【石雕】葉毓山(shān)雕塑作(zuò)品

 

《萬水千山(shān)》

一、《萬水千山(shān)》

尺寸：長(cháng)450cm

材質(zhì)：銅

地點：北京國(guó)防大學(xué)

時間：2006年

在群雕《千水萬山(shān)》中(zhōng)，葉玉山(shān)通過截取紅軍長(cháng)征的一個典型細節，總結了兩萬五千裏“千水萬山(shān)”的艱辛曆程.這組雕塑展示了紅軍戰士在風雪(xuě)中(zhōng)長(cháng)征中(zhōng)相互支持的場景。前兩名(míng)戰士的來訪和奮進，後方戰士的後退召喚，啓迪了我們長(cháng)征隊的存在和“千水萬山(shān)”的漫漫征途。戰士們堅定而自信的表情，顯示了長(cháng)征戰士們對革命勝利的信心。兩位女紅軍戰士在風雪(xuě)中(zhōng)相互扶持的場景，既展現了長(cháng)征的艱辛與艱險，又(yòu)展現了彼此的牽挂，這種悲壯的溫情展現了革命戰争中(zhōng)的人性溫情。作(zuò)品采用(yòng)鑄銅的方法，形似有(yǒu)異。

In the group sculpture “Thousands of Waters and Thousands of Mountains”, Ye Yushan summed up the arduous journey of twenty-five thousand miles of “Thousands of Waters and Thousands of Mountains” by intercepting a typical detail of the long march of the Red Army. The group of sculptures shows the scene of the Red Army soldiers supporting each other in the long march against the wind and snow. The visit and brave advance of the front two fighters, and the backward call of the rear fighters, enlighten us about the existence of the Long March team and the long journey of “thousands of waters and thousand of mountains”. The resolute and confident expressions of the soldiers showed the confidence of the soldiers of the Long March in the victory of the revolution. The scene of two female Red Army soldiers supporting each other against the wind and snow, showing both the hardships and dangers of the Long March, and the mutual care, this kind of tragic warmth shows the warmth of humanity in the revolutionary war. The work adopts the method of casting copper, and the shape is similar between the similar and the dissimilar.

《紅軍突破湘江紀念碑》

二、《紅軍突破湘江紀念碑》  

尺寸：高1,500 cm、長(cháng)4,000cm

材質(zhì)：花(huā)崗石

地點：廣西興安(ān)湘江之畔

時間：1993-1996年

軍隊在湘江的突圍，是2.5萬裏長(cháng)征的第一場戰役，也是犧牲了幾萬烈士的慘烈慘烈的事件。葉玉山(shān)采用(yòng)大型石雕頭，直接從泥土中(zhōng)誕生，以營造觀衆與雕像沒有(yǒu)距離的親密感，并在雕像的大尺寸與實物(wù)之間産(chǎn)生巨大的反差。觀衆的個人比例，從而産(chǎn)生親臨現場的崇高感和悲壯氣氛。由巨大的粗糙花(huā)崗岩塊砌成的雕像，以及建在巨石雕像上的34米高的主碑，與群像上下呼應，更強化了這種高貴悲壯的氣氛。石雕形成了巨大的懸崖狀牆壁，雕刻風格多(duō)樣。輔以一個镂空的開口和兩段“痕迹與意義相連”的斷壁，形成了中(zhōng)外雕塑史上前所未有(yǒu)的獨特雕塑形式。

The army’s breakthrough in the Xiangjiang River was the first battle of the 25,000-mile Long March, and it was also a tragic and tragic event in which tens of thousands of martyrs were sacrificed. Ye Yushan used a large-scale stone sculpture head to make it directly born from the earth, in order to create a sense of intimacy between the audience and the statue without distance, and to produce a huge contrast between the statue’s large size and the actual individual proportion of the audience, so as to produce the sublime of visiting the scene in person feeling and tragic atmosphere. The statues made of huge rough granite blocks, and the 34-meter-high main monument built on the mountain on the huge stone statues, echoes the group statues up and down, and strengthens this noble and tragic atmosphere. The stone carvings form a huge cliff-like wall with various carving styles. It is supplemented by a hollowed-out opening and two sections of broken walls that are “connected by traces and meanings”, forming a unique sculpture form unprecedented in the history of Chinese and foreign sculptures.

《中(zhōng)國(guó)工(gōng)農紅軍烈士紀念碑》

三、《中(zhōng)國(guó)工(gōng)農紅軍烈士紀念碑》（鄧小(xiǎo)平題詞）

尺寸：碑高2300cm、每座頭像高450cm

材質(zhì)：花(huā)崗石

地點：貴州遵義

時間：1985年

“遵義紅軍烈士紀念碑”由四個紅軍烈士巨首直接組成紀念碑主體(tǐ)，紀念碑高30米，形成震撼力。 看完紀念碑，當代雕塑大師劉開渠表示：“時空系列與主題完美融合，四顆巨石般的紅軍頭顱在觀衆視線(xiàn)中(zhōng)意外突兀，圓形楣增強 叙事。而特殊性起到喚醒主題的作(zuò)用(yòng)，星光照耀在它上面打破了沉寂，紀念碑的主體(tǐ)立于空心，猶如一把利劍。” 這是一件造型樸素，寓意深刻的作(zuò)品。

