| 20世纪的雕塑艺术 |
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| 20世纪的雕塑艺术 Sculpture art in the twentieth Century 20世纪是一个色彩缤纷的时代，各种思潮和流派不断产生并流行，并波及整个世界，如立体派、表现派、未来派、超现实主义、流行主义、抽象构成和照象写实等等，不管这些流派的形式和主张有何不同，他们都是决裂于传统艺术的新形式。 Twentieth Century is a colourful era, with various trends and genres emerging and popular, and spreading all over the world, such as cubism, expressionism, futurism, surrealism, pop, abstract composition, and image realism, regardless of the different forms and claims of these genres, they are broken in the traditional art. A new form of surgery. 20世纪雕塑的两大主流之一是康丁斯坦·布朗库西（1876～1957）。 One of the two mainstreams of sculpture in the 20th century was Constantine Bronchusi (1876-1957). 布朗库西对现代雕塑的贡献是多方面的。他最重要的贡献是创始了一种具有普遍意义的象征物，这种象征物的雕塑形式简洁、强调形体的基本属性。由于现代生活的急剧变化和快节奏，以及杂乱无章的事物，人们要求在心理上接纳一种单纯的、简洁的艺术形式。另一种是立体派的雕塑，创立人是毕加索，但代表人物是乌克兰出生的亚历山大·阿基本科，他的作品特点是把坚实的平面与挖空的开放的体积对比形成一种独特的节奏和动感，并用凹陷的结构取代原本坚实的甚至凸出的结构使空间流动起来，并探索了正负空间的转换。立体派的代表还有蕾蒙、杜桑·维隆、昂利·洛郎斯、雅克·李普契兹。 Bronchusi's contribution to modern sculpture is manifold. His most important contribution was the creation of a symbolic symbol of universal significance, the sculptural form of which is concise and emphasizes the basic attributes of the form. Because of the dramatic changes and rapid pace of modern life, as well as chaotic things, people are demanding to accept a simple, simple form of art in the psychological. The other is the Cubist sculpture, the founder of Picasso, but the representative is the basic Alexander A section of Ukraine. His work is characterized by the formation of a unique rhythm and motion with a solid plane contrast to the open volume of the hollowing, and a hollow structure replacing the original or even convex structure. Space flows and explores the transformation of positive and negative spaces. The representatives of the Cubist school include Raymond, Dusan Vernon, Angela lone, and Jacques Lipchez. 在立体派雕塑家创作的同时，意大利雕塑家们也创造了一种不同的风格——“未来派”，恩墙托·波菊尼宣称：“绝对地和彻底地放弃有限的线条和封闭的雕塑。”“让我们把人体打开，把环境关闭到人体里面去。” At the same time as the Cubist sculptors created, the sculptors in Italy have created a different style, "futurism", and enwall Bovini declared, "the absolute and complete abandonment of the Limited lines and the closed sculptures." "Let's turn on the human body and close the environment to the human body." 在这两大主流之外较著名的流派还有构成派。构成派雕塑家瑙姆、加博、安·培布索奈（1886～1962）在创作中，用一种新的方式把物体所占有的空间进行了新的塑造，他们提出用空间、时间来取代量感，也通过构成雕塑寻求一种建筑新型的表现形式，对建筑作出了重要的贡献并采用和探讨了新型材料，从而把雕塑要素与建筑要素完美地结合在一起．贾克梅蒂(Giacometti，1901-1966)和塞尚(Cézanne，1839-1906) 虽然没有号称自己是激进的前卫艺术家，却都不满足于凭借前人的视觉经验观察物象。他们以非凡的勇气超越了传统绘画既定表现方式所制定的条条框框，形成了各自独特的画风。他们面对眼前的客观景象，企图抛弃固有的思想观念和观察习惯，重新审视，默默地寻求着新的属于艺术家自己的真实体验，这不免使他们同样地深深陷入视觉困惑的泥潭之中，因而在审美方式上存在许多相似之处。但是，他们毕竟生活在两个完全不同的时空里。由于不同的性格，不同的生活环境和人生体验，以及不同的视觉思维方式，也导致了画家审美特征的诸多差异。 Besides the two main streams, there are still more famous schools. The sculptor, naomam, Garbo, and Ann Pebusone (1886~1962), used a new way to create a new way of building the space occupied by the objects. They put forward the use of space and time to replace the sense of quantity. They also made sculptures to seek a new form of architecture, and made important Tribute to the architecture. A new type of material is presented and explored to combine the elements of sculpture with the architectural elements. Jacques May Siti (Giacometti, 1901-1966) and Cezanne (C e zanne, 1839-1906), though not known as radical avant-garde artists, are not satisfied with the visual experience of their predecessors. With extraordinary courage, they surpassed the rules and regulations formulated by traditional paintings and formed their own unique styles. In the face of the objective scene, they try to discard the inherent ideas and observation habits, reexamine them and seek the real experience of the new artists themselves in silence, which makes them equally deeply trapped in the mire of visual confusion, so there are many similarities in the aesthetic way. But, after all, they live in two completely different space-time. Because of different personality, different living environment and life experience, and different ways of visual thinking, it also led to many differences in aesthetic characteristics of painters. |
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