金沙4166:一九六二年四月三十日,对历史使命的
分类:励志美文

  最近买到一本法文旧书,专论写作艺术。其中谈到“自然”(natural),引用罗马文豪西塞罗的一句名言:It is an art to look like without art.[能看来浑然天成,不着痕迹,才是真正的艺术。] 作者认为写得自然不是无意识的天赋,而要靠后天的学习。甚至可以说自然是努力的结果(The natural is result of efforts),要靠苦功磨练出来。此话固然不错,但我觉得首先要能体会到“自然”的境界,然后才能望这个境界迈进。要爱好自然,与个人的气质、教育、年龄,都有关系;一方面是勉强不来,不能操之过急;一方面也不能不逐渐作有意识的培养。也许浸淫中国古典文学的人比较容易欣赏自然之美,因为自然就是朴素、淡雅、天真;而我们的古典文学就是具备这些特点的。

孙振华-深圳雕塑院院长、博士

Shouldering the Historic Mission

傅新民已奔花甲,但想象活力和创作精力还像年轻人一样充满朝气,大量尝试着巨型艺术创作。在他各种各样的探索中,给我印象最深的,是那些根木和金属相互嵌接或并置的雕塑和装置艺术作品。在传统根艺向当代艺术转化的历史过程中,这类作品具有特殊的意义,承担着特殊的使命。为什么这样说?这需要从中国的赏根传统与赏石传统说起。在中国传统文化中,赏石与赏根,就其内在指向而言,走了两条不同的路。赏石,文人主导话语权;赏根,民间主导话语权。赏石,就是赏石本身。米癫拜石拜的就是眼前的那尊石头,是此石的此形此色此质地此纹理此阅历……综合而成的审美感应使米芾神魂颠倒,是此石的此灵此气此势此骨此个性此风神此造化,使米芾五体投地。赏根则不同,它既要顾此又不能失彼,既要赏此根还要赏此根像个什么别的东西,“不似而似”是赏根的基本信条,在赏根的情境中,甚至特别欣赏模拟物象的雕凿技巧——如果稍事雕凿根形便活现出鹰犬龙马之类,那个雕刻家便会倍受推重。因此,根艺又称根雕。赏石与赏根的差异,首先是境界的不同。赏石,体现的是“大璞不雕”、“大美无言”的审美理想,是“道法自然”的哲学理念在审美上的体现,它比传统的赏根理念高出一个层次。按照赏石的审美理想,根艺应该像观赏石一样突出原生的自然美,而不必模拟其他物象。因此,多数根艺雕刻家的劳作并不值得称赞,太多的根神根王被能工巧匠毁掉了,太多的自然造化被人为雕琢破坏了。米癫拜石便含有对强暴自然行为的批判。其次,赏石与赏根的差异还体现着不同的艺术观念。所谓艺术观念,就是对艺术的根本看法,不同的看法会外显为不同的艺术形态,写实、写意、抽象、现成品就是因为观念的不同而形成的四种基本艺术形态。写实、写意属古典形态,抽象、现成品属现代形态。赏石,内藏着抽象观念和现成品观念的古代基因,它比传统的赏根观念更具前卫色彩,因此当现当代艺术兴起时,赏石观念必然会向赏根观念渗透,并最终导致传统赏根观念的崩溃。也就是说,中国的文人赏石传统的影响和西方现当代艺术的冲击,共同推动着根艺的现代转化。十余年来,已经出现了一些推动根艺现代转型的艺术家,其作品的主要着力点在去模仿和去雕饰,抛开“不似而似” 的信条,以慧眼取代巧手,让根还原为根本身。而真正承担起历史转折重任的,是厦门的南昌人傅新民。