摘要
中国雕塑艺术形态的演化是与社会的发展密切关联的。改革开放以来雕塑艺术的功能与观念形态,从20世纪50年代后延续的纪念性及意识形态化的艺术生产,逐步演变到70年代末至80年代末对于雕塑形式语言及城市美化等问题的关切。随着90年代中后期到21世纪初的城市化、商业化及国际化发展,公共艺术、生活美学及生态美学观念的渐起.“城市雕塑”的形态及内涵逐步拓展到当代城市景观和公共生活的诸多场域.本文旨在通过对于中国雕塑艺术在近70年来所呈现的形态及观念中显现的意义、转化及问题的观察,予以有限度的分析和扼要的解读。其中对于城市雕塑及架上雕塑的形态和内涵均有涉猎。
The evolution of artistic form in the circle of Chinese sculpture is closely related to the development of society.Since the Reform and Opening-up,the function and idea of sculpture had averted itself from the monumentality and ideological dissemination lasting from the late 1950s to pursue the new prospect,that is,urban beautification and reflection on the sculptural language continuing from the end of 1970s to that of 1980s.Along with the course of Chinese urbanization,commercialization and internationalization from the middle and later period of 1990s to the early 21st Century,and with the rising concepts of public art,aesthetics of life and that of ecology,discussions about the form and connotation of"urban sculpture"have occupied an indispensable position in circles of contemporary urban landscape and common life.This article dates back the history of Chinese sculpture in the past 70 years,delves into the meaning,transformation and problems emerging in the sculptural form and ideas.From there,a limited analysis and concise interpretation should be given,and the authors discussion will also dabble in form and connotation of urban and easel sculpture.
出处
《美术》
CSSCI
北大核心
2019年第9期13-17,12,共6页
Art Magazine
作者简介
翁剑青,北京大学艺术学院教授、博导
