浅论雕塑语言中的“力”
（节选）
文 | 李展
作为造型艺术，与平面展开的二维艺术不同，雕塑存在于三度空间当中，是真实的物质实体。这一特点决定了它的语言唯一性，即关乎于空间、体积、形状和材质这几大要素。形体在空间中起伏、延伸、围合，引起观者特殊的对于空间的感知与想象，这是雕塑语言要素中的核心，是雕塑语言的基本逻辑，一切修辞围绕这一逻辑发生，构成丰富而多变的雕塑语法。
《面具》 李展 2015年 44x105x72cm 香樟木
《壇》 李展 2018年 53x36x48cm 石膏、铁丝、墨
“力”在物理学上的定义是“物体之间的相互作用，是使物体获得加速度和发生形变的外因”，“力”是人们日常生活中最熟悉、最切近自身的感官体验之一。① 那么雕塑语言中的力指的是什么呢?我们知道，审美是人类的特有属性，是其在智力、情感方面区别于动物的重要体现，审美的本质其实是人类对自身的关照，因此一切艺术的审美准则都源自于对生命本身的细致体会。钱绍武先生在他的文章中曾经说过，一切生命都是从核心开始生长，向外扩张的同时承受着大气压力，逐渐生长 成为柱状或球状体，体现出生命体有机的形状特点②。这一说法道出了雕塑审美的一个重要特点——关于生命生长过程中所遭受的一对“抗力”——即自内向外扩张的力（张力）与大气自外向内施加的力（压力）之间的关系问题。留法归来的郑可先生曾受到欧洲现代雕塑的极大影响，他曾说道：“雕塑这个词的含义已不再是传统的含义，即指以某种技术手段来表示的特定艺术，它是借用这个人们习惯称呼的词来统称一切立体造型艺术。一张纸，用手在上面向下压或从下向上顶，产生了凹凸，这就打破了平面而创造了立体，从观念上可以认为它产生了雕塑意念”③——因此 “凹凸”“起伏”是产生三度空间的根本，而这都是由于“力”的存在和作用使然。
《鸮鼎》 李展 2018年 62x42x64cm 石膏、铁丝、墨
《寒鸦》 李展 2022年 75x50x65cm 石膏、铁丝、石膏纱布
雕塑的行为围绕这一“力的相互作用”而展开，雕塑家创造出的造型，无论饱满、萎缩，膨胀、干瘪——都是“二力作用”的结果，这是来自于身体的、行为的，同时也慢慢在人类文明史上形成了审美的自觉。不仅仅雕塑领域，书法中“力透纸背”所强调的“力”——所谓“惟笔欲行，如有物拒之，竭力而与之争，期不涩而自涩矣”—— 那种运笔的力与“如有物拒之”④ 的力所形成的对抗关系，同样是一种审美现象，甚至诞生出一种独特的“涩感”的美，这种“涩感”其实指的就是一种摩擦力，而且是在书者心中刻意制造出的一种力的摩擦，在力的作用下书写出的线条具有韧性、刚性的特点，与随意点划拖拽的线条是完全不同的；在绘画领域，同样，保罗 · 克利在他关于“线条的力学”研究中说道：“一条曲线内在的‘弯曲或弹性’，不仅是由于所展示出来的弧度与力度的关系，还是刀在材料的阻碍下最终克服并超越而出的手的轨迹”⑤，这里他明确借用了“力”的概念。中国画大家齐白石的作品中大量出现长而挺拔的线条如虾须、荷花茎，据说亦是在运笔极慢的状态下画就，在这里齐白石以书入画，将书法中的运笔方式融入绘画之中，执笔在纸上顶力而行，画出的线条劲健挺拔，同样是“力”的显现；太极拳中所强调的“柔中带刚”“绵里藏针”， 是指在力的运动过程中的相互对抗，一招一式都是带着“劲儿”的，看似绵软缓慢 的运动中充满了对力的“控制”。很多人喜欢捏气泡纸，是很解压的一件事，说白了就是人类调动力的作用所产生的一种快感的表现，书法家借线条表现力，画家通过色块、图形表现力，或者通过身体的运动表现力，雕塑家通过形体、空间去表现力。
《悲鸣》 李展 2022年 25x86x57cm 石膏、铁丝、石膏纱布
《躯壳》 李展 2022年 10x50x33cm 香樟木
在现实的三维世界中，力使物体产生运动，使形体产生位移，力的相互作用制造了空间的凹凸，也揭示出空间所具有的“正负性”，形体的起伏变化就是在力的较量中不断衍生，假如雕塑的自身形状是“正”空间，那么围绕着、包裹着雕塑的空气所形 成的空间即为“负”空间；假如一件容器的外形是“正空间”，那么环绕其外部、充满其内部的空间，都可以被称为“负”空间——雕塑本质上就是一件容器，雕塑里的“体积”概念本质上就是容积。我们在看待雕塑时要从正负空间的角度去体会，也就是要从“张力”“压力”层面去体会雕塑家的意图，这恰恰是审美一件实体造型所能给人们带来的特殊体验，是区别于平面的、虚拟的、图像的审美体验。
《雀》 李展 2023年 30x30x33cm 香樟木
《兕》 李展 2024年 28x94x43cm 石膏、铁丝、石膏纱布
从上述思路来看，我们观看一件雕塑时，仅仅欣赏其外部(正形)是不够的，同时要看到它内部(负形)的空间处理，我们要将雕塑的实体看作是二力作用下所形成的一层“壳”，这层“壳”是证明力的存在的证据，是雕塑家巧妙调动力的作用的最好体现——就像我们观看一件容器时，不仅要看外形怎么样，还要看看内部容积如何，能否最大限度的装东西——形体的正负空间变化不仅仅是“构图”上的经营和推敲，由于力的作用，正负空间直接牵扯到雕塑艺术的发生机制——优秀的雕塑家都是控制“力”的高手。
参考书目
1.《力的概念的哲学反思》张丽发表于《华中科技大学》2009 硕士论文
