把雕塑创作与现实关怀扯到一起,难免会让人笑话。据我所知,中国雕塑家眼下不外处在如下两种创作状态中:第一,在市场经济的背景下,人们渴望尽可能多的接下一些大工程,因为这样既可以挣钱,又可以留名;第二,对于那些有着明确学术追求的人来说,他们更多考虑的是如何从移植西方雕塑语言的背景中解放出来,只可惜由于深受现代派美学观点的影响,他们一直沉缅于雕塑语言自身的建设中。在这里我不想对前者进行评价,我觉得挣钱与做事业的关系问题、雕塑自身面临的学术问题需要放在另外的场合谈。下面仅就后者谈谈自己的看法。 首先必须强调:我一向认为根据传统去创造具有中国意味的雕塑语言的确是极有意义的学术问题。不过,我同时认为,如果脱 It is hard to avoid joke by linking sculpture creation with realistic care. As far as I know, Chinese sculptors are now in the following two creative situations: First, in the context of a market economy, people are desirous of taking as many major projects as possible because they can make money and Second, for those who have a clear academic pursuit, they are more concerned with how to liberate themselves from the background of transplanting Western sculpture languages. Unfortunately, they have been influenced by modernist aesthetics for a long time Indulge in the construction of sculpture language itself. I do not want to comment on the former here. I think the question of the relationship between making money and doing business, and the academic problems that the sculpture faces itself, need to be discussed on other occasions. The following only to talk about their own views. First of all it must be emphasized: I have always believed that the creation of a Chinese-style sculpture language based on tradition is indeed a very significant academic issue. However, I also think that if off