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我一直有一种好奇,中国民间雕塑艺人现在是什么样的状况? 二十世纪以来,一种外来的雕塑样式占据了主流,而中国自身的雕塑传统则在民间雕塑艺人那里沉浮不定,自生自灭。实际上,现代中国雕塑有两条线索,一个是“当朝的”,一个是“在野的”;而这个“在野党”才是真正本土的。我不断问自己:如果我们不了解中国民间的雕塑活动,不了解中国民间雕塑艺人起码的生存状态,算不算了解中国的雕塑传统? 终于有了一个机会,通过一个过去的学生帮忙,找到了当地一个民间雕塑艺人。2001年11月,趁着在杭州讲课的空档,我和这个学生去拜访一个名叫许良国的民间雕塑艺人。 这是湖州附近的一个小镇,埭溪。第一眼见到许良国的时候,我立刻感到,他的样子多少有些出乎我的预料,我很难一下子解释清楚我期待看到什么,眼前西装革履的许良国知书达理、文质彬彬,
I have always had a curiosity about what kind of situation Chinese folk sculpture artists are now. Since the twentieth century, an exotic sculpture has dominated the sculpture style, while China’s own sculpture tradition has fluctuated in and out of folk sculpture artists . In fact, modern Chinese sculpture has two clues: one is “dynasty” and the other is “on the horizon.” The “opposition party” is the real one. I keep asking myself: If we do not understand the Chinese folk sculpture activities, we do not understand the minimum living conditions of the Chinese folk sculpture artists, do we not understand the Chinese sculpture tradition? Finally we have a chance, through the help of a past student, to find out A local folk sculpture artist. In November 2001, taking advantage of the lecture space in Hangzhou, I and this student went to visit a folk sculptor named Xu Liangguo. This is a small town near Huzhou, Sui River. When I saw Xu Liangguo at first glance, I immediately felt that he was somewhat out of my expectation, and it was hard for me to explain all of a sudden what I expected to see. At present, Xu Liangguo,