2. 在《雕刻之美——教学笔记》一文中，钱绍武先生谈到“任何一个自然生长的形体，基本上是充实于三度空间的圆 形......原因很简单，因为各种物体是存在于压力平均的大气之中......有生命的物体总是有内部向外部扩展的，接着它就 受到大气的压力，它的每一步扩展是和外界大气压力作斗争的结果。事实是一个物体内部力量越大，受到的压力也 越大。”(《雕刻之美——教学笔记》钱绍武，载于《美术研究》1983 年第 3 期)
3.《郑可谈雕塑教学》，发表于《美术家通讯》，1985 年第 4 期
4.“惟笔欲行，如有物拒之，竭力而与之争，期不涩而自涩矣”(《艺概·书概》刘熙载【清】，上海古籍出版社，1982年9月第一版)
5. 摘自艺术哲学学者张未在 2016 年由中央美术学院雕塑系举办的“雕塑之道”研讨会的发言稿
展览团队
| 策展人 |
李垚辰
副研究员，中央美术学院美术馆典藏部主任。近年从事美术馆典藏理论研究、近现代美术史研究，组织策划展览项目多次获得文化和旅游部奖励。
| 艺术家 |
李展
现任教于中央美术学院雕塑系第一工作室，副教授。
“游空追形——李展的雕塑新作”
展览时间：2024年3月3日—3月28日
展览地点：中央美术学院美术馆2层C展厅
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The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
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Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
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I fully agree to CAFA Art Museum (CAFAM) submitting to CAFA for publication the images, pictures, texts, writings, and event products (such as works created during participation in workshops) related to me from my participation in public events (including museum member events) organized by the CAFA Art Museum Public Education Department. CAFA can publish these materials by electronic, web, or other digital means, and I hereby agree to be included in the China Knowledge Resource Bank, the CAFA Database, the CAFA Art Museum Database, and related data, documentation, and filing institutions and platforms. Regarding their use in CAFA and dissemination on the internet, I agree to make use of these rights according to the stated Rules.
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Article I
This event was organized on the principles of fairness, impartiality, and voluntary participation and withdrawal. Participants undertake all risk and liability for themselves. All events have risks, and participants must be aware of the risks related to their chosen event.
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Event participants must abide by the laws and regulations of the People’s Republic of China, as well as moral and ethical norms. All participants must demonstrate good character, respect for others, friendship, and a willingness to help others.
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Event participants should be adults (people 18 years or older with full civil legal capacity). Underage persons must be accompanied by an adult.
