【石雕】叶毓山(shān)雕塑作(zuò)品

 

《万水千山(shān)》

一、《万水千山(shān)》

尺寸：長(cháng)450cm

材质(zhì)：铜

地点：北京國(guó)防大學(xué)

时间：2006年

在群雕《千水万山(shān)》中(zhōng)，叶玉山(shān)通过截取红军長(cháng)征的一个典型细节，总结了两万五千里“千水万山(shān)”的艰辛历程.这组雕塑展示了红军战士在风雪(xuě)中(zhōng)長(cháng)征中(zhōng)相互支持的场景。前两名(míng)战士的来访和奋进，后方战士的后退召唤，启迪了我们長(cháng)征队的存在和“千水万山(shān)”的漫漫征途。战士们坚定而自信的表情，显示了長(cháng)征战士们对革命胜利的信心。两位女红军战士在风雪(xuě)中(zhōng)相互扶持的场景，既展现了長(cháng)征的艰辛与艰险，又(yòu)展现了彼此的牵挂，这种悲壮的温情展现了革命战争中(zhōng)的人性温情。作(zuò)品采用(yòng)铸铜的方法，形似有(yǒu)异。

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.

《红军突破湘江纪念碑》

二、《红军突破湘江纪念碑》  

尺寸：高1,500 cm、長(cháng)4,000cm

材质(zhì)：花(huā)岗石

地点：广西兴安(ān)湘江之畔

时间：1993-1996年

军队在湘江的突围，是2.5万里長(cháng)征的第一场战役，也是牺牲了几万烈士的惨烈惨烈的事件。叶玉山(shān)采用(yòng)大型石雕头，直接从泥土中(zhōng)诞生，以营造观众与雕像没有(yǒu)距离的亲密感，并在雕像的大尺寸与实物(wù)之间产(chǎn)生巨大的反差。观众的个人比例，从而产(chǎn)生亲临现场的崇高感和悲壮气氛。由巨大的粗糙花(huā)岗岩块砌成的雕像，以及建在巨石雕像上的34米高的主碑，与群像上下呼应，更强化了这种高贵悲壮的气氛。石雕形成了巨大的悬崖状墙壁，雕刻风格多(duō)样。辅以一个镂空的开口和两段“痕迹与意义相连”的断壁，形成了中(zhōng)外雕塑史上前所未有(yǒu)的独特雕塑形式。

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)农红军烈士纪念碑》

三、《中(zhōng)國(guó)工(gōng)农红军烈士纪念碑》（邓小(xiǎo)平题词）

尺寸：碑高2300cm、每座头像高450cm

材质(zhì)：花(huā)岗石

地点：贵州遵义

时间：1985年

“遵义红军烈士纪念碑”由四个红军烈士巨首直接组成纪念碑主體(tǐ)，纪念碑高30米，形成震撼力。 看完纪念碑，当代雕塑大师刘开渠表示：“时空系列与主题完美融合，四颗巨石般的红军头颅在观众视線(xiàn)中(zhōng)意外突兀，圆形楣增强 叙事。而特殊性起到唤醒主题的作(zuò)用(yòng)，星光照耀在它上面打破了沉寂，纪念碑的主體(tǐ)立于空心，犹如一把利剑。” 这是一件造型朴素，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.

《红军長(cháng)征纪念碑》

四、《红军長(cháng)征纪念碑》（邓小(xiǎo)平题词）

　　（叶毓山(shān)与程允贤任创作(zuò)组组長(cháng)）

尺寸：碑高4,130cm、群像高1，480cm

材质(zhì)：花(huā)岗石、亚金铜   

地点：四川松潘

时间：1990年

松潘的“红军長(cháng)征碑”，碑高50米，人物(wù)高10米。在《参军子兵》的叙事浮雕中(zhōng)，有(yǒu)母亲告别儿子，有(yǒu)妻子告别丈夫，有(yǒu)孩子在妈妈怀里告别年幼的父亲。一家人痛哭流涕的幕后，是严酷的现实，也是人们翻身寻求解脱的决心。在《艰辛》的圆形塑像群中(zhōng)，红军母亲在临走前不久与婴儿告别的那一抹催人泪下、悲痛欲绝的神情，為(wèi)情感埋下了伏筆(bǐ)。红军战士抛弃妻儿的“初衷”，不就是長(cháng)征的意义吗？与天地共存的崇高和谐，深植人心的细腻情感，将革命的“初心”还给了人性，是叶玉山(shān)英雄史诗中(zhōng)对人民(mín)的赞颂。

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.