他将已经出现裂缝的古典规范的围墙整个炸开了,他不仅让根还原为根本身,而且让根成为他当代雕塑和装置艺术的基本构成要素。也就是说,还原为根只是他的第一步,第二步则是对还原的根进行全新意义的再加工和再利用。他不是让根回到千年前米元章拜石的理念,而是让根发出当代声音。第一步对应于早期现代意识,强调艺术自身的纯粹性,强调根自身的自然意蕴。第二步则对应于当代意识,当代意识反纯粹性,强调艺术对意义的表达,强调艺术对当代人类社会问题和生存问题的关注。根材是傅新民艺术的命根子,但他的艺术观念却是反根雕的,他对传统根雕的艺术观念和审美系统提出了挑战。如果说让根还原为根本身意味着对传统的模仿物象信条的解构和破坏,那么,他自己的创作则意味着对新规范的建构和创立。应该说,艺术史上的一切解构都是建构,无建构的解构只是空洞的口号和惊世骇俗的废话,它不可能形成解构的力量。同样,没有解构意义的所谓建构则是虚夸的,其实质依然是对旧制的重复。在解构旧规范中为新规范的萌芽开辟道路,在新规范越来越强有力的创建中形成对旧制的实质性的瓦解——这就是所谓的建构即解构,破坏即创造。傅新民艺术的最大特征是金木交响,原始根木和金属原材料,都以比较朴素的原材面貌出现,进行他特有的嵌接和并置,让自然造物和人工造物近距离对撞。当这种近距离地对撞以巨大的体量和结构的张力出现在人们面前时,震撼人们视觉和心灵的,既不是根木也不是金属,而是两者的关系,是两者在对撞中爆炸出的新的意义,这意义的感染力又因金木双方的各自的强悍和真实而被极度放大。这意义是复杂的、多解的、丰富的,但都指向人与自然、人与环境的紧张关系。这批作品的总基调,是抒发作者对人类泛滥的物欲和人对自然肆虐的掠夺所造成的天人关系的不断恶化的严酷现实的忧虑。傅新民将他的作品分为八大系列,分别名为“感悟”、“穿行”、“织造”、“对话”、“流淌”、“蜕变”、“裂变”、“凝固的风景”,仅从这些词语中,我们不难感受到,傅新民的心灵已经深深地陷入了他悲天悯人的金木交响。《流淌№1-3》在长方形的不锈钢板上镶嵌着树根。钢板的长方形十分规范,与树根不规则形构成了人工与天成的鲜明对照。闪亮的钢板表面经过特殊技巧的打磨,形成了密集的升腾波纹,在不同的光照下,显示出不同的纵深幻觉,在理性中增加了科幻意味和浪漫色彩。树根经过精选,奇美而又质朴,它被置于钢板上半部,顶部冲出钢板的上边框,显出不齐之齐的错落韵致。这组作品笼罩在理性与和谐的欢快情境中,可以视为傅新民天人和谐共处理想的寄托。《对话№6》将巨大的枯木用锈钢片和锈螺钉铆接在了一起,形成一堵4米宽3.2米高1米厚的高墙。枯木的纹理呈密集的扭动的上下走向,纹理的凹凸深而有力,高墙四角带着放射的力感。这是一首震撼人心的悲怆和力量的交响乐,可以视为傅新民对天人之间危机关系的忧患情怀的表达。我并不是说傅新民的艺术已经十全十美,他自号“新萌”也清楚地说明,他将自己当前的艺术视为一个大过程的开端。重要的是,战略上,他立意高远,战役上,他已经创作了数量惊人的作品,许多作品体量巨大,而且,已经出现了《感悟№4》、《穿行№13》、《对话№6-10》、《流淌№1-3》、《裂变№2》、《凝固的风景№1、2》等较为成功的作品。这一切说明,他已经站在了历史的转折点上,承担起了推进艺术发展的历史使命。

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.

傅新民已奔花甲,但想象活力和创作精力还像年轻人一样充满朝气,大量尝试着巨型艺术创作。在他各种各样的探索中,给我印象最深的,是那些根木和金属相互嵌接或并置的雕塑和装置艺术作品。在传统根艺向当代艺术转化的历史过程中,这类作品具有特殊的意义,承担着特殊的使命。为什么这样说?这需要从中国的赏根传统与赏石传统说起。在中国传统文化中,赏石与赏根,就其内在指向而言,走了两条不同的路。赏石,文人主导话语权;赏根,民间主导话语权。赏石,就是赏石本身。米癫拜石拜的就是眼前的那尊石头,是此石的此形此色此质地此纹理此阅历……综合而成的审美感应使米芾神魂颠倒,是此石的此灵此气此势此骨此个性此风神此造化,使米芾五体投地。赏根则不同,它既要顾此又不能失彼,既要赏此根还要赏此根像个什么别的东西,“不似而似”是赏根的基本信条,在赏根的情境中,甚至特别欣赏模拟物象的雕凿技巧——如果稍事雕凿根形便活现出鹰犬龙马之类,那个雕刻家便会倍受推重。因此,根艺又称根雕。赏石与赏根的差异,首先是境界的不同。赏石,体现的是“大璞不雕”、“大美无言”的审美理想,是“道法自然”的哲学理念在审美上的体现,它比传统的赏根理念高出一个层次。按照赏石的审美理想,根艺应该像观赏石一样突出原生的自然美,而不必模拟其他物象。因此,多数根艺雕刻家的劳作并不值得称赞,太多的根神根王被能工巧匠毁掉了,太多的自然造化被人为雕琢破坏了。米癫拜石便含有对强暴自然行为的批判。其次,赏石与赏根的差异还体现着不同的艺术观念。所谓艺术观念,就是对艺术的根本看法,不同的看法会外显为不同的艺术形态,写实、写意、抽象、现成品就是因为观念的不同而形成的四种基本艺术形态。写实、写意属古典形态,抽象、现成品属现代形态。赏石,内藏着抽象观念和现成品观念的古代基因,它比传统的赏根观念更具前卫色彩,因此当现当代艺术兴起时,赏石观念必然会向赏根观念渗透,并最终导致传统赏根观念的崩溃。也就是说,中国的文人赏石传统的影响和西方现当代艺术的冲击,共同推动着根艺的现代转化。十余年来,已经出现了一些推动根艺现代转型的艺术家,其作品的主要着力点在去模仿和去雕饰,抛开“不似而似” 的信条,以慧眼取代巧手,让根还原为根本身。而真正承担起历史转折重任的,是厦门的南昌人傅新民。他将已经出现裂缝的古典规范的围墙整个炸开了,他不仅让根还原为根本身,而且让根成为他当代雕塑和装置艺术的基本构成要素。也就是说,还原为根只是他的第一步,第二步则是对还原的根进行全新意义的再加工和再利用。他不是让根回到千年前米元章拜石的理念,而是让根发出当代声音。第一步对应于早期现代意识,强调艺术自身的纯粹性,强调根自身的自然意蕴。第二步则对应于当代意识,当代意识反纯粹性,强调艺术对意义的表达,强调艺术对当代人类社会问题和生存问题的关注。根材是傅新民艺术的命根子,但他的艺术观念却是反根雕的,他对传统根雕的艺术观念和审美系统提出了挑战。如果说让根还原为根本身意味着对传统的模仿物象信条的解构和破坏,那么,他自己的创作则意味着对新规范的建构和创立。应该说,艺术史上的一切解构都是建构,无建构的解构只是空洞的口号和惊世骇俗的废话,它不可能形成解构的力量。同样,没有解构意义的所谓建构则是虚夸的,其实质依然是对旧制的重复。在解构旧规范中为新规范的萌芽开辟道路,在新规范越来越强有力的创建中形成对旧制的实质性的瓦解——这就是所谓的建构即解构,破坏即创造。傅新民艺术的最大特征是金木交响,原始根木和金属原材料,都以比较朴素的原材面貌出现,进行他特有的嵌接和并置,让自然造物和人工造物近距离对撞。当这种近距离地对撞以巨大的体量和结构的张力出现在人们面前时,震撼人们视觉和心灵的,既不是根木也不是金属,而是两者的关系,是两者在对撞中爆炸出的新的意义,这意义的感染力又因金木双方的各自的强悍和真实而被极度放大。这意义是复杂的、多解的、丰富的,但都指向人与自然、人与环境的紧张关系。这批作品的总基调,是抒发作者对人类泛滥的物欲和人对自然肆虐的掠夺所造成的天人关系的不断恶化的严酷现实的忧虑。傅新民将他的作品分为八大系列,分别名为“感悟”、“穿行”、“织造”、“对话”、“流淌”、“蜕变”、“裂变”、“凝固的风景”,仅从这些词语中,我们不难感受到,傅新民的心灵已经深深地陷入了他悲天悯人的金木交响。《流淌№1-3》在长方形的不锈钢板上镶嵌着树根。钢板的长方形十分规范,与树根不规则形构成了人工与天成的鲜明对照。闪亮的钢板表面经过特殊技巧的打磨,形成了密集的升腾波纹,在不同的光照下,显示出不同的纵深幻觉,在理性中增加了科幻意味和浪漫色彩。树根经过精选,奇美而又质朴,它被置于钢板上半部,顶部冲出钢板的上边框,显出不齐之齐的错落韵致。这组作品笼罩在理性与和谐的欢快情境中,可以视为傅新民天人和谐共处理想的寄托。《对话№6》将巨大的枯木用锈钢片和锈螺钉铆接在了一起,形成一堵4米宽3.2米高1米厚的高墙。枯木的纹理呈密集的扭动的上下走向,纹理的凹凸深而有力,高墙四角带着放射的力感。这是一首震撼人心的悲怆和力量的交响乐,可以视为傅新民对天人之间危机关系的忧患情怀的表达。我并不是说傅新民的艺术已经十全十美,他自号“新萌”也清楚地说明,他将自己当前的艺术视为一个大过程的开端。重要的是,战略上,他立意高远,战役上,他已经创作了数量惊人的作品,许多作品体量巨大,而且,已经出现了《感悟№4》、《穿行№13》、《对话№6-10》、《流淌№1-3》、《裂变№2》、《凝固的风景№1、2》等较为成功的作品。这一切说明,他已经站在了历史的转折点上,承担起了推进艺术发展的历史使命。

Liu Xiaochun (Fine Arts Reviewer、Scheme Exhibition People)

――Random Thoughts on Fu Xinmin’s Contemporary Sculptures

Liu Xiaochun (Fine Arts Reviewer、Scheme Exhibition People)

Fu Xinmin is nearly sixty years old, but he is still as energetic and imaginative as a young man, keeping on the creation of large scale art works. In his various art explorations, what impresses me most is those tree-root and metal intersecting or co-existing carving art works. These art works have taken on a special significance in the transition of root art from a traditional art to modern art and shoulder the special mission. To explain this, we should start from a comparison of Chinese root appreciation and stone appreciation tradition. In Chinese traditional culture, stone appreciation and root appreciation are quite different in their inward directions. As for stone appreciation, it is presided by scholars and literati, while folks play a dominant role in root appreciation. Stone appreciation is to appreciate the stone itself. In the story that the celebrated scholar Mi Fu of Song Dynasty worshipped a marvelous natural stone, what he marveled at was the shape, the color, the texture, the veins and the experience of this stone. He was infatuated by the overall beauty of the stone. Its soul, its style, its manner, its character, its charm attracted Mi Fu so much that he prostrated himself before the stone to express his sincere admiration for it. However, root appreciation is different, only appreciating the root itself is not enough, you should also tell what the root looks like. Making the root look like something is a fundamental credo in root art. If the creator is good at carving techniques and can easily make the root look like something such as eagle, dog, dragon or horse, he will be highly praised. Therefore, root art is also called root carving.First of all, the difference between stone appreciation and root appreciation is their distinct aesthetic ideals.Stone appreciation is a pursuit and admiration of natural beauty. It presents a philosophical opinion that we should just keep anything as it originally is. The natural uncut jade is good enough and there is no need to carve it artificially. Therefore, it is one level higher than the traditional root appreciation conception. According to the aesthetic ideal of stone appreciation, the highlight of root art is the natural beauty of the root, and it is not necessary to copy anything else. The hard work of many root art creators is not praiseworthy, because many marvelous natural roots were ruined by these skillful root artists; those masterpieces of nature were destroyed by the artificial carving work. The story that Mi Fu worshipped a natural stone actually implies a criticism of the brutal behavior towards nature. Secondly, the difference between stone appreciation and root appreciation is a reflection of the different artistic conceptions.The so-called artistic conception is one’s fundamental view towards art. Different views will take different art forms. Realistic, freehand, abstract, and ready-available are the four basic art forms engendered based on different artistic conceptions. Realistic and freehand are classical forms, while abstract and ready-available belong to modern forms. There are the ancient genes of abstract concept (non-imitating) and ready-available concept (non-processed) hidden in the traditional stone appreciation concept. It is more avant-garde than the traditional root appreciation concept. Given the fact that the modern art is booming, the concept of stone appreciation will definitely influence the concept of root appreciation and eventually result in the collapse of the traditional root appreciation concept. That’s to say, the influence of the Chinese stone appreciation tradition and the impact of Western modern art are pushing forward together the modernization of root art. During the past more than ten years, some artists have started to work on the modernizing transition of root art. They don’t imitate or carve. They abandon the credo of modifying the root to look like something and return root artworks to the original conditions of the root. For them the most important thing for a root art creator is not his skillful hands but his acute eyes to discover the original beauty of roots. The one who actually has shouldered this historic mission is Fu Xinmin, a Nanchang artist now living in Xiamen. He completely bombed the bounding wall of traditional norms which already had openings. He not only return root to its original conditions but also make it the fundamental element in his contemporary sculpture and ornamental art. Returning root to its original conditions is only a first step, then his second step is to re-process and re-use the root in a completely new way. He is not a follower of Mi Fu to just worship the natural beauty of root as Mi Fu did a thousand years ago; he wants the root to produce sound of our age. The first step is an early awareness of modern times, the emphasis of which is the purity of art, the natural significance of root itself, while the second step is a full awareness of contemporary age. It is against purism, and stresses the artistic expression of significance and the artistic attention paid to contemporary social and living problems of human beings. Root is the very life of Fu Xinmin’s art, but he is against root carving, and has posed a challenge against the traditional root carving artistic concept and aesthetic system. If returning the root to its original condition is a deconstruction and destruction of the traditional root art credo, then his root art works creation is a construction and set-up of new standards in root art. Actually all the deconstruction happened in the art history is new construction; the deconstruction without new construction is merely an empty slogan or nonsense, which is too weak to destruct anything. Similarly, a so-called new construction without real deconstruction significance is only a boasting, and it is in essence still a repetition of the old system. The deconstruction of old standards opens the road for the set-up of new systems, and the construction of new standards materially disintegrates the old systems, which is the so-called “deconstruction is construction, destruction is creation”. The most distinct characteristic of Fu Xinmin’s art is a symphony of wood and metal. The simple original wood and metal (ready-available) are inter-placed in a unique way with an implication of the very close collision of natural things and artificial things. When people are confronted with such giant art work and its strong structural force in collision, what shock their visions and souls is neither the wood root nor the medal, but their relationship, the new significance from the collision, the affecting power of which was even extremely magnified due to the brutal nature and realness of the both. The significance is very complicated, rich in meaning and with many possible interpretations, but they all point to the intense relationship between people and the nature, people and the environment. The keynote of these artworks is to express the artist’s worry about people’s over flooding material desire and the severe worsening relationship between people and the nature. Fu Xinmin classified his art works into eight series, namely “sentiment”, “walking through”, “fabricating”, “dialogue”, “flowing”, “metamorphosis”, “fission” and “stiffened landscape”. Just reading these names, we can feel that the artist has completely immersed himself in this symphony of wood and metal to bemoan the worsening environment and pity the fate of mankind.In “Flowing No.1-3”, wood root is inlaid into a rectangular stainless steel plate. The irregularity of wood root provides a striking contrast to the very regularity of oblong steel plate which is a comparison of natural things and artificially made products. The shining surface of the steel plate is specially polished to form intense rising ripples which have distinct appearances in different lights and add a science fictional touch and romantic feelings to the rational work. The odd and beautiful wood root was carefully chosen, which was set in the upper part of the steel plate, and the top of root obtrudes the upper frame of the steel plate. The overall composition is in picturesque disorder. The artwork is enveloped in a rational, harmonious and cheerful atmosphere, which expresses the artist’s ideal of a harmonious co-existence of people and the nature. In “Dialogue No.6, a giant dried-up wood was riveted together with rusted steel sheet and rusted bolts, which formed a high wall with four meters wide ,three point two meters high, and one meter thick. The veins on the dried-up wood is deep and full of power, and the four corners of the high wall are carrying a radiating strength. This is a great symphony of sorrow and strength, and which can be regarded as him to the expression of the suffering feelings of the crisis between people and the nature. I am not saying that Fu Xinmin’s art is perfect now. He called himself “new sprout” also clearly shows that he takes his current art creation as a beginning in a long course. The important thing is he has taken a right strategy and in practice, he has produced plenty of art works, among which there already have some successful works like “Sentiment No.4”, “Walking through No.13”, “Dialogue No.6-10”, “Flowing No.1-3”, “Fission No.2”, “Stiffened Landscape No.1,2”.Explanation of all these shows that he is now standing at the turning point of art history and has shouldered the historic mission to advance the development of root art. Xiamen 2007-11-21