“Zunyi Red Army Martyrs Monument” directly forms the main body of the monument with four giant heads of the Red Army martyrs, and the monument is 30 meters high, forming a shocking force. After reading the monument, contemporary sculpture master Liu Kaiqu said: “The time and space series is perfectly blended with the theme. The four boulder-like heads of the Red Army are unexpectedly abrupt in the audience’s line of sight, and the circular frieze enhances the narrative. And the specificity plays the role of awakening the theme, the stars shining on it break the silence, and the main body of the monument standing in the hollow is like a sword.” This is a work with simple shape and profound meaning.

《紅軍長(cháng)征紀念碑》

四、《紅軍長(cháng)征紀念碑》（鄧小(xiǎo)平題詞）

　　（葉毓山(shān)與程允賢任創作(zuò)組組長(cháng)）

尺寸：碑高4,130cm、群像高1，480cm

材質(zhì)：花(huā)崗石、亞金銅   

地點：四川松潘

時間：1990年

松潘的“紅軍長(cháng)征碑”，碑高50米，人物(wù)高10米。在《參軍子兵》的叙事浮雕中(zhōng)，有(yǒu)母親告别兒子，有(yǒu)妻子告别丈夫，有(yǒu)孩子在媽媽懷裏告别年幼的父親。一家人痛哭流涕的幕後，是嚴酷的現實，也是人們翻身尋求解脫的決心。在《艱辛》的圓形塑像群中(zhōng)，紅軍母親在臨走前不久與嬰兒告别的那一抹催人淚下、悲痛欲絕的神情，為(wèi)情感埋下了伏筆(bǐ)。紅軍戰士抛棄妻兒的“初衷”，不就是長(cháng)征的意義嗎？與天地共存的崇高和諧，深植人心的細膩情感，将革命的“初心”還給了人性，是葉玉山(shān)英雄史詩中(zhōng)對人民(mín)的贊頌。

Songpan’s “Red Army Long March Monument”, the monument is 50 meters high and the figure is 10 meters high. In the narrative relief of “Participating in the Soldiers of Children”, there are mothers saying goodbye to their sons, wives saying goodbye to their husbands, and children in their mother’s arms saying goodbye to their young fathers. Behind the family scene of crying farewell, there is a harsh reality, and the determination of the people to turn over and seek liberation. In the group of round statues in “Hardship”, the tear-jerking and grief-stricken look of the mother of the Red Army who bid farewell to the infant just moments before she left immediately, lays down the foreshadowing of emotion. Isn’t the “original intention” of the Red Army soldiers abandoning their wives and children the meaning of the Long March? The harmony of the sublime coexisting with the heaven and the earth and the delicate emotions deeply rooted in the hearts of the people returns the “original intention” of the revolution to human nature, which is the praise of the people in Ye Yushan’s heroic epic.

《女紅軍衛生員》

五、《女紅軍衛生員》

（被當地群衆奉為(wèi)“紅軍菩薩”，時常上香挂紅祭拜）

尺寸：高300cm

材質(zhì)：銅

地點：貴州遵義

時間：1990年

這是為(wèi)長(cháng)征中(zhōng)犧牲的紅軍女衛生員豎立的紀念雕像。 生前，這位紅軍軍醫(yī)在救治當地群衆方面留下了許多(duō)感人的故事。 葉玉山(shān)在制作(zuò)這個紅軍女兵雕像的時候，選擇了給孩子喂藥的細節。 這種為(wèi)人民(mín)着想、為(wèi)人民(mín)服務(wù)的精(jīng)神不正是紅軍革命的核心嗎？ 正是這種軍民(mín)精(jīng)神，這種女衛生員關愛民(mín)生的力量，讓葉玉山(shān)革命曆史雕像戲劇性地成為(wèi)了人們自發崇拜的菩薩像！ 而通過它，不就是人性的力量嗎？ 《女紅軍衛生員》成為(wèi)葉玉山(shān)革命史詩贊頌的衆多(duō)作(zuò)品中(zhōng)的經典之作(zuò)。

This is a memorial statue erected for a female Red Army hygienist who died during the Long March. Before his death, the Red Army medic had left many touching stories in the treatment of local people. When Ye Yushan made the statue of this female Red Army soldier, he chose the details of feeding medicine to the child. Isn’t this spirit of thinking about the people and serving the people at the core of the Red Army’s revolution? It is this kind of military-civilian spirit, this kind of female hygienist’s power of caring for the people’s humanity, that the statue of Ye Yushan’s revolutionary history has dramatically become a bodhisattva-like icon that the people spontaneously admire and worship! And through it, isn’t it the power of human nature? “Female Red Army Hygienist” has become a classic among many works praised by Ye Yushan’s revolutionary epic.

《飛奪泸定橋群雕》

六、《飛奪泸定橋群雕》

尺寸：高150cm、長(cháng)400cm

材質(zhì)：玻璃鋼仿銅

地點：泸定橋紀念館

時間：1975年；

在這組雕塑中(zhōng)，作(zuò)者截取了飛越泸定橋的壯烈場面的一部分(fēn)。 無數紅軍士兵或匍匐前進，或持槍沖鋒，或投擲手榴彈或吹響沖鋒号角，盡顯飛越泸定橋的快感。 片刻。 在這組雕塑中(zhōng)，進攻隊的士兵身體(tǐ)前傾，形成了強烈的活力感，給人一種勢不可(kě)擋的氣勢，整體(tǐ)氣勢上升，向前沖。 整座雕塑由洶湧的海浪穿插支撐，既說明了飛越泸定橋的危險環境，也使整座雕塑得到了充分(fēn)的支撐。 這個想法很(hěn)巧妙。

 In this group of sculptures, the author intercepted a part of the heroic scene of flying over the Luding Bridge. Numerous Red Army soldiers were either crawling forward, or charged with guns, or threw grenades or sounded the horn of the charge, showing the thrill of flying over the Luding Bridge. of a moment. In this group of sculptures, the soldiers of the attacking team formed a strong sense of dynamism by leaning forward, and gave an unstoppable momentum with the overall momentum of rising and rushing forward. The whole sculpture is interspersed and supported by surging waves, which not only explains the dangerous environment of flying across the Luding Bridge, but also enables the whole sculpture to be fully supported. The idea is ingenious.

《飛奪泸定橋紀念碑》

七、《飛奪泸定橋紀念碑》（與隆太成合作(zuò)）

尺寸：人像高300cm，碑體(tǐ)高1000cm

材質(zhì)：銅、花(huā)崗石

地點：泸定縣

時間：1983年

在葉玉山(shān)的數百部大型史詩作(zuò)品中(zhōng)，這部作(zuò)品堪稱小(xiǎo)品。 但這是一個構思巧妙的不朽創作(zuò)。 作(zuò)者當然創造了兩個“飛奪泸定橋”的紅軍戰士。 他(tā)們勇往直前的英勇形象，成為(wèi)長(cháng)征中(zhōng)無數紅軍戰士的形象符号。 至于泸定橋，作(zuò)者巧妙地剪出一根鐵索，形成了别具(jù)一格的紀念碑造型。 碑身由一串易橫豎、圓成方、分(fēn)立的鐵索鏈組成。 兩尊紅軍青銅兵與身後的花(huā)崗石碑形成動與靜、橫與豎、青銅與花(huā)崗岩材質(zhì)的有(yǒu)趣對比，共同構成精(jīng)美别緻的紀念碑造型。

Among Ye Yushan’s hundreds of large-scale epic works, this work can be called a sketch. But this is a cleverly conceived monumental creation. The author certainly created two Red Army soldiers who “flyed to seize Luding Bridge”. Their heroic images of daring and rushing forward became the image symbols of countless Red Army soldiers on the Long March. As for the Luding Bridge, the author skillfully cut out a piece of iron cable to make a unique monument shape. The stele body of the stele is composed of a chain of iron cables that is easy to be horizontal and vertical, rounded to square, and divided into a whole. The two bronze soldiers of the Red Army and the granite stele behind them form an interesting contrast of movement and stillness, horizontal and vertical, bronze and granite materials, and together they form a delicate and unique monument shape.

《忠魂曲》

八、《忠魂曲》

尺寸：1600cm×500cm×100cm

材質(zhì)：花(huā)崗石

地點：廣西烈士陵園

時間：1989年

這組花(huā)崗岩石雕塑采用(yòng)無細節的大型結構來塑造烈士形象，石材保留了原石的粗犷，突顯了人物(wù)的堅毅和力量。 作(zuò)者關注并通常将每個單獨的頭部與松林和地球一起排列。 當這個花(huā)崗岩般的形象直接從松林中(zhōng)的草(cǎo)叢中(zhōng)生長(cháng)出來，連同石雕旁的草(cǎo)叢，石雕附近的松林，再加上花(huā)崗岩上的青苔，以及松樹背後的天空和白雲 森林，可(kě)以說是天地石刻融為(wèi)一體(tǐ)。 不僅有(yǒu)雕塑現場感的有(yǒu)機和諧，還有(yǒu)烈士精(jīng)神與大地、山(shān)川、日月的倒影等永恒不朽的寓意。

This group of granite stone sculptures uses a large structure without details to shape the image of the martyr, and the stone retains the roughness of the original stone to highlight the rock-like fortitude and strength of the figure. The author focuses and typically arranges each individual head with the pine forest and the earth. When this granite-like image grows directly from the grass in the pine forest, together with the grass beside the stone carving, the pine forest near the stone carving, plus the green moss on the granite, and the sky and white clouds behind the pine forest, it can be said that the stone carvings of heaven and earth are integrated. There is not only the organic harmony in the sense of sculpture scene, but also the eternal and immortal implication of the spirit of the martyr being with the earth, mountains and rivers, and the reflection of the sun and the moon.