《女红军卫生员》

五、《女红军卫生员》

（被当地群众奉為(wèi)“红军菩萨”，时常上香挂红祭拜）

尺寸：高300cm

材质(zhì)：铜

地点：贵州遵义

时间：1990年

这是為(wèi)長(cháng)征中(zhōng)牺牲的红军女卫生员竖立的纪念雕像。 生前，这位红军军医(yī)在救治当地群众方面留下了许多(duō)感人的故事。 叶玉山(shān)在制作(zuò)这个红军女兵雕像的时候，选择了给孩子喂药的细节。 这种為(wèi)人民(mín)着想、為(wèi)人民(mín)服務(wù)的精(jīng)神不正是红军革命的核心吗？ 正是这种军民(mín)精(jīng)神，这种女卫生员关爱民(mín)生的力量，让叶玉山(shān)革命历史雕像戏剧性地成為(wèi)了人们自发崇拜的菩萨像！ 而通过它，不就是人性的力量吗？ 《女红军卫生员》成為(wèi)叶玉山(shān)革命史诗赞颂的众多(duō)作(zuò)品中(zhōng)的经典之作(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.

《飞夺泸定桥群雕》

六、《飞夺泸定桥群雕》

尺寸：高150cm、長(cháng)400cm

材质(zhì)：玻璃钢仿铜

地点：泸定桥纪念馆

时间：1975年；

在这组雕塑中(zhōng)，作(zuò)者截取了飞越泸定桥的壮烈场面的一部分(fēn)。 无数红军士兵或匍匐前进，或持枪冲锋，或投掷手榴弹或吹响冲锋号角，尽显飞越泸定桥的快感。 片刻。 在这组雕塑中(zhōng)，进攻队的士兵身體(tǐ)前倾，形成了强烈的活力感，给人一种势不可(kě)挡的气势，整體(tǐ)气势上升，向前冲。 整座雕塑由汹涌的海浪穿插支撑，既说明了飞越泸定桥的危险环境，也使整座雕塑得到了充分(fēn)的支撑。 这个想法很(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.

《飞夺泸定桥纪念碑》

七、《飞夺泸定桥纪念碑》（与隆太成合作(zuò)）

尺寸：人像高300cm，碑體(tǐ)高1000cm

材质(zhì)：铜、花(huā)岗石

地点：泸定县

时间：1983年

在叶玉山(shān)的数百部大型史诗作(zuò)品中(zhōng)，这部作(zuò)品堪称小(xiǎo)品。 但这是一个构思巧妙的不朽创作(zuò)。 作(zuò)者当然创造了两个“飞夺泸定桥”的红军战士。 他(tā)们勇往直前的英勇形象，成為(wèi)長(cháng)征中(zhōng)无数红军战士的形象符号。 至于泸定桥，作(zuò)者巧妙地剪出一根铁索，形成了别具(jù)一格的纪念碑造型。 碑身由一串易横竖、圆成方、分(fēn)立的铁索链组成。 两尊红军青铜兵与身后的花(huā)岗石碑形成动与静、横与竖、青铜与花(huā)岗岩材质(zhì)的有(yǒu)趣对比，共同构成精(jīng)美别致的纪念碑造型。

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

材质(zhì)：花(huā)岗石

地点：广西烈士陵园

时间：1989年

这组花(huā)岗岩石雕塑采用(yòng)无细节的大型结构来塑造烈士形象，石材保留了原石的粗犷，突显了人物(wù)的坚毅和力量。 作(zuò)者关注并通常将每个单独的头部与松林和地球一起排列。 当这个花(huā)岗岩般的形象直接从松林中(zhōng)的草(cǎo)丛中(zhōng)生長(cháng)出来，连同石雕旁的草(cǎo)丛，石雕附近的松林，再加上花(huā)岗岩上的青苔，以及松树背后的天空和白云 森林，可(kě)以说是天地石刻融為(wèi)一體(tǐ)。 不仅有(yǒu)雕塑现场感的有(yǒu)机和谐，还有(yǒu)烈士精(jīng)神与大地、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.