80年代可以说是中国美术的现代主义时期,基本文化特点是二元对立,反对即进步。雕塑创作由于材料坚固、制作缓慢和建造的公共性,在个体意识急剧批判群体主义的新潮美术中,难以崭露头角。当时的创作精力,大多投入城市雕塑。而城雕从创作体制到工程投标,都囿于学院主义标准和惯性审美需求,很少能真正体现艺术创造力。其中比较突出的作品,是钱绍武的《李大钊》和叶毓山等的《歌乐忠魂》。《李大钊》以阿兹特克石雕头像的石材感,刻画艺术原型的外形内涵,以方正质朴的巨大体量及其震撼力,成为中国纪念性雕象中的佼佼者。只可惜建造环境时拉长两侧,强化了平面性而削弱了实体感。叶毓山等的《歌乐忠魂》在群雕设计中颇具匠心,整体的收束和形体的紧张,影象轮廓和山形背景,诸多关系处理得和谐统一。只是空洞的安排可有可无,略显生硬。 不可否认,不少艺术家在从事城雕工程时,亦通过自己的努力 The 1980s can be said to be the period of modernism of Chinese art. The basic cultural characteristics are dualistic opposition and opposition to progress. Due to the materiality of the sculpture, the slowness and the publicity of its construction, it is hard to emerge in the trendy art of radical criticism of collectivism. At that time the creative energy, mostly into urban sculpture. The city sculpture from the creative system to the project bidding, are subject to the standard of academic standards and aesthetic needs of inertia, very few can truly reflect the artistic creativity. One of the more prominent works, is Qian Shaowu’s “Li Dazhao” and Ye Yushan and other “song and music loyal soul.” “Li Dazhao” to Aztec stone head portrait of the stone, portrayal of the shape of the prototype of the prototype to Founder magnificent mass and its power to become China’s outstanding statue of the statue. Unfortunately, the construction of the environment stretched both sides, strengthening the flatness and weakened the sense of solidarity. Ye Yushan and other “song and loyal soul” in the group carving design is quite ingenuity, the overall convergence and body tension, the image outline and the Yamagata background, many relations handled in harmony and unity. Only empty arrangement dispensable, slightly blunt. It is undeniable that many artists also work through their own efforts when they are engaged in urban sculpture works