雕塑里的新中國(guó)之路

馬悅

說(shuō)到新中國(guó)成立以來(lái)的雕塑作品，人民英雄紀(jì)念碑的浮雕與設(shè)計(jì)、安置在全國(guó)各地魯迅公園門(mén)口的魯迅坐像、杭州西湖邊與無(wú)數(shù)游人合影的靈鶴……這些熟悉的形象，以人民的、社會(huì)的、紀(jì)念性、敘述性的塑造，貫穿在70年的新中國(guó)社會(huì)公共空間和生活之中。

天安門(mén)廣場(chǎng)肅穆的人民英雄紀(jì)念碑、小學(xué)課本中吹笛子的老紅軍與小紅軍、校園中的講述國(guó)立藝專(zhuān)抗戰(zhàn)時(shí)期西遷歷程的高浮雕……這些熟悉的雕塑形象背后有哪些故事？2019年金秋，走進(jìn)杭州南山路218號(hào)中國(guó)美術(shù)學(xué)院美術(shù)館，就能了解這一些雕塑藝術(shù)背后樸素深厚的故事，重溫新中國(guó)人民形象的視覺(jué)歷程與根基。

由國(guó)家藝術(shù)基金支持、中國(guó)美術(shù)學(xué)院主辦的“人民的紀(jì)程——主題性與紀(jì)念性雕塑大展”，在中國(guó)美院美術(shù)館展出。展覽挑選了200余件作品、小稿、手稿、文獻(xiàn)等，以此呈現(xiàn)雕塑家對(duì)歷史與時(shí)代的知覺(jué)、個(gè)體與群體的知覺(jué)、自然與生命的知覺(jué)。

展覽循著“塑形”“豐碑”“群像”“紀(jì)念”“情志”“湖山”這六條關(guān)于塑造的思考展開(kāi)，與進(jìn)行嚴(yán)格的定義和互相封閉的板塊方式不同，展覽在雕塑家的創(chuàng)作內(nèi)容和時(shí)代之間保留一種穿越感，呈現(xiàn)出新中國(guó)雕塑藝術(shù)主題性的堅(jiān)守與發(fā)展，以及紀(jì)念性的文化脈絡(luò)。

重量：熔鑄英雄風(fēng)采

在紅色的背景墻上，10余幅不同模樣的“人民英雄紀(jì)念碑”設(shè)計(jì)手稿一字排開(kāi)，端端正正地裱在玻璃畫(huà)框里。

在此次展覽的所有藝術(shù)作品中，這一批為建造人民英雄紀(jì)念碑所征集的設(shè)計(jì)手稿原件頗為珍貴，這些設(shè)計(jì)稿來(lái)自全國(guó)各地的建筑院所，均以佚名的形式呈交。

走近細(xì)看，鏡框里的稿紙上，須彌座的正中央雕著一顆五角星;在高大的方碑頂端，一個(gè)手舉紅星的巨人站在那里俯視著整個(gè)天安門(mén)廣場(chǎng)，這是其中一張人民英雄紀(jì)念碑設(shè)計(jì)手稿上紀(jì)念碑的樣子。如果不是看到這些泛黃的手稿，人們很難想象得到，人民英雄紀(jì)念碑竟然還可能是這樣。

“每個(gè)人對(duì)人民英雄紀(jì)念碑的理解和表現(xiàn)都是不一樣的，每一個(gè)設(shè)計(jì)都飽含著對(duì)新中國(guó)的熱愛(ài)?！敝袊?guó)美院雕塑與公共藝術(shù)學(xué)院教授楊奇瑞說(shuō)。作為新中國(guó)成立后的首個(gè)國(guó)家級(jí)公共藝術(shù)工程，加上本身具有獨(dú)特的紀(jì)念與象征意義，人民英雄紀(jì)念碑從設(shè)計(jì)到建造都成為了舉國(guó)矚目的焦點(diǎn)，集合了國(guó)內(nèi)無(wú)數(shù)建筑大師、藝術(shù)大師與能工巧匠的心血。60多年前，在征集紀(jì)念碑的設(shè)計(jì)方案時(shí)，光是設(shè)計(jì)稿就收到了240多件，之后又幾經(jīng)討論修改，才最終敲定。

