恩师的恩师丨著名(míng)雕塑家滑田友教授

滑田友（1901-1986），江苏淮阴人，是20世纪中(zhōng)國(guó)雕塑发展史上具(jù)有(yǒu)深遠(yuǎn)影响的艺术家。1933年，滑田友去法國(guó)學(xué)美术。1936年，他(tā)创作(zuò)的雕塑作(zuò)品《沉思》在巴黎春季艺术沙龙美展上获得了铜奖，然后应徐悲鸿之邀回國(guó)。1948年以后在北平艺专任教。1952年参与天安(ān)门广场人民(mín)英雄纪念碑浮雕创作(zuò)，并完成了大型浮雕《五·四运动》、《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”.

说到雕塑家滑田友，就不得不提他(tā)的代表作(zuò)《轰炸》，这部作(zuò)品直接表达了中(zhōng)國(guó)雕塑史上的战争主题。1937年，日本侵华战争全面爆发，当时正在法國(guó)留學(xué)的史力达朋友从报纸上得知，祖國(guó)和家乡的人民(mín)正在遭受日本侵略者的蹂躏。虽然遠(yuǎn)离大海，他(tā)也有(yǒu)同样的感受，悲愤促使他(tā)创作(zuò)了一件石膏雕塑《轰炸》——一位年轻的母亲回头望着天空凶恶的敌机，右手紧紧抱着婴儿，左手抱着几岁的儿子，慌乱中(zhōng)奔跑着躲避日军的轰炸。如果你仔细观察，你可(kě)以看到母亲身體(tǐ)的左侧伸展成一条几乎筆(bǐ)直的对角線(xiàn)，传达出即将出现的紧张，然而，母亲并没有(yǒu)被吓倒，仍然像雕塑一样站立着，象征着不屈服和反抗。《轰炸》不仅被视為(wèi)一件艺术品，而且被视為(wèi)一件历史遗迹:艺术家為(wèi)一段苦难的历史雕刻的纪念碑。很(hěn)少有(yǒu)人知道这项工(gōng)作(zuò)花(huā)了好几年才完成。原来，初稿制作(zuò)后不久，德(dé)军占领了巴黎，作(zuò)者不得不将《轰炸》等多(duō)份手稿藏在地下室的煤堆里，直到二战结束，才得以重见天日。1946年，当青铜雕塑《轰炸》问世时，立刻引发了刚刚经历过战争创伤的法國(guó)人民(mín)的共鸣。这幅作(zuò)品使他(tā)成為(wèi)第一个被《世界美术百科(kē)全书》法文(wén)版收录的中(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)英雄纪念碑上的五四运动浮雕。与欧洲明暗强烈对比的技(jì )法不同，他(tā)采用(yòng)了中(zhōng)國(guó)传统的还原构图方法，画面趋于平直。装(zhuāng)饰性的人物(wù)線(xiàn)条和肌理(lǐ)吸收了中(zhōng)國(guó)佛像的雕刻技(jì )法，简洁而富有(yǒu)节奏感。吴作(zuò)人对滑田友的雕塑有(yǒu)这样的评价:它的雕塑艺术的确是中(zhōng)西合璧，古今交融。它既體(tǐ)现了西方雕塑的精(jīng)神，又(yòu)體(tǐ)现了中(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.