賈 方 舟

在傳統社會，出自民間工匠的雕塑作品只能出現在兩個領域：冥界與神界。為陪伴亡靈而作的墓室雕塑、陵園雕塑和為信仰而造的神佛——寺廟雕塑。人間沒有雕塑的位置。無論是皇家園林還是皇宮，除了作為附屬于建筑的雕梁畫棟、附屬于家具、門窗的裝飾性浮雕外，從不設獨立的雕塑作品，更沒有用雕塑為英雄或帝王造像的傳統，這是與西方大量設立于公共空間中的紀念碑雕塑和附屬于建筑、園林的雕塑很不相同的地方。也是很值得研究的一種體現在雕塑方面的文化差異和審美差異。雕塑在中國真正進入人間生活領域，還是近代以來的事。特別是新興的都市文化為雕塑家的出場提供了用武之地。在城市這個巨大的空間中，雕塑已不再是可有可無的擺設，它常常成為一個城市的亮點或標志，并與當代人的生活發生廣泛的聯系，在人們的生活中起著無容忽視的作用。作為雕塑家，思考的重心也從架上和私人空間轉向更能施展才智的公共空間。日新月異的都市建設和環境改造為雕塑家提供了實現各種夢想的機會。甚至可以說，我們所處的時代，就是雕塑家的時代。青年雕塑家章華，正是在這樣一個文化背景下迅速成長起來。

作為一個雕塑家，我們從章華生存的環境和成長的經歷中并沒有看到什么優越之處，既非書香門第，也沒有出生于藝術之家的幸運。但他天性中所具有的感悟力和想象力，卻使他僅僅依靠稀薄的民間滋養便可以扎根成長，就如那些巖縫間的樹木，不僅茁壯，而且生命力極其頑強。細細想想古代那些優秀的民間工匠，他們給后人留下那么杰出的偉大作品，靠的是什么？手中同樣捏的是泥巴，一個可以憑借想象幻化出一個藝術生命，而另一個卻只能依靠模子拓出一塊土坯。藝術家就是那些能夠化腐朽為神奇的人，他們的能力就是能夠把一塊泥改變成某個形狀，把一塊石頭去掉多余的部分……章華的雕塑讓我感到，他天生就屬于這一類人。

章華的雕塑就其整體風格而言，清新、明快、唯美。與那些沉穩、厚重、強調大體量的風格相比，他的作品充滿張揚、流動的大線條，充滿動感，充滿青春的活力。為此，他用拉長的造型手法，夸張了人體的四肢和腰身，盡情讓其伸展、延伸，從而產生一種沖向未來、沖向希望、沖向夢想、沖向那條一定要撞到的“紅線”的感覺。而這種向上、向前、向自己所設定的目標飛奔的視覺意象，正是所有有事業心的青年人的內在欲望，也是作者本人內在精神的一種外化。這一特點幾乎成為章華作品中一種符號化的象征性表達，無論是借助一種運動形式，例如表現雙人滑的《雙蝶》，表現花樣游泳的《出水芙蓉》，還是動作本身就具有象征意味的《飛翔》、《飛翔的夢》或者《歌頌青春》，其真正的意涵都不在形體動作本身的塑造，而在于一種精神愿望的訴求。這種精神愿望無疑首先是屬于創作主體的，是雕塑家用自己的主體精神牽引他的創作前行，并且以這種精神感染他的觀眾。

在章華的雕塑作品中，另一個必須提及的是他選取的題材。那些來自童年的記憶，是他不能不動用的、儲存于自身的藝術資源，因為一個人的童年生活即使再清苦，在追憶中也會變得美好。他的《童年記憶》系列作品再好不過地說明了這種質樸的生存經驗所具有的精神價值。《編花藍》、《滿天星》、《老鷹抓小雞》這些清貧時代的兒童游戲在現代人看來或許太不值一提，但現在的幸福兒童卻未必能在那堆積如山的玩具中獲得“編”一只“花籃”的開心。因為“幸福”的概念并不就是住高樓大廈，吃山珍海味。在章華的心中，恐怕再沒有什么比這更美好的東西值得他挖掘和表現：“春天來了”，經過嚴冬之后的孩子感到了一種溫暖的降臨，一頭長發該剪一剪了，孩子心中這種美好感覺誰能知道呢？只有章華知道。因為，那分明就是他自己所親歷的感受。這樣樸素的主題之所以會作得如此動人，正是因為藝術家心中久已釀就的那份美好感情。說到底，這也是成就藝術的諸因素中最重要的因素。

