然他的那些纪念性的为某个工程或某件事而作的雕塑,不在我评论之列,我记忆当中,自从80年代中国新美术运动以来,雕塑家似乎有很大数量的人有意无意地置身于这个时代之外,因而造成现代雕塑从根本意义上
Among the sculptors I know, Xu Zhenglong is an artist who is good at symbolism to express ideas. He seems completely different from the sculptor Wu Shaoxiang I used to comment on. In comparison, he also has the “hidden” commonly used by Wu Shao-hsiang, but his purpose is not to show the relationship with “flexibility” and then lead to human vitality Lenovo, to achieve the author’s expectations of strength. Xu Zhenglong’s “hidden” is more of a modified concrete form to express the abstract idea, this is the “symbol.” He always sculpts with his unique perspective and shows some of the propositions of life and society. The tone is often dignified and tragic. As a sculptor living in the last years of this century, it seems absurd to read his work and his sculpture, but apparently his memory of a project or something The sculptures are not in the list of me. In my memory, since the Chinese New Art Movement in the 1980s, it seems that a large number of people, consciously or unconsciously, have left the sculptors outside of this era, resulting in the fundamental sculptures of modern sculptures