摘要：The white marble group sculpture Faith, which stands on the west square of the Museum of the Communist Party of China, is a monume
The white marble group sculpture Faith, which stands on the west square of the Museum of the Communist Party of China, is a monumental example of public art, embodying the ideological spirit of the new era. As the chief artist of this group sculpture, Lv Pinchang led the sculpture team from the Central Academy of Fine Arts (CAFA) through three years of arduous exploration and made numerous revisions, so that the work not only typically portrays the numerous heroic models who fought bravely for faith in the hundred-year history of the Party, but also demonstrates the extremely powerful faith force inherent in the hundred-year struggle of the Party through the solemn expressions of those swearing allegiance to the Party that are continuously presented in the group sculpture. This group sculpture has addressed several difficult problems well, such as properly handling the individualized image depiction of heroic prototypes, the connection and organic combination of numerous figures in the group sculpture from front to back, and making the fist-clenching and swearing postures both full of momentum and mutually responsive, thus creating the overall sense of movement in this large-scale group sculpture.
在中国共产党历史展览馆西广场上矗立的汉白玉群雕《信仰》，已成为镌刻新时代思想精神的大型公共艺术典范。作为该群雕的主创艺术家，吕品昌率领中央美院雕塑团队为此付出三年的艰辛探索，数易其稿，使该作既典型性地塑造了百年党史涌现出的为信仰而英勇奋斗的众多英模形象，也通过群雕中不断呈现向党宣誓的庄严神态，彰显了党的百年奋斗历程所蕴藏的无比强大的信仰力量。该组群雕较好地处理了英雄原型的个性化形象刻画与群雕众多人物的前后衔接与有机组合，以及使握拳宣誓的体态既富有气势也构成相互呼应，由此形成大型群雕的整体动感等难题。
Figure 1. Lv Pinchang. On-Site No.1 Qianlong Blue and White. Found objects and foamed ceramic, 150×86×60cm, 2024.
It should be said that the artistic level and achievements of Faith reflect the rich practical experience accumulated by Lv Pinchang, the chief artist, and his consistent pursuit of art. As early as the mid-1990s, Lv Pinchang followed senior sculptor Cheng Yunxian to successively complete a series of works, including A Generation of Heroes in the August 1 Nanchang Uprising Memorial Hall, Towards Victory in Zao Garden in Yan’an and Liberate the Whole of China in the Military Museum. During this process, Lv Pinchang accumulated experience in character prototype accumulation for thematic sculptures and realistic sculpture creation.
应当说，《信仰》大型户外雕塑的艺术水准及成就，体现了作为主创艺术家的吕品昌丰厚的实践积累和一以贯之的艺术求索。早在上世纪90年代中期，吕品昌便追随前辈雕塑家程允贤先后创作完成了八一南昌起义纪念馆的《一代英豪》、延安枣园的《走向胜利》和军事博物馆的《解放全中国》等，在这个过程中，吕品昌积累了主题性雕塑的人物原型积累以及写实雕塑的创作经验。
Figure 2. Lv Pinchang. A Fu No.8 Flute-Playing. Pottery, 42×42×55cm, 1994.
After that, he created a number of monumental sculpture masterpieces, such as the bronze reliefs Jinggang Meeting and Red Capital Ruijin in Nanchang August 1 Square, On the Road to Guangchang at the north gate of the Soviet Area, and Sending Off the Husband to Join the Army, Looking Forward and Planting Planks and Dividing Land in Jinggang Martyrs Cemetery. At the turn of the century, he participated in the creation project of The Chinese People’s War of Resistance Against Japanese Aggression Memorial Group Sculpture and completed the design and creation of two groups of sculptures, Great Sword Majesty and Bullets and Bombs.
此后又创作出了一批纪念碑式的雕塑力作，如南昌八一广场青铜浮雕《井冈会师》《红都瑞金》、苏区北大门的《广昌路上》、井冈烈士陵园的《送郎参军》《盼》《插牌分田》等。世纪之交，他参与了《中国人民抗日战争纪念群雕》创作项目，完成了《大刀雄风》和《枪林弹雨》两组雕塑的设计创作。
Figure 3. Lv Pinchang. Space Program No.5. Metal and ceramic, 2006.
In terms of single-figure portrait creation the sculptor’s ability to depict characters is most evident, because not only is it necessary to achieve a resemblance but it is also necessary to explore the inner world of the characters through the shaping language. The images he created for the role models of the times, such as The Portrait of Fang Zhimin created for Fang Zhