本文關(guān)鍵詞：淺析中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的意義，由筆耕文化傳播整理發(fā)布。

        “現(xiàn)實(shí)主義”一詞最早出現(xiàn)在法國(guó)的文學(xué)作品中，后來又被拓展到整個(gè)造型藝術(shù)領(lǐng)域中，并最終在19世紀(jì)30年代的法國(guó)以一場(chǎng)空前規(guī)模的現(xiàn)實(shí)主義美術(shù)運(yùn)動(dòng)為起點(diǎn)，正式成為藝術(shù)領(lǐng)域中一座跨時(shí)代的里程碑。但直到上世紀(jì)20年代開始，西方現(xiàn)實(shí)主義才以雕塑的形式涌入中國(guó)，在中國(guó)也已有百年的歷史。在這百年的滄桑中，現(xiàn)實(shí)主義雕塑與整個(gè)中國(guó)的特定社會(huì)環(huán)境，與本土人們的特殊精神風(fēng)貌和生活狀態(tài)始終發(fā)生著聯(lián)系，并在不同的歷史時(shí)期發(fā)揮著重要的作用。本文從現(xiàn)實(shí)主義到現(xiàn)實(shí)主義雕塑都進(jìn)行了重點(diǎn)的分析與研究，以此來闡述中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的重要性及其現(xiàn)實(shí)意義。說到現(xiàn)實(shí)主義，其在中國(guó)的傳統(tǒng)文化中運(yùn)用現(xiàn)實(shí)主義思想也創(chuàng)作出了許多優(yōu)秀的作品，例如北宋時(shí)期畫家張擇端的《清明上河圖》等都是以現(xiàn)實(shí)生活為依據(jù)創(chuàng)作出來的。20世紀(jì)初，中國(guó)第一代雕塑家留學(xué)法國(guó)，幾年后他們學(xué)成歸來，并帶回了西方以寫實(shí)手法為主的雕塑創(chuàng)作方法。從此，以寫實(shí)為主的現(xiàn)實(shí)主義雕塑在20世紀(jì)的中國(guó)迅速得到發(fā)展。本文從現(xiàn)實(shí)主義的概念談起進(jìn)而延伸到現(xiàn)實(shí)主義雕塑的淵源，從西方現(xiàn)實(shí)主義雕塑到上世紀(jì)中國(guó)現(xiàn)實(shí)主義雕塑的發(fā)展歷程，可謂以歷史為線索，以事實(shí)為導(dǎo)向，重在闡述現(xiàn)實(shí)主義對(duì)中國(guó)雕塑的重大影響。回望上個(gè)世紀(jì)初到1949年的那個(gè)動(dòng)蕩年代，這時(shí)現(xiàn)實(shí)主義雕塑在中國(guó)發(fā)展的第一個(gè)階段，那時(shí)整個(gè)中國(guó)都處在兵荒馬亂的環(huán)境中，在這種特殊的情況下，有志的藝術(shù)青年大都放棄了個(gè)人思想情感在藝術(shù)上的表達(dá)，紛紛動(dòng)員廣大的人民群眾組織成浩大的抗戰(zhàn)洪流，并義不容辭的投入到這洪流中來；同時(shí)另一方面，由于處于戰(zhàn)亂中的人們，也急需從藝術(shù)中獲得精神的慰藉和心靈的鼓舞，因此能直接反映人民現(xiàn)實(shí)生活，又容易被群眾理解的寫實(shí)主義藝術(shù)，便成為藝術(shù)家共同的選擇,隨即這一藝術(shù)形式的雕塑作品就如同雨后春筍般紛紛涌現(xiàn)出來。1949年到1978年間，是現(xiàn)實(shí)主義雕塑在中國(guó)發(fā)展的第二個(gè)階段，新中國(guó)剛剛成立，百?gòu)U待興，蘇聯(lián)的帶有社會(huì)主義性質(zhì)的現(xiàn)實(shí)主義雕塑被引進(jìn)過來，用來體現(xiàn)人們?cè)诟锩鼞?zhàn)爭(zhēng)年代里的艱苦歲月和犧牲精神，反映革命和建設(shè)中的斗爭(zhēng)歷程和現(xiàn)實(shí)生活。因此，可以說在時(shí)代的推動(dòng)下，現(xiàn)實(shí)主義成為當(dāng)時(shí)中國(guó)美術(shù)界的主流思潮，這是特定時(shí)期的歷史使然。80年代以后,改革開發(fā)的經(jīng)濟(jì)方針使中國(guó)的經(jīng)濟(jì)得到迅猛發(fā)展，現(xiàn)實(shí)主義雕塑也告別以往為政治服務(wù)，為意識(shí)形態(tài)服務(wù)的模式，開始回到雕塑自身，進(jìn)行審美規(guī)律的探索，在雕塑形式和雕塑語(yǔ)言上求新求變，進(jìn)行大膽的探索和突破。這一時(shí)期的雕塑領(lǐng)域面臨著倆大挑戰(zhàn)，一方面是國(guó)外：由于改革開放和經(jīng)濟(jì)全球化，使國(guó)與國(guó)之間在文化上的交流日益頻繁，網(wǎng)絡(luò)、媒體等傳播方式的便捷更加速了藝術(shù)家之間的交流互動(dòng)。西方國(guó)家的現(xiàn)代藝術(shù)的各種風(fēng)格形式?jīng)坝堪愕倪M(jìn)入中國(guó)當(dāng)代藝術(shù)中，一部分雕塑家為了雕塑外在形式上的“新”，為了與西方當(dāng)代藝術(shù)的“接軌”，開始對(duì)西方國(guó)家已有雕塑樣式的照抄，照搬。使中國(guó)當(dāng)代雕塑藝術(shù)失去了本土的文化語(yǔ)境，喪失了自己的話語(yǔ)權(quán)，使中國(guó)當(dāng)代雕塑藝術(shù)在文化上處于了一種后殖民文化的狀態(tài)；另外一方面的挑戰(zhàn)是國(guó)內(nèi)：中國(guó)實(shí)行改革開放之后，市場(chǎng)經(jīng)濟(jì)的發(fā)展，使中國(guó)進(jìn)入了消費(fèi)主義時(shí)代，大眾文化迅速得到傳播，體現(xiàn)在雕塑上就是“商業(yè)化”，雕塑作品被大量的復(fù)制，作為商品進(jìn)行消費(fèi)，使當(dāng)代雕塑失去了文化內(nèi)涵的根基，遠(yuǎn)離了社會(huì)環(huán)境，與人民大眾的心聲審美水平越來越遠(yuǎn)，只是停留在表面的刺激，當(dāng)代雕塑作品變得單調(diào)、乏味、平庸。在這樣的環(huán)境下，迫使我們不得不去思考和回答這樣一個(gè)問題，那就是在當(dāng)今中國(guó)或在當(dāng)今世界,現(xiàn)實(shí)主義雕塑還有沒有被接納、生存和發(fā)展的空間？在今天或在未來，現(xiàn)實(shí)主義雕塑還有沒有審美的意義與價(jià)值？