童话里的歌谣

一件好的艺术作品在于能否能触及个人和人类共同体之间的连接点。晋院的作品更多的是采用了中国传统的手法，因为在中国古代雕塑中具有明显的绘画性。其绘画性表现为不是注意雕塑的体积、空间和块面，而是注意轮廓线与身体衣纹线条的节奏和韵律，从绘画艺术的角度去看待雕塑艺术，具有比较强的装饰性、意象性。这或许是晋院觉得这样的表现手法比较能够使作品更贴切地表达出他的心境吧。当然，如果我们以西方古典雕塑的标准来看待他的作品也许会觉得解剖、比例不够准确，质感塑造不够充分等等不足，例如汉代的《击鼓说唱俑》那说唱俑腿脚踢起来的角度与程度完全与人体解剖学不符，但这不是“生理结构”或“自然结构“，而是一种“情绪结构”。当我们换一种眼光，使用我们自己民族的艺术标准和审美习惯，来欣赏他的作品“以形写神”的艺术效果时。我们会发现从敦煌菩萨，晋祠侍女、筇竹寺罗汉塑像上体会到“栩栩如生”这一句成语的含义同样适用于他的作品，作者没有过于精确地去塑造孩童的形象，而多从感觉和理解出发，象中国话一般运用精简的语言，简练、明快，以少胜多而又耐人寻味，以夸张乃至变形来强调孩童神韵，他的创作所关心的不是准确比例和真实效果，而是对儿时美丽梦想的感觉和理解，以及面对现实与梦想的差距所造成的落差感的追问。我们甚至在孩童的眼睛里似乎可以探寻到那未被污染的纯真与快乐，唤起了童年记忆的自由和温馨。 作品中具有的由内向外冲突形成的视觉张力由于结构框架的束缚而增加了奔突的力度，这一点和西方近现代雕塑有相似之处。追求雕塑语言的多变性和雕塑空间的自由性，不被客观物象所役。在此我要说的是,在这喧嚣的社会,有此纯朴弥真贴切地表达出作者对童年时纯真无邪的眷恋。我们可以从作品中领悟到作者的心境,那就是在喧嚣中渴求一份纯真,祥和,宁静. 不重复别人容易，但是不重复自己却很难，难能可贵的是他能在生活中获得一种体会、一种感悟，再通过他的作品表达出来，因而使他的作品有了鲜活的生命。 是的，有源头活水，便有山溪长流，我们期待晋院能在他的雕塑艺术世界里走的更高！更远！ 08年于岩城掬风堂 发表：郭盛泉 Song in the Fairy Tale Whether a piece of art is good or not lies in whether it touch the connection point of individuals and the mankind as a whole. Jinyuan’s works incorporate more of Chinese traditional techniques, for there are obvious painting elements in ancient Chinese sculptures. One of the representations of the painting element is that he would rather pay attention to the rhythm between profile and lines of clothes than pay attention to volume, space, blocks, or faces. He looks at the art of sculpture from the art of painting, which makes it more ornamental and meaningful. Maybe Jinyuan feels that such creating techniques more exactly express his mood. Certainly, according to the standard of western classical sculpture, his works maybe not precise in respect of dissection and proportion, or fail to figure the texture sufficiently. For example, in the Han-Dynasty Storytelling and Ballad-singing Figurines, the angle and degree of extending leg of the figure doesn’t comply with the anthropotomy. However, this is not “physical structure” or “natural struture”, but “emotional structure”. When we look with the standard of art and enjoying habits of our own nation, and appreciate the “predicting mind with figure”, we will find that the phrase “life-like”, which can be felt from the Bodhisattva in Dunhuang, Jinci Figures of Maidservants in Jinci, or arhat in Qiongzhu Temple, also applies for Jinyuan’ works. He didn’t try to portray appearance of the children too precisely, but try to emphasize the their verve according to his feeling and comprehending, just like Chinese language which express briefly and clearly. What his sculptures care for is not accurate proportion and true effect, but the sensation and understanding of beautiful dream in childhood, as well as the questioning of the sense of fall caused by the difference between truth and dream. We may even seek for the uncontaminated naivete and pleasure from eyes of the children, and arouse the freedom and warmth of childhood memory. Visual tension within the works formed by the conflict from inside to outside is increased expanding amplitude by the constraint of its framework, which share some similarity with latter-day western sculpture. The artist purchases the variability of sculpture language and freedom of sculpture space without limited by the objective material. What I want to say here is, in this blatant society, this kind of simplicity even more appropriately shows that the artist is sentimentally attached to the naivete and purity. We might feel the mood from the works, i.e., the thirst for a piece of naivete, peacefulness, and quietness. It’s easy not to repeat others, but difficult not to repeat oneself. Fortunately, he is able to obtain a kind of experience, sentiment, and then express through his works, which supplies blood to his works. Indeed, with living water of the source, brooks will flow forever. Therefore, let’s expect Jinyuan go higher and further in his world of sculpture artist! Jufengtang, Yancheng in 2008 By Guo Shengyan