這組群像的另一側(cè)，巨型浮雕《烽火藝程》看得人熱血沸騰。這幅浮雕作品是中國(guó)美術(shù)學(xué)院慶祝90周年校慶時(shí)，雕塑與公共藝術(shù)學(xué)院師生的集體創(chuàng)作，刻畫(huà)了抗日戰(zhàn)爭(zhēng)時(shí)期國(guó)立藝專(zhuān)西遷的艱苦歷程。

畫(huà)面的一側(cè)，一代名師和學(xué)術(shù)泰斗林風(fēng)眠、林文錚、雷圭元、趙太侔、潘天壽等挺身而立;另一側(cè)，從水、陸兩路搬遷教學(xué)教具及遷徙的師生們，在戰(zhàn)火中神色堅(jiān)毅，其志不移——一路烽火，一路藝程，幾經(jīng)風(fēng)雨，矢志不渝，展現(xiàn)了開(kāi)啟藝智的使命情懷和薪火傳承的歷史擔(dān)當(dāng)。

熱血的西遷之路也激發(fā)了美院教師們的創(chuàng)作熱情，楊奇瑞說(shuō)，在創(chuàng)作這組《烽火藝程》時(shí)，他們一度“上癮”，開(kāi)工后便停不下來(lái)，一口氣雕了10塊，此次展出的這塊浮雕只是其中之一。

經(jīng)典：再現(xiàn)人民群像

除了人民英雄紀(jì)念碑的設(shè)計(jì)圖外，在展覽中，我們還看到許多經(jīng)典之作。

“這是小學(xué)語(yǔ)文課本里的原型！”一位參觀者的驚嘆，吸引了更多人朝著這件經(jīng)典作品聚攏——由雕塑家潘鶴創(chuàng)作的《艱苦歲月》。這是一件影響幾代人的作品，它曾出現(xiàn)在1982年版小學(xué)語(yǔ)文第六冊(cè)中，課文《在艱苦的歲月里》就是由此改編的。

對(duì)于杭州參觀者來(lái)說(shuō)，展覽中還能找到一些“身邊”的作品。比如老杭州去西湖邊的六公園會(huì)看到的志愿軍雕像。曾經(jīng)，這座雕像的旁邊是英語(yǔ)角，這是許多杭州人的回憶。楊奇瑞透露，“其實(shí)展廳里這座志愿軍雕像，才是真正的原版?！?/p>

中國(guó)美院教授、雕塑家潘錫柔是《杭州解放紀(jì)念碑》的設(shè)計(jì)者，他向筆者介紹了當(dāng)初創(chuàng)作時(shí)的設(shè)計(jì)構(gòu)思?！拔矣幂^為寫(xiě)實(shí)的手法，為紀(jì)念碑設(shè)計(jì)了工人、農(nóng)民、解放軍、知識(shí)分子等人物形象，并且用石頭、樹(shù)等多種元素對(duì)畫(huà)面進(jìn)行分割，但總體看仍是一個(gè)雕塑構(gòu)圖?！彼f(shuō)。

踱步在展廳中，我們被藝術(shù)家們用誠(chéng)摯的心、靈巧的手塑造出的作品所感動(dòng)。另外還有英勇頑強(qiáng)的戰(zhàn)士英烈、不能忘卻的時(shí)代先驅(qū)、各民族的生活情態(tài)、新中國(guó)建設(shè)者的動(dòng)人身姿……藝術(shù)家們汲取不同時(shí)期和不同地域的語(yǔ)言特點(diǎn)創(chuàng)作的作品，形成了對(duì)新中國(guó)建設(shè)歷程中各種生命氣息的凝結(jié)，渾厚而生動(dòng)，正是巍然的人民群像。

藝術(shù)：浸透專(zhuān)業(yè)感悟

展覽中有宏大敘事，自然也有水石之趣。

展廳中，還有一件潘錫柔的代表作——?jiǎng)?chuàng)作于1984年的雕塑《西湖春曉》。它選取了江南水鄉(xiāng)的老農(nóng)婦在杭州西湖旅游時(shí)的有趣片斷，生動(dòng)刻畫(huà)了農(nóng)村婦女純真、樸實(shí)、歡快的可愛(ài)形象，也從一個(gè)側(cè)面反映了農(nóng)村致富后的生活。