現(xiàn)實(shí)主義雕塑如何面對(duì)當(dāng)下的、社會(huì)的、民族的中國(guó)問題，這是當(dāng)代現(xiàn)實(shí)主義雕塑家急切需要思考的問題。值得欣喜的是，大部分現(xiàn)實(shí)主義雕塑家開始自覺地關(guān)注當(dāng)代社會(huì)，對(duì)各種社會(huì)現(xiàn)象進(jìn)行文化思考，關(guān)注當(dāng)代社會(huì)的變化和各種問題，強(qiáng)調(diào)作品的觀念性和現(xiàn)實(shí)針對(duì)性，揭示和思考當(dāng)代人的精神狀況，表達(dá)藝術(shù)家的人文關(guān)懷。本文結(jié)合幾位當(dāng)代現(xiàn)實(shí)主義雕塑家對(duì)于生活的關(guān)注、對(duì)于社會(huì)的干預(yù)以及他們的作品所傳達(dá)出的精神意義進(jìn)行具體的分析研究，，旨在表明當(dāng)代現(xiàn)實(shí)主義雕塑的重要性。從當(dāng)代性、社會(huì)性、地域性三個(gè)不同的角度去分析闡述中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的意義與價(jià)值。鼓勵(lì)當(dāng)代雕塑家們對(duì)于社會(huì)現(xiàn)實(shí)與真實(shí)問題的關(guān)注，對(duì)于人的生存境遇和精神狀態(tài)的關(guān)注，呼吁雕塑家真正擔(dān)當(dāng)起肩上的道義、責(zé)任和良知。本文的研究意義在于，期望我們的雕塑家和藝術(shù)評(píng)論家一起努力，為中國(guó)的當(dāng)代藝術(shù)建立起一套屬于自己的關(guān)于當(dāng)代藝術(shù)理論與批評(píng)的規(guī)范體系，從而使藝術(shù)理論對(duì)藝術(shù)實(shí)踐起到應(yīng)有的規(guī)范引導(dǎo)作用，進(jìn)而使我們當(dāng)代現(xiàn)實(shí)主義雕塑家能夠用自己的作品實(shí)現(xiàn)與西方國(guó)家真正平等的對(duì)話。最終使中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的道路走的更遠(yuǎn)。

    “The realism” a word appears most early in France’s literary work, afterwards isdeveloped in the entire plastic arts domain, and finally in the19th century30’s Francetake an unprecedented scale realism fine arts movement as the beginning, becomes inofficially the artistic domain a cross time milestone. But starts until on century20’s,Western realism only then inrushes China by the sculpture form, also had hundredyears history in China. In these hundred years vicissitudes, the realism sculpture andthe entire China’s specific social environment, is having the relation throughout withthe native place people’s special energetic style and the life condition, and is playingthe vital role in the different historical period. This article has all carried on the keyanalysis and the research from the realism to the realism sculpture, elaborates theChinese present age realism sculpture importance and the practical significance bythis.Speaks of the realism, it utilized the realism thought in China’s traditional culturealso to create many outstanding works, for example Northern Song Dynasty timepainter Zhang Zhaiduan "In Pure Brightness River Chart" and so on all was createstake the real life as the basis. At the beginning of the20th century, the Chinese firstgeneration of sculptors study abroad France, after several years they study become thereturn, and has brought back to the Western practical technique primarily sculpturecreation method. Henceforth, practicalizes the primarily realism sculpture to obtainthe development rapidly in the20th century China. This article mentions from therealism concept then extends to the realism sculpture origin, from the Western realismsculpture to on century China realism sculpture development course, it may be saidtake the history as the clue, take the fact as the guidance, again in elaboration