东西方雕刻艺术中的跨文化探索

文 胡昌民（加拿大）

东西方雕刻艺术中的跨文化探索

文 胡昌民（加拿大）

东西方文化的不同总会被人们简要地概括为一点：东方文化倾向于含蓄，西方文化更多的展示着直接。这种文化本质的属性不同，总是会体现在生活的各个方面，当然也包括雕刻艺术。

在表现北美洲野生动物的玉牙雕创作中，西方人更偏爱主题鲜明突出，内容一目了然，显而易见的形象和特定的造型语言，精准到位的形象刻画，给人直截了当的感受和清晰的印象。而东方人习惯螺旋式的思维方式，散点透视，别有洞天。

The cultural difference between East and West is usually summarized as, “The Oriental culture is more reserved and the Western one tends to be more direct”. This cultural difference applies also to various aspects of life, including the sculpting art.

In showing jade and tooth carving of North American wildlife, Westerners prefer fresh and unusual topics with obvious themes, shapes, and a set language of forms with precise carving to give people a feeling of directness and a clear impression. Asian people prefer using the spiral method to reflect their thoughts and introduce another point of view.

加拿大碧玉《护仔的母熊》 胡昌民／作Canadian Jasper Protective mother bear

加拿大碧玉《鲑鱼与芦苇》 胡昌民／作Canadian Jasper Salmon with Reeds

东方传统雕刻的一个特征，通常在雕刻创作中，以“最大限度地展示高难度工艺技巧，不可思议的巧色或材质表现”作为主轴。而西方雕刻一个很好的启示是，将雕刻工艺呈现的空间，扩展到展示“自然美”和“健康意义”这一以“意象”为主轴的艺术创作之中去。这种雕刻作品所呈现出来的艺术性、美感或许更能获得人们的喜爱，也更能加深人与雕刻艺术作品之间的心灵沟通。无疑的，这也为雕刻艺术家创造雕刻境界，提升玉雕作品艺术性价值，拓展了宽广的挥洒空间。

One characteristic of the Oriental traditional carving technique is to “use the most restrictive way to show the most difficult skills and techniques, with unimaginable colours or texture”. Western sculptures, on the other hand, provide a very good indication that expands the space in sculpting into concepts such as natural aesthetics and the physical meaning in creating arts. The artistic and aesthetic values in this type of artwork may, perhaps, become more popular and may even improve the international communication between people and the sculpture. Undoubtedly, this also creates a realm in sculpting for the artists, and thereby raising the artistic value of the artwork and allowing more space in creativity.

加拿大碧玉《飞鷹和枝桠》 胡昌民／作Canadian Jasper Flying Eagle with a branch

加拿大碧玉《游玩的湖鲸》 胡昌民／作Canadian Jasper Killer whales playing

中国绘画艺术中“山水取意，花卉取趣”的创作理念有值得玉雕创作学习借鉴的经验，比如描绘“梅兰竹菊”的中国画，形似自然花草，意在隐喻君子的气节与情操。又如，表现“老树婆娑多姿，古柏苍劲挺拔”的植物形象，用以比拟人的一种精神风貌。这种将生活中本来普普通通的东西，运用形象思维进行深化、提炼，加工成为比生活本来面貌更具普遍意义的形象，是典型的现实主义“灵魂”。当艺术家运用画笔，或者用雕刻造型这一“形象语言”手段，将臆想的形象内容立体地再现在人们眼前，唤起人们的美感，给人以正面的影响和精神感染，这就是艺术的真正魅力！

In Chinese paintings, the artists painted “the mountains for their atmosphere, and the flowers for the embellishment”; this concept is worth adopting in jade-carving. For example, when sketching the four flowers (plum flowers, orchids, bamboo flowers, and chrysanthemums) in Chinese painting, their outline resembles the natural plants in order that they can symbolize the flair and the arrogance of a gentleman. The images of trees are draped with curtains of leaves, and the old cedar standing tall with dignity can be used to describe people. This method of using ordinary everyday object to describe image and concept, makes the image so much more meaningful and adds the soul to the artwork.

The true attraction of art is when an artist uses pens orsculptures to convey an image to awaken people and their sense of aesthetics, giving them positive influence.

加拿大玉牙雕刻作品展示在画廊，被认定为艺术品。从事雕刻的工作者，不是俗称的工匠师傅，而是被尊称为雕刻艺术家。一个很重要的原因是，加拿大乃至西方雕刻艺术界将 “工艺”与“艺术”完美结合，成为造型艺术的一个特征。它已经不仅仅是用传统概念中以大量比例的工艺技巧去展现雕刻艺术形态，而是用艺术理念主导创作，以特定的构思、意念驾驭工艺技巧，去完成雕刻艺术作品。由此可见，当代在西方流行的，把“艺术内涵”定义，从传统的纯粹“雕刻技巧”、注重“外在表象”中解放出来，“利用雕刻媒材，发挥特殊技巧，赋予特定理念” ，三位一体的创作方法来成就雕刻艺术品，这正是西方雕刻艺术值得赞赏的可爱之处和精华所在。

雕刻家只有充分理解并且掌握中式思维和西式思维之间各自的精妙之处，取长补短，才能将雕刻艺术跨越东西方文化，得到一种飞跃式的发展。

Canadian jade sculptures will be displayed in galleries and will be classified as objets d’art. Sculptors will not be classified as craftsmen but will be addressed as artisans. A very important reason is that Canada is where the Western art of sculpting fuses perfectly the art and the craft to form the objet d’art. It is no longer the traditional craft showing sculpting art forms but rather, a piece of art created according to artistic concepts, preset thinking, and concept-driven artistry. It is obvious that the definition of “art connotation” according to the West, is purely the technique of carving, concentrating on external expression only.“Using sculpting medium to demonstrate special techniques and embellishing it with special concepts” to complete a sculpture is the best thing about Western sculpting art.

When a sculptor can fully grasp and fuse the synergy of Chinese and Western concepts and the individual essence, then he has the ability to create cross-cultural sculptures with tremendous progress.

胡昌民

加拿大华裔雕刻家。早年毕业于上海工艺美术学校。1988年赴加拿大求学，1989年，进入外国名家的玉雕艺术公司，从员工做起，学习切料、打磨、装配，全面深入地学习西方人的雕刻技艺，从雕刻助手，到雕刻师、技术总监直到生产经理，从艺术设计到管理水平得到了外国人的认可，得到当地艺术界认可。2000年，放弃了原有公司优厚的条件和待遇，独立创业，成立自己的雕刻工作室，全心创作玉雕作品，埋头苦干十几年。将中国东方的艺术精神与西方的艺术表现手法融为一体，形成了自己的艺术风格。多件作品，被加拿大政府机构、学术团体、财团等部门收藏和作为礼品。同时也被多家世界知名画廊艺术机构收藏。

Cross-Cultural Exploration of Sculpting Techniques Between East and West

(Canada)Charles C. Min Hu