论文部分内容阅读
大致说来,我们把20世纪以来的雕塑作品称作现代雕塑,并与在它之前各个时期的雕塑区别开来。这样的区别是如此之巨大,以至于在它们面前,普通的欣赏者莫衷一是,丧失了鉴赏的方向,其问题的关键,在于陷入了雕塑意念的混乱。 所谓“雕塑意念”,是与雕塑家的创作习惯紧密联系在一起的。就艺术领域而言,创造习惯表示一种相对不变的情趣。在雕塑历史上,这种相对不变的习惯或者情趣曾经维持了相当长的时间,只是到了20世纪才被从根本上打破,并开始了不同情趣相互宽容的时代。为了有所区别,我称前一种雕塑情趣是古典的,后一种是现代的。
Broadly speaking, we refer to the sculptures of the 20th century as modern sculptures, distinguished from the sculptures of the various periods before it. The difference is so great that, before them, ordinary admirers have no choice but to lose their appreciation, and the crux of the problem lies in the chaos of the idea of sculpture. The so-called “sculpture idea”, is closely linked with the sculptor’s writing habits. In the field of art, creating habits means a relatively constant taste. In the history of sculptures, this relatively unchanged habit or interest had been maintained for a long time, only to be fundamentally broken by the twentieth century and to begin an era of different tastes and tolerance. For the sake of difference, I call the former kind of sculpture a classic, the latter a modern one.