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从1984年第一届全国城市雕塑设计方案展览至今的十年间,我国城市雕塑在坚持“二为”方向、“双百”方针和表现主旋律作品方面取得了很大的发展。这再次证明了城市雕塑建设的发展必须与社会的发展与需要相结合,相匹配。作为社会主义精神文明建设的组成部分的城雕项目,大多数一开始就是命题的,有一定客观要求的。那些想把社会性、群众性很强的城市雕塑创作变成可以根据个人好恶而随心所欲的想法是不实际的,也是行不通的。对那种从根本上否定社会主义文艺方向,以另一种标准对我国城市雕塑创作提出的指责,我们无法与之在一个范畴进行所谓学术争论。因为在艺术目的、艺术主张上根本不同,没有必要在对文艺方向有不同认识,对雕塑艺术的认识档次不一的情况下,在含糊的概念和词句上打笔墨官司。
In the ten years since the exhibition of the first national urban sculpture design scheme in 1984, the urban sculpture in our country has made great progress in adhering to the “two for” direction, the “double hundred” principle and the performance of the main melody works. This once again proves that the development of urban sculpture must be combined with the development and needs of society to match. As an integral part of the construction of socialist spiritual civilization, urban sculpture projects, most of them propositions from the outset, have certain objective requirements. It is impractical and unworkable for those who want to make the urban sculptural composition of sociality and popular masses as arbitrary as they can be based on personal likes and dislikes. We can not go with so-called academic disputes in a category that fundamentally deny the direction of socialist literature and art and accuse another type of urban sculpture creation in our country. Because there are basically different artistic purposes and artistic ideas, there is no need to make ink-and-ink lawsuits on ambiguous concepts and words under the different levels of understanding of the art of sculpture.