Sun Zhenhua (Dean of Shenzhen Sculpture Academy, PhD)

Fu Xinmin is nearly sixty years old, but he is still as energetic and imaginative as a young man, keeping on the creation of large scale art works. In his various art explorations, what impresses me most is those tree-root and metal intersecting or co-existing carving art works. These art works have taken on a special significance in the transition of root art from a traditional art to modern art and shoulder the special mission. To explain this, we should start from a comparison of Chinese root appreciation and stone appreciation tradition. In Chinese traditional culture, stone appreciation and root appreciation are quite different in their inward directions. As for stone appreciation, it is presided by scholars and literati, while folks play a dominant role in root appreciation. Stone appreciation is to appreciate the stone itself. In the story that the celebrated scholar Mi Fu of Song Dynasty worshipped a marvelous natural stone, what he marveled at was the shape, the color, the texture, the veins and the experience of this stone. He was infatuated by the overall beauty of the stone. Its soul, its style, its manner, its character, its charm attracted Mi Fu so much that he prostrated himself before the stone to express his sincere admiration for it. However, root appreciation is different, only appreciating the root itself is not enough, you should also tell what the root looks like. Making the root look like something is a fundamental credo in root art. If the creator is good at carving techniques and can easily make the root look like something such as eagle, dog, dragon or horse, he will be highly praised. Therefore, root art is also called root carving.First of all, the difference between stone appreciation and root appreciation is their distinct aesthetic ideals.Stone appreciation is a pursuit and admiration of natural beauty. It presents a philosophical opinion that we should just keep anything as it originally is. The natural uncut jade is good enough and there is no need to carve it artificially. Therefore, it is one level higher than the traditional root appreciation conception. According to the aesthetic ideal of stone appreciation, the highlight of root art is the natural beauty of the root, and it is not necessary to copy anything else. The hard work of many root art creators is not praiseworthy, because many marvelous natural roots were ruined by these skillful root artists; those masterpieces of nature were destroyed by the artificial carving work. The story that Mi Fu worshipped a natural stone actually implies a criticism of the brutal behavior towards nature. Secondly, the difference between stone appreciation and root appreciation is a reflection of the different artistic conceptions.The so-called artistic conception is one’s fundamental view towards art. Different views will take different art forms. Realistic, freehand, abstract, and ready-available are the four basic art forms engendered based on different artistic conceptions. Realistic and freehand are classical forms, while abstract and ready-available belong to modern forms. There are the ancient genes of abstract concept (non-imitating) and ready-available concept (non-processed) hidden in the traditional stone appreciation concept. It is more avant-garde than the traditional root appreciation concept. Given the fact that the modern art is booming, the concept of stone appreciation will definitely influence the concept of root appreciation and eventually result in the collapse of the traditional root appreciation concept. That’s to say, the influence of the Chinese stone appreciation tradition and the impact of Western modern art are pushing forward together the modernization of root art. During the past more than ten years, some artists have started to work on the modernizing transition of root art. They don’t imitate or carve. They abandon the credo of modifying the root to look like something and return root artworks to the original conditions of the root. For them the most important thing for a root art creator is not his skillful hands but his acute eyes to discover the original beauty of roots. The one who actually has shouldered this historic mission is Fu Xinmin, a Nanchang artist now living in Xiamen. He completely bombed the bounding wall of traditional norms which already had openings. He not only return root to its original conditions but also make it the fundamental element in his contemporary sculpture and ornamental art. Returning root to its original conditions is only a first step, then his second step is to re-process and re-use the root in a completely new way. He is not a follower of Mi Fu to just worship the natural beauty of root as Mi Fu did a thousand years ago; he wants the root to produce sound of our age. The first step is an early awareness of modern times, the