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艺术就是他的生活—傅新民现代雕塑随想
【 作者:孙振华    转贴自:本站原创    更新时间:2011-4-18    文章录入:傅新民
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在厦门雕塑家傅新民先生的作品陈列室和工作室里,他的现代雕塑作品,他的工作状态给了我很大的震撼;他饱满而炙热的创作激情,他丰富的材料积累和创作构思,使他的雕塑创作时时处在“在路上”的状态。他对艺术的真挚和虔诚,他作品的多样和高产都足以使他的创作成为中国现代雕塑中一个有意义的个案。

特别是当我了解到傅新民先生的从艺的经历和创作背景以后,更加坚定了我对探究这样一些问题的兴趣:在转型期的中国社会,艺术对我们个人生活究竟有着怎样的意义?在一个信息的时代,一个影像的时代,在一个克隆和机械复制的时代,艺术家的手工劳作,还有没有发展空间?在“艺术死了”,市场就是一切的各种嘈杂的喧嚣声中,什么是艺术家安身立命,坚守自己价值标准的理由?

有些艺术家的创作也许是面向艺术史,解决艺术史的问题;而像傅新民这一类的艺术家,我以为他们的创作更多的是解决当代人生存意义问题,他们对艺术的热情和坚守表示了一种人生的态度,艺术作为一种生活方式,他们在艺术中,寄寓的是一个人的理想和信念,他们在这样一个精神匮乏的时代里,用艺术这种方式和世界进行永无休止的对话,在这种旷日持久的对话过程中,他们的艺术丰富了他们的思想,提升了他们的想象力和创造力。对于社会,他们艺术创作的意义在于,它们充分昭示出了人的各种可能的生活,而正是他们的工作,使我们这个日益物质化的社会多了一些精神的话题,多了一种思想的激活,多了一种可供选择的生存的智慧。

他对材料异常敏感,他具有化腐朽为神奇的能力,他特别具有这样的素质,在人们习以为常的,熟视无睹的日常事物中,发现美,并将他们转化为艺术。

他对材料的把握来自几十年对艺术的执著的追求,他最早从事根雕艺术的创作,这个漫长的过程,给了他一种良好地把握材料的自然属性的能力,他的材料的运用总是得心应手,从不显得勉强和生涩,这就得益于他长期与自然材料打交道,形成了对材料的肌理、质感、表现力的充分的了解,而他长期收集、储存的艺术材料,成为他现在也是将来的一笔巨大的财富。

木质材料与中国文化有着不解之缘,特别在空间艺术中,中华民族的几千年的历史,形成了对木质材料的独特的审美感受。中国人对木质材料的人工与自然的关系,形与神的关系,巧与拙的关系,文与质的关系,都有着深厚的文化积淀,所以,尽管傅新民在现代雕塑的创作中也吸收了西方现代雕塑的创作理念和方式,但是,他的作品中的中国文化的根性仍然是那样强烈,那样鲜明。

更为重要的是,他不仅是一个擅长材料处理的艺术家,他的创作还蕴含了丰富的哲理,这种哲理来自大自然,来自对生活的观察,来自古老的东方智慧。他的作品呈现出来的冲突、对比、穿插、并列、互补、顺应、和谐等各种境界,就充分体现了它所蕴含的思想。著名旅法雕塑家、哲学家、诗人熊秉明先生曾经说过:“有一种精神遗产是不能从书本上得到的,是通过一个活活泼泼的人,一个广博的人格,一个生命的真实经验传下去的,也就是禅宗所谓‘以心传心’的道理。”傅新民正是这样,向生活学习,向造化学习,向传统学习,向西方学习,在博采众长的基础上,形成了他独具面目的现代雕塑艺术。

在生活中创造,以创造作为生活,这就是傅新民的艺术人生。

孙振华-深圳雕塑院院长、博士

Art is His Life

                                    ――Random Thoughts on Fu Xinmin’s Contemporary Sculptures

Sun Zhenhua (Dean of Shenzhen Sculpture Academy, PhD)

In the artworks exhibition room and studio of Xiamen sculptor Fu Xinmin, his contemporary sculptures and his state of working gave me a great shock. His zest for art creation and the rich accumulation of art materials and creation ideas keep him always in a state of “on the way” in sculpture creation. His sincerity and piety for art and the diversity and prolificacy of his works all make him a unique artist in China’s contemporary sculptor circle.

Especially after I got to know Fu Xinmin’s art experience and background of his creation, I am more interested in exploring the answers to these questions: What is the significance of art to our personal life in such a transitional period of China’s society? Is there still any room for the development of artists’ manual handwork in such an age of full of information, images, clone and mechanical duplication? In the noisy uproar that “art is dead”, market is everything, what is the reason for artist to hold his ground and stick to his artistic pursuit and personal value?

Some artists’ creation may be directed to the history of art and solving the problems in art history, while for artists like Fu Xinmin, I feel that their art creation is more about exploring the significance of people’s life in the modern society. Their enthusiasm and perseverance for art express a sort of life attitude. Art has become a lifestyle for them. They place their ideals and beliefs in art. In such a spiritual deficient age, they use art as a way to keep a ceaseless dialogue with the world, and in such a process, their art enrich their thoughts and enhance their capabilities of imagination and creation. For the society, the significance of their art creation is they fully show the diversity and possibilities of people’s lives. And their work provides some spiritual topics, an activation of thoughts and optional life wisdom in such a daily materializing society.

Fu Xinmin is very sensitive to materials. He has the ability to turn waste material into something miraculous. He can discover the beauty in the daily ordinary things which people usually get accustomed to or turn a blind eye to, and transform them into art.

His years of root carving experience trained him to possess a great command of the natures of different materials. He always applies the materials with high proficiency, which is attributable to his long-term contact with natural materials. He has fully understood the texture, nature and expressive force of different materials. The materials he has collected all the way from the past have become a big fortune for him at present and in the future.

Wooden material has an indissoluble bond with Chinese culture. Especially in the spatial art. History of several thousand years of Chinese nation has formed the unique aesthetic experience to the wooden material. There is a profound cultural accumulation in Chinese people’s understanding of the relationship of craftsmanship and nature, form and spirit, skillfulness and clumsiness in wooden material. Therefore, although Fu Xinmin’s contemporary sculptures have taken in the concept and method of western contemporary sculptures creation, the Chinese culture root in his works is still so strong and distinct.

What is more important is he is not only an artist who is good at dealing with materials but also an artist whose works have rich philosophy, which comes from the nature, the observation of life, and the ancient Oriental wisdom. The states such as conflict, comparison, inserting, parataxis, mutual complementing, conformance and harmony in his art works are the embodiments of artist’s thoughts implied. The sculptor residing in France, philosopher and poet Xiong Bingming once remarked, “There is a kind of spiritual legacy which is not available from the books. It can only be passed down by a fresh person, a living personality, a real life experience, which is the so-called ‘passing heart by heart’ in Zen Buddhism.” This is just what Fu Xinmin is doing. He learns from life, from the tradition, from the West, taking in the strengths of all and forms his own contemporary sculpture art style.

To create in life, to live in creation, this is the art life of Fu Xinmin.

 

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