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Event participants undertake all liability for their personal safety during the event, and event participants are encouraged to purchase personal safety insurance. Should an accident occur during an event, persons not involved in the accident and the museum do not undertake any liability for the accident, but both have the obligation to provide assistance. Event participants should actively organize and implement rescue efforts, but do not undertake any legal or economic liability for the accident itself. The museum does not undertake civil or joint liability for the personal safety of event participants.
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During the event, event participants should respect the order of the museum event and ensure the safety of the museum site, the artworks in displays, exhibitions, and collections, and the derived products. If an event causes any degree of loss or damage to the museum site, space, artworks, or derived products due to an individual, persons not involved in the accident and the museum do not undertake any liability for losses. The event participant must negotiate and provide compensation according to the relevant legal statutes and museum rules. The museum may sue for legal and financial liability.
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Event participants will participate in the event under the guidance of museum staff and event leaders or instructors and must correctly use the painting tools, materials, equipment, and/or facilities provided for the event. If a participant causes injury or harm to him/herself or others while using the painting tools, materials, equipment, and/or facilities, or causes the damage or destruction of the tools, materials, equipment, and/or facilities, the event participant must undertake all related liability and provide compensation for the financial losses. Persons not involved in the accident and the museum do not undertake any liability for personal accidents.
CAFA Art Museum Portraiture Rights Licensing Agreement
According to The Advertising Law of the People’s Republic of China, The General Principles of the Civil Law of the People’s Republic of China, and The Provisional Opinions of the Supreme People’s Court on Some Issues Related to the Full Implementation of the General Principles of the Civil Law of the People’s Republic of China, and upon friendly negotiation, Party A and Party B have arrived at the following agreement regarding the use of works bearing Party A’s image in order to clarify the rights and obligations of the portrait licenser (Party A) and the user (Party B):
I. General Provisions
(1) Party A is the portraiture rights holder in this agreement. Party A voluntarily licenses its portraiture rights to Party B for the purposes stipulated in this agreement and permitted by law.
(2) Party B (CAFA Art Museum) is a specialized, international modern art museum. CAFA Art Museum keeps pace with the times, and works to create an open, free, and academic space and atmosphere for positive interaction with groups, corporations, institutions, artists, and visitors. With CAFA’s academic research as a foundation, the museum plans multi-disciplinary exhibitions, conferences, and public education events with participants from around the world, providing a platform for exchange, learning, and exhibition for CAFA’s students and instructors, artists from around the world, and the general public. As a public institution, the primary purposes of CAFA Art Museum’s public education events are academic and beneficial to society.
(3) Party B will photograph all CAFA Public Education Department events for Party A.
II. Content, Forms of Use, and Geographical Scope of Use
(1) Content. The content of images taken by Party B bearing Party A’s likeness include: ① CAFA Art Museum ② CAFA campus ③ All events planned or executed by the CAFAM Public Education Department.
(2) Forms of Use. For use in CAFA’s publications, products with CDs, and promotional materials.
(3) Geographical Scope of Use
The applicable geographic scope is global.
The media in which the portraiture may be used encompasses any media that does not infringe upon Party A’s portraiture rights (e.g., magazines and the internet).
III. Term of Portraiture Rights Use
Use in perpetuity.
IV. Licensing Fees
The fees for images bearing Party A’s likeness will be undertaken by Party B.
After completion, Party B does not need to pay any fees to Party A for images bearing Party A’s likeness.
Additional Terms
(1) All matters not discussed in this agreement shall be resolved through friendly negotiation between both parties. Both parties may then sign a supplementary agreement, provided it does not violate any laws or regulations.
(2) This agreement comes into effect on the date that it is signed (sealed) and the relevant boxes are selected by Party A and Party B.
(3) This agreement exists in paper and electronic forms. The paper form is made in duplicate, with Party A and Party B each retaining one copy with the same legal efficacy.
Event participants implicitly accept and undertake all the obligations stated in this agreement. Those who do not consent will be seen as abandoning the right to participate in this event. Before participating in this event, please speak to your family members to obtain their consent and inform them of this disclaimer. After participants sign/check the required box, participants and their families will be seen as having read and agreed to these terms.
I have carefully read and agree to the above provisions.
