恩師的恩師丨著名(míng)雕塑家滑田友教授

滑田友（1901-1986），江蘇淮陰人，是20世紀中(zhōng)國(guó)雕塑發展史上具(jù)有(yǒu)深遠(yuǎn)影響的藝術家。1933年，滑田友去法國(guó)學(xué)美術。1936年，他(tā)創作(zuò)的雕塑作(zuò)品《沉思》在巴黎春季藝術沙龍美展上獲得了銅獎，然後應徐悲鴻之邀回國(guó)。1948年以後在北平藝專任教。1952年參與天安(ān)門廣場人民(mín)英雄紀念碑浮雕創作(zuò)，并完成了大型浮雕《五·四運動》、《毛主席胸像》等作(zuò)品。

Hua Tianyou (1901-1986), a native of Huaiyin, Jiangsu Province, was an influential artist in the development of Chinese sculpture in the 20th century. In 1933, he went to France to study art. In 1936, his sculpture “Contemplation” won a bronze prize at the Paris Spring Art Salon Exhibition and then he came back to China at Xu Beihong’s invitation. After 1948, he taught at the Beijing Art College. In 1952, he participated in creating the relief sculptures for the Monument to the People’s Heroes on Tiananmen Square and completed large-scale reliefs such as “May Fourth Movement” and “Chairman Mao’s Bust”.

說到雕塑家滑田友，就不得不提他(tā)的代表作(zuò)《轟炸》，這部作(zuò)品直接表達了中(zhōng)國(guó)雕塑史上的戰争主題。1937年，日本侵華戰争全面爆發，當時正在法國(guó)留學(xué)的史力達朋友從報紙上得知，祖國(guó)和家鄉的人民(mín)正在遭受日本侵略者的蹂躏。雖然遠(yuǎn)離大海，他(tā)也有(yǒu)同樣的感受，悲憤促使他(tā)創作(zuò)了一件石膏雕塑《轟炸》——一位年輕的母親回頭望着天空兇惡的敵機，右手緊緊抱着嬰兒，左手抱着幾歲的兒子，慌亂中(zhōng)奔跑着躲避日軍的轟炸。如果你仔細觀察，你可(kě)以看到母親身體(tǐ)的左側伸展成一條幾乎筆(bǐ)直的對角線(xiàn)，傳達出即将出現的緊張，然而，母親并沒有(yǒu)被吓倒，仍然像雕塑一樣站立着，象征着不屈服和反抗。《轟炸》不僅被視為(wèi)一件藝術品，而且被視為(wèi)一件曆史遺迹:藝術家為(wèi)一段苦難的曆史雕刻的紀念碑。很(hěn)少有(yǒu)人知道這項工(gōng)作(zuò)花(huā)了好幾年才完成。原來，初稿制作(zuò)後不久，德(dé)軍占領了巴黎，作(zuò)者不得不将《轟炸》等多(duō)份手稿藏在地下室的煤堆裏，直到二戰結束，才得以重見天日。1946年，當青銅雕塑《轟炸》問世時，立刻引發了剛剛經曆過戰争創傷的法國(guó)人民(mín)的共鳴。這幅作(zuò)品使他(tā)成為(wèi)第一個被《世界美術百科(kē)全書》法文(wén)版收錄的中(zhōng)國(guó)人。

Speaking of Huatianyou, we have to mention his masterpiece “Bombing”, which directly expresses the theme of war in the history of Chinese sculpture. In 1937, the Japanese invasion of China war broke out in full, at that time was studying in France, Slipida friends learned from the newspaper that the motherland and the people of his hometown are suffering from the Japanese invaders. Although far away from the ocean, he also felt the same, grief and anger urged him to create a plaster sculpture “Bombing” – a young mother looking back at the sky ferocious enemy aircraft, the right hand tightly hugging the baby, the left hand holding a few years old son, running in panic to avoid the Japanese bombing. If you look closely, you can see that the left side of the mother’s body is stretched into an almost straight diagonal line, conveying the tension that is coming out, however, the mother is not intimidated, still standing like a sculpture, symbolizing unyielding and resistance. “Bombing” is seen not only as a work of art, but also as a historical relic: a monument carved by the artist to a history of suffering. Few people know that the work took years to complete. It turned out that shortly after the draft was produced, the German army occupied Paris, and the author had to hide a number of manuscripts, including “Bombing”, in the basement coal pile until the end of World War II, they were seen again. In 1946, when the bronze sculpture “Bombing” came out, it immediately triggered the resonance of the French people who had just experienced the trauma of war. With this work, Yuta became the first Chinese to be written into the French edition of the World Encyclopedia of Fine Arts.

雕塑家滑田友最著名(míng)的作(zuò)品是人民(mín)英雄紀念碑上的五四運動浮雕。與歐洲明暗強烈對比的技(jì )法不同，他(tā)采用(yòng)了中(zhōng)國(guó)傳統的還原構圖方法，畫面趨于平直。裝(zhuāng)飾性的人物(wù)線(xiàn)條和肌理(lǐ)吸收了中(zhōng)國(guó)佛像的雕刻技(jì )法，簡潔而富有(yǒu)節奏感。吳作(zuò)人對滑田友的雕塑有(yǒu)這樣的評價:它的雕塑藝術的确是中(zhōng)西合璧，古今交融。它既體(tǐ)現了西方雕塑的精(jīng)神，又(yòu)體(tǐ)現了中(zhōng)國(guó)文(wén)化的魅力。

Hua tianyou’s most well-known work is the relief of the May Fourth Movement on the Monument to the People’s Heroes. Different from the European technique of strong contrast between light and shade, he uses the traditional Chinese reverting composition method, and the image tends to be flat. The decorative character lines and textures absorb the carving techniques of Chinese Buddha statues, concise and rich in rhythm. Wu Zuoren has this comment on Hua Tian You’s sculpture: Its sculpture art is indeed a combination of Chinese and Western, blending ancient and modern. It embodies both the spirit of Western sculpture and the charm of Chinese culture.