realismto Chinese sculpture significant influence. Returned looks at the beginning of acentury to1949that turbulent age, by now realism sculpture the first stage whichdeveloped in China, the entire China all occupied at that time in the turmoil of warenvironment, in this kind of special situation, the artistic youth who was ambitiousgave up individual thought emotion mostly in the artistic expression, mobilized the general people to organize the vast Sino-Japanese War mighty current in abundance,and bounden investment to this mighty current in; On the other hand simultaneously,because is in the chaos caused by war people, also urgently needs from art to obtainthe spiritual consoling with the mind inspiration, therefore can reflect the people’s reallife directly, also easily the realism art which was understood by the populace, thenbecomes the artist common choice, this artistic form sculpture work in abundanceemerges immediately on the like mushroom growth.From1949to1978, was therealism sculpture the second stage which developed in China, new China just wasfounded, have a hundred things to do, Soviet Union had the socialism nature realismsculpture to introduce, used for to manifest people’s in revolutionary war age difficultyears and the sacrifice spirit, reflected revolutionized and constructs the strugglecourse and the real life. Therefore, may say under the time impetus, the realismbecame at that time the Chinese fine arts mainstream ideological trend, this was thespecific time history makes to cause to so.After80’s, the reform development economical policy enable China’s economyto obtain the swift and violent development, the realism sculpture also said goodbyeformerly serves for politics, served the pattern for the ideology, started to return tosculpture oneself, carried on the esthetic rule the exploration, asked in the sculptureform and the sculpture language to strive for to change newly, carries on the boldexploration and the breakthrough. This time sculpture domain faces the pairs tochallenge greatly, on the one hand is overseas: As a result of the reform and openpolicy and the economical globalization, cause between the country and the countryare day by day frequent in the cultural exchange, dissemination ways and so onnetwork, media convenient have accelerated between artist’s exchange interaction.Western nation modern art each kind of style form turbulent enters in the Chinesepresent age art, part of sculptors for sculpture external form in “new”, for with theWestern present age art “the trail connection”, starts to the Western country to havesculpture style copying verbatim, the copy. Caused the Chinese present age sculptureart to lose the native place cultural linguistic environment, has lost own words power,caused the Chinese present age sculpture art to be at one kind after the culture to colonize cultural