emphasis of which is the purity of art, the natural significance of root itself, while the second step is a full awareness of contemporary age. It is against purism, and stresses the artistic expression of significance and the artistic attention paid to contemporary social and living problems of human beings. Root is the very life of Fu Xinmin’s art, but he is against root carving, and has posed a challenge against the traditional root carving artistic concept and aesthetic system. If returning the root to its original condition is a deconstruction and destruction of the traditional root art credo, then his root art works creation is a construction and set-up of new standards in root art. Actually all the deconstruction happened in the art history is new construction; the deconstruction without new construction is merely an empty slogan or nonsense, which is too weak to destruct anything. Similarly, a so-called new construction without real deconstruction significance is only a boasting, and it is in essence still a repetition of the old system. The deconstruction of old standards opens the road for the set-up of new systems, and the construction of new standards materially disintegrates the old systems, which is the so-called “deconstruction is construction, destruction is creation”. The most distinct characteristic of Fu Xinmin’s art is a symphony of wood and metal. The simple original wood and metal (ready-available) are inter-placed in a unique way with an implication of the very close collision of natural things and artificial things. When people are confronted with such giant art work and its strong structural force in collision, what shock their visions and souls is neither the wood root nor the medal, but their relationship, the new significance from the collision, the affecting power of which was even extremely magnified due to the brutal nature and realness of the both. The significance is very complicated, rich in meaning and with many possible interpretations, but they all point to the intense relationship between people and the nature, people and the environment. The keynote of these artworks is to express the artist’s worry about people’s over flooding material desire and the severe worsening relationship between people and the nature. Fu Xinmin classified his art works into eight series, namely “sentiment”, “walking through”, “fabricating”, “dialogue”, “flowing”, “metamorphosis”, “fission” and “stiffened landscape”. Just reading these names, we can feel that the artist has completely immersed himself in this symphony of wood and metal to bemoan the worsening environment and pity the fate of mankind.In “Flowing No.1-3”, wood root is inlaid into a rectangular stainless steel plate. The irregularity of wood root provides a striking contrast to the very regularity of oblong steel plate which is a comparison of natural things and artificially made products. The shining surface of the steel plate is specially polished to form intense rising ripples which have distinct appearances in different lights and add a science fictional touch and romantic feelings to the rational work. The odd and beautiful wood root was carefully chosen, which was set in the upper part of the steel plate, and the top of root obtrudes the upper frame of the steel plate. The overall composition is in picturesque disorder. The artwork is enveloped in a rational, harmonious and cheerful atmosphere, which expresses the artist’s ideal of a harmonious co-existence of people and the nature. In “Dialogue No.6, a giant dried-up wood was riveted together with rusted steel sheet and rusted bolts, which formed a high wall with four meters wide ,three point two meters high, and one meter thick. The veins on the dried-up wood is deep and full of power, and the four corners of the high wall are carrying a radiating strength. This is a great symphony of sorrow and strength, and which can be regarded as him to the expression of the suffering feelings of the crisis between people and the nature. I am not saying that Fu Xinmin’s art is perfect now. He called himself “new sprout” also clearly shows that he takes his current art creation as a beginning in a long course. The important thing is he has taken a right strategy and in practice, he has produced plenty of art works, among which there already have some successful works like “Sentiment No.4”, “Walking through No.13”, “Dialogue No.6-10”, “Flowing No.1-3”, “Fission No.2”, “Stiffened Landscape No.1,2”.Explanation of all these shows that he is now standing at the turning point of art history and has shouldered the historic mission to advance the development of root art. Xiamen 2007-11-21

刘骁纯-美术评论家、策展人 2007-11-21 厦门

Art is His Life

金沙4166,刘骁纯-美术评论家、策展人 2007-11-21 厦门

Shouldering the Historic Mission

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。

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