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1976年酷热的夏日,在一间空荡荡的大厅里,雕塑《大刀进行曲》(下面简称《大刀》)的作者潘鹤、梁明诚同志,满身汗水,满手泥浆,在木梯上往返不停地奔走着,兴致勃勃地把一团团软泥堆到四、五米高的巨型雕像上去。一座讴歌中华民族奋起抗战的雕塑,已经初具形态了。当时,我一边欣赏着摆在旁边的一件件泥型草稿,一边分享着他们为自己心爱的艺术形象而付出了汗水的那种愉快的心情。但,同时我又为《大刀》未来的命运而担忧。因为那时的文艺界,正好象龚定庵的诗所说的,一面是“万马齐喑实可
On the hot summer day of 1976, in an empty hall, Pan He and Liang Mingcheng, the authors of the sculpture ”Broadsword“ (hereinafter referred to as the ”Broadsword“), covered with sweat and covered with mud, traveled the wood ladder Running around in full spirits, the lump of soft clay was thrown into giant statues of four or five meters in height. An Acura Chinese nation raised the sculptures of war, has begun to take shape. At the time, I admired the muddy drafts placed next to me, sharing the kind of delight they had sweaty for their beloved artistic image. But at the same time I’m worried about the future of Sword. Because at that time the literary and art circles, just like the poems of Gong Dingan said, one side is ”