the condition; On the one hand moreover the challenge is domestic:After China implements the reform and open policy, the market economydevelopment, caused China to enter the expense principle time, the mass cultureobtained the dissemination rapidly, manifested in the sculpture is “thecommercialization”, the sculpture work by the massive duplications, is carried on asthe commodity the expense, caused the contemporary sculpture to lose the culturalconnotation foundation, has been far away the social environment, was more andmore far with masses’ aspiration esthetic level, only was pauses in the superficialstimulation, the contemporary sculpture work becomes monotonous, is tasteless, ismediocre.This article unifies several contemporary realism sculptor regarding the lifeattention, the energetic significance which transmits regarding society’s interventionas well as their work conducts the concrete analysis research, is for the purpose ofindicating the contemporary realism sculpture the importance.From the present age,the sociality, the regional three different angles analyze elaborate the Chinese presentage realism sculpture significance and the value. Encouragement present age sculptorsregarding society realistic and real question attention, regarding human’s survivalcircumstances and the state of mind attention, appealed the sculptor takes in shouldermorality and justice, the responsibility and the conscience truly.This article research significance lies in, expected we the sculptor and the artisticcritic together diligently, establish a set for China’s contemporary art to belong ownabout the contemporary art theory and the criticism standard system, thus causes theartistic theory the standard guidance function which practices to art should have, thenenables our present age realism sculptor to use own work realization and the Westerncountry true equality dialogue.Finally enable the Chinese present age realismsculpture the path to walk far.

淺析中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的意義

摘要4-7Abstract7-9引言11-12第一章 現(xiàn)實(shí)主義雕塑的歷程12-21    第一節(jié) 現(xiàn)實(shí)主義的概念12-14    第二節(jié) 現(xiàn)實(shí)主義雕塑的淵源14-16    第三節(jié) 現(xiàn)實(shí)主義雕塑的發(fā)展歷程16-21        （一）20 世紀(jì)初到 1949 年18-19        （二）49 年到 1978 年19-21第二章 中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的表現(xiàn)形式21-28    第一節(jié) 塑造生活21-24    第二節(jié) 精神寫實(shí)24-25    第三節(jié) 自我探索25-28第三章 中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的特征28-32    第一節(jié) 當(dāng)代性28-29    第二節(jié) 社會(huì)性29-30    第三節(jié) 地域性30-32第四章 中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的重要性及雕塑家的重任32-36    第一節(jié) 社會(huì)環(huán)境32-34        （一）國(guó)內(nèi)32-33        （二）國(guó)外33-34    第二節(jié) 雕塑家的人文關(guān)懷34    第三節(jié) 雕塑文獻(xiàn)的理論支持34-36結(jié)論36-37參考文獻(xiàn)37-38后記38

  本文關(guān)鍵詞：淺析中國(guó)當(dāng)代現(xiàn)實(shí)主義雕塑的意義，由筆耕文化傳播整理發(fā)布。