The Flying Youth: The Spirit of Zhang Hua’s Sculptures
Jia Fang Zhou

In the traditional way of thinking, sculptures made by sculptors outside the Royal Court system could only have two themes: The after life and the celestial life. Often they ended up in tombs or graveyards and were religious relics such as Buddha and other temple sculptures; sculptures had no place amongst the living. Sculptures never stood out as an individual piece of art, but rather as attachments to buildings, carved furniture and interior decoration, depicting daily life in the Royal Court. Unlike in the west, where the making of famous figures head’s or the depiction of heroes, and the large scale of sculptures on display in public parks, or as part of a building and landscape was already established. Through such differences, we can acquire an insight into how the sculptures were both culturally accepted and the way in which beauty was defined.

Only in recent years within China has public sculpture entered the peoples’ daily lives. With the development of new cities and towns, it has given sculptors the space to create sculptures that are an intrinsic part of the landscape; linking together the environment and people. This ideal situation has provided many opportunities for creative sculptors, allowing the transformation of a personal space into a public display. We could almost say that this is a golden era and time for sculptors, and that from a young age Zhang Hua was influenced and nurtured by the acceptance and developments taking place during this period.

Zhang Hua as a sculpture artist did not have the advantage of coming from an artistic family background. This did not stop his natural talent and ability to understand and to create, which has taken root from his ordinary surroundings, having grown strong and resilient out of the toughness of life itself. From a simple piece of clay or a simple stone, some artists can create something artistic and amazing by using their hands; they know which part to shape and which part to keep. Zhang Hua is one of those artists, who have such ability; who can turn the mundane into something wonderful.

The style of Zhang Hua’s sculptures is fresh, crisp and graceful, never heavy, bulky or lifeless. Extenuated limbs and bodies, flowing lines, motion and youthfulness are the extension for hopes, energetically rushing towards the future with dreams of reaching their final goal. The successful representation and visual impact, of arms stretching upward and forward reflecting the inner desire of people today, bringing out the spirit from within have become synonymous with Zhang Hua’s work. Through movement in sports, pieces such as “Double Butterfly” and “Praise the Youth” representing the energy and spirit of figure skating; “Water Flowers” for precision and togetherness in synchronized swimming; “Flying High” and “Flying Dreams” flying a kite, depicting limitless hopes, dreams and the desire for freedom. The true spirit is not only created by how the external shape is formed, but also captures the inner desire and passion of Zhang Hua to express this vibrant spirit. For such sculptures to be successful an artist needs to have experienced life and to have a special inner quality, which in turn can inspire and influence the audience.

The chosen subjects in Zhang Hua’s sculptures, such as the “Childhood Memories” series, were created by using his own artistic observations and memories. Even in times of hardship, childhood memories are often fondly remembered. The “Childhood Memories” series captures the essence of pure life experiences and precious family values. “Basket Weaving” a game played by three children, “Full of Stars” a mother and child game, “The Old Eagle Catching the Chicks” a game often played together by poor children. The joy and pleasure derived from such simple games cannot always be obtained from the toys that are played with by the materially rich children. The concept of “blissfulness” is not living in high-rise apartments or being able to eat unusual food. In Zhang Hua’s heart, simple pleasures like a warm Spring day after a long cold winter or the fresh feeling after a hair cut feels wonderful. Zhang Hua through his own experiences can turn a simple theme into touching of the heart, because the artist has cherished and retained the unique quality of such good memories for a long time. This has become one of the main keys to his success.