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以王凤祚为代表的王家黄杨木雕深深植根于中国传统民间艺术的丰厚土壤之中,又能在民族传统的基础上锐意创新,蹊径独辟,经过几代人的努力,形成自己的艺术风格。早在五十年代,王凤祚先生的《苏武牧羊》、《李逵杀虎》、《将相和》、《水帘洞》、《笑死老牛皋气死金兀术》、《大闹莫春园》等一系列取自传统题材的独具一格的黄杨木雕作品,已经饮誉海内外,享有盛名。黄杨木雕以人物造型见长,其嫩黄温润的色泽接近人的肤色,其细密流畅的纹理适宜显现人的动态与风韵,但因受材料体积的限制,黄杨木雕的造型又只能在极为有限的空间中传达品味不尽的理趣情意,如一幅扇面画或一首抒情短诗,属于小品雕刻的范畴。王凤祚所塑造的人物大都是处于特定情景中的动态的人物。他特别擅长发现人物最富包孕性的动作瞬间及其最具代表性的个性化情态,通过对特定情景中个性化人物瞬间表情姿态的精雕细刻,以静示动,以形传神,以小见大,充分展现了传统黄杨木雕小巧、蕴藉、精致、细腻的艺术特色,并且自觉地在追求一种极富生活情趣的意境美的艺术风格。观赏王风
The wood carving of Wang Family Boxwood, represented by Wang Fengfan, is deeply rooted in the rich soil of Chinese traditional folk art. It is also able to innovate on the basis of traditional ethnic traditions and create a unique artistic style through generations of efforts . As early as the fifties, Mr. Wang Fenghu’s “Su Wu Shepherd”, “Li Zu kill the tiger”, “will phase and”, “Shuilian Dong”, “ Park ”and a series of unique themes from the traditional themes of boxwood carvings, has been renowned at home and abroad, renowned. Boxwood woodcarving figures to shape, its bright yellowish warm color close to the color of the skin, its fine smooth texture appropriate to show the dynamic and charm of people, but because of the material volume constraints, the shape of boxwood carving and only in a very limited space To convey the endless taste of the rational interest, such as a fan painting or a lyrical short poem, belong to the category of sculptures. Most of the characters shaped by Wang Fengtao are dynamic characters in a particular scene. He is particularly good at discovering the most intriguing gestures of the characters and their most representative individualized modalities. Through the caricature of the gestures of individualized characters in specific scenes, Small see large, fully demonstrated the traditional boxwood wood carving small, Yun, refined, delicate artistic features, and consciously in the pursuit of a very interesting artistic conception of artistic style. Watch the king of the wind