環(huán)顧四周，我們不難感受到藝術(shù)家們縱心放逸的氣質(zhì)，其古雅溫潤(rùn)的表達(dá)提供給我們各種不同的湖山視野。這些被安置在自然中的雕塑，召喚出另一重自然、歷史、城市之間有關(guān)地域精神對(duì)話，那是留存在一座城市歷史記憶中的湖山氣質(zhì)。

慢慢退出展廳，回望中國(guó)美術(shù)館的四層空間，我發(fā)現(xiàn)一件有趣的事情——在這里，每一件作品都給予觀眾360度的觀看角度。在每個(gè)展廳的空間里，百余位中國(guó)三代雕塑家的作品仿佛在對(duì)話，它們用雕塑的語(yǔ)言講述國(guó)家、社會(huì)和個(gè)體，感受新中國(guó)建立和發(fā)展歷程中的新氣質(zhì)、新創(chuàng)造。

an exhibition of sculptures was staged from September 19 to October 6 at the art gallery on the Nanshan campus of China Academy of Art. It was held in celebration of the 70th anniversary of the founding of the Peoples Republic of China.

About 200 exhibits were on display， including sculptures， drawings， manuscripts， and documents. The sculptures essentially presented a journey Chinese people took to modernization over a period of 70 years.

The most eye-catching exhibits were probably ten plus drawings displayed on a red wall. These drawings are designs of the Monument to the Peoples Heroes built from 1952 to 1958 on the Tiananmen Square in Beijing. It was very interesting to examine these drawings presented more than 60 years ago. Back then， more than 240 designs came in. It was the first public art project the Peoples Republic of China erected after 1949. Architects came up with quite a few designs. Visitors today wowed at the inspirations presented to the central government back then. Most of them remained on paper.

Another eye-catching exhibit was a huge relief called ， created by teachers and students of the Sculpture and Public Art School， China Academy of Art. It was created in 2018 in celebration of the 90th anniversary of the founding of the academy. Chinas war of resistance against Japanese aggression broke all out on a full scale in 1937. In November 1937， the National Hangzhou School of Art set out on a westward journey to the inland in order to escape Japanese aggressors. It was not until October 1946 that the school came back from the exile and resumed its operation in Hangzhou. The enormous relief depicted a group of teachers and students on their way to the west. No sooner had the artists of today completed the first relief than they expanded the original initiative and started a series. Altogether ten have been created. Only one of them was on display at the exhibition.

Some quite famous sculptures on display were recognized by relatively old resident of Hangzhou. The printed image of ， a sculpture that depicts two Red Army soldiers on Long March， appeared in a primary school textbook published in 1982. Local visitors also encountered some images that graced the city once upon a time. Many of them have disappeared. But the sculpture of a volunteer soldier who fought in Korea in the early 1950s still stands at No. Six Park on the eastern shore of the West Lake. The sculpture on display， it turned out， was the prototype of the sculpture. The sculpture in the park is actually a duplicate.

Pan Xirou， a professor of sculpture with China Academy of Art， felt happy to come back to look at his design on display. His best know artwork is presumably the . The 18-meter-tall， 22-meter-wide monument celebrates the May 3， 1949 event when Hangzhou was liberated in the war that lasted from 1946 to 1949. The sculpture looks like a hybrid between an ancient Chinese memorial archway and the Arch of Triumph in Paris. A closer look reveals the hidden images of people. The monument， unveiled on May 3， 2002， stands by the Qiantang River.

The exhibition was more than a grand narrative of events that shaped the whole country. Some sculptures focused on the everyday life of Hangzhou. ?displayed at the exhibition was a sculpture created in 1984 by Pan Xirou. It depicts three rural women sightseeing around the lake. In spring， women from regions around Hangzhou organize themselves into groups of pilgrims and travel to visit religious temples. Hangzhou is one of the destinations. They are quite a sight in the lake zone. The three women are apparently on such a pilgrimage tour on the West Lake.