東西方雕刻藝術(shù)中的跨文化探索

文 胡昌民（加拿大）

東西方雕刻藝術(shù)中的跨文化探索

文 胡昌民（加拿大）

東西方文化的不同總會(huì)被人們簡(jiǎn)要地概括為一點(diǎn)：東方文化傾向于含蓄，西方文化更多的展示著直接。這種文化本質(zhì)的屬性不同，總是會(huì)體現(xiàn)在生活的各個(gè)方面，當(dāng)然也包括雕刻藝術(shù)。

在表現(xiàn)北美洲野生動(dòng)物的玉牙雕創(chuàng)作中，西方人更偏愛(ài)主題鮮明突出，內(nèi)容一目了然，顯而易見的形象和特定的造型語(yǔ)言，精準(zhǔn)到位的形象刻畫，給人直截了當(dāng)?shù)母惺芎颓逦挠∠蟆６鴸|方人習(xí)慣螺旋式的思維方式，散點(diǎn)透視，別有洞天。

The cultural difference between East and West is usually summarized as, “The Oriental culture is more reserved and the Western one tends to be more direct”. This cultural difference applies also to various aspects of life, including the sculpting art.

In showing jade and tooth carving of North American wildlife, Westerners prefer fresh and unusual topics with obvious themes, shapes, and a set language of forms with precise carving to give people a feeling of directness and a clear impression. Asian people prefer using the spiral method to reflect their thoughts and introduce another point of view.

加拿大碧玉《護(hù)仔的母熊》 胡昌民／作Canadian Jasper Protective mother bear

加拿大碧玉《鮭魚與蘆葦》?胡昌民／作Canadian Jasper Salmon with Reeds

東方傳統(tǒng)雕刻的一個(gè)特征，通常在雕刻創(chuàng)作中，以“最大限度地展示高難度工藝技巧，不可思議的巧色或材質(zhì)表現(xiàn)”作為主軸。而西方雕刻一個(gè)很好的啟示是，將雕刻工藝呈現(xiàn)的空間，擴(kuò)展到展示“自然美”和“健康意義”這一以“意象”為主軸的藝術(shù)創(chuàng)作之中去。這種雕刻作品所呈現(xiàn)出來(lái)的藝術(shù)性、美感或許更能獲得人們的喜愛(ài)，也更能加深人與雕刻藝術(shù)作品之間的心靈溝通。無(wú)疑的，這也為雕刻藝術(shù)家創(chuàng)造雕刻境界，提升玉雕作品藝術(shù)性價(jià)值，拓展了寬廣的揮灑空間。

One characteristic of the Oriental traditional carving technique is to “use the most restrictive way to show the most difficult skills and techniques, with unimaginable colours or texture”. Western sculptures, on the other hand, provide a very good indication that expands the space in sculpting into concepts such as natural aesthetics and the physical meaning in creating arts. The artistic and aesthetic values in this type of artwork may, perhaps, become more popular and may even improve the international communication between people and the sculpture. Undoubtedly, this also creates a realm in sculpting for the artists, and thereby raising the artistic value of the artwork and allowing more space in creativity.

加拿大碧玉《飛鷹和枝椏》 胡昌民／作Canadian Jasper Flying Eagle with a branch

加拿大碧玉《游玩的湖鯨》?胡昌民／作Canadian Jasper Killer whales playing

中國(guó)繪畫藝術(shù)中“山水取意，花卉取趣”的創(chuàng)作理念有值得玉雕創(chuàng)作學(xué)習(xí)借鑒的經(jīng)驗(yàn)，比如描繪“梅蘭竹菊”的中國(guó)畫，形似自然花草，意在隱喻君子的氣節(jié)與情操。又如，表現(xiàn)“老樹婆娑多姿，古柏蒼勁挺拔”的植物形象，用以比擬人的一種精神風(fēng)貌。這種將生活中本來(lái)普普通通的東西，運(yùn)用形象思維進(jìn)行深化、提煉，加工成為比生活本來(lái)面貌更具普遍意義的形象，是典型的現(xiàn)實(shí)主義“靈魂”。當(dāng)藝術(shù)家運(yùn)用畫筆，或者用雕刻造型這一“形象語(yǔ)言”手段，將臆想的形象內(nèi)容立體地再現(xiàn)在人們眼前，喚起人們的美感，給人以正面的影響和精神感染，這就是藝術(shù)的真正魅力！

In Chinese paintings, the artists painted “the mountains for their atmosphere, and the flowers for the embellishment”; this concept is worth adopting in jade-carving. For example, when sketching the four flowers (plum flowers, orchids, bamboo flowers, and chrysanthemums) in Chinese painting, their outline resembles the natural plants in order that they can symbolize the flair and the arrogance of a gentleman. The images of trees are draped with curtains of leaves, and the old cedar standing tall with dignity can be used to describe people. This method of using ordinary everyday object to describe image and concept, makes the image so much more meaningful and adds the soul to the artwork.

The true attraction of art is when an artist uses pens orsculptures to convey an image to awaken people and their sense of aesthetics, giving them positive influence.

加拿大玉牙雕刻作品展示在畫廊，被認(rèn)定為藝術(shù)品。從事雕刻的工作者，不是俗稱的工匠師傅，而是被尊稱為雕刻藝術(shù)家。一個(gè)很重要的原因是，加拿大乃至西方雕刻藝術(shù)界將 “工藝”與“藝術(shù)”完美結(jié)合，成為造型藝術(shù)的一個(gè)特征。它已經(jīng)不僅僅是用傳統(tǒng)概念中以大量比例的工藝技巧去展現(xiàn)雕刻藝術(shù)形態(tài)，而是用藝術(shù)理念主導(dǎo)創(chuàng)作，以特定的構(gòu)思、意念駕馭工藝技巧，去完成雕刻藝術(shù)作品。由此可見，當(dāng)代在西方流行的，把“藝術(shù)內(nèi)涵”定義，從傳統(tǒng)的純粹“雕刻技巧”、注重“外在表象”中解放出來(lái)，“利用雕刻媒材，發(fā)揮特殊技巧，賦予特定理念” ，三位一體的創(chuàng)作方法來(lái)成就雕刻藝術(shù)品，這正是西方雕刻藝術(shù)值得贊賞的可愛(ài)之處和精華所在。

雕刻家只有充分理解并且掌握中式思維和西式思維之間各自的精妙之處，取長(zhǎng)補(bǔ)短，才能將雕刻藝術(shù)跨越東西方文化，得到一種飛躍式的發(fā)展。

Canadian jade sculptures will be displayed in galleries and will be classified as objets d’art. Sculptors will not be classified as craftsmen but will be addressed as artisans. A very important reason is that Canada is where the Western art of sculpting fuses perfectly the art and the craft to form the objet d’art. It is no longer the traditional craft showing sculpting art forms but rather, a piece of art created according to artistic concepts, preset thinking, and concept-driven artistry. It is obvious that the definition of “art connotation” according to the West, is purely the technique of carving, concentrating on external expression only.“Using sculpting medium to demonstrate special techniques and embellishing it with special concepts” to complete a sculpture is the best thing about Western sculpting art.

When a sculptor can fully grasp and fuse the synergy of Chinese and Western concepts and the individual essence, then he has the ability to create cross-cultural sculptures with tremendous progress.

胡昌民

加拿大華裔雕刻家。早年畢業(yè)于上海工藝美術(shù)學(xué)校。1988年赴加拿大求學(xué)，1989年，進(jìn)入外國(guó)名家的玉雕藝術(shù)公司，從員工做起，學(xué)習(xí)切料、打磨、裝配，全面深入地學(xué)習(xí)西方人的雕刻技藝，從雕刻助手，到雕刻師、技術(shù)總監(jiān)直到生產(chǎn)經(jīng)理，從藝術(shù)設(shè)計(jì)到管理水平得到了外國(guó)人的認(rèn)可，得到當(dāng)?shù)厮囆g(shù)界認(rèn)可。2000年，放棄了原有公司優(yōu)厚的條件和待遇，獨(dú)立創(chuàng)業(yè)，成立自己的雕刻工作室，全心創(chuàng)作玉雕作品，埋頭苦干十幾年。將中國(guó)東方的藝術(shù)精神與西方的藝術(shù)表現(xiàn)手法融為一體，形成了自己的藝術(shù)風(fēng)格。多件作品，被加拿大政府機(jī)構(gòu)、學(xué)術(shù)團(tuán)體、財(cái)團(tuán)等部門收藏和作為禮品。同時(shí)也被多家世界知名畫廊藝術(shù)機(jī)構(gòu)收藏。

Cross-Cultural Exploration of Sculpting Techniques Between East and West

(Canada)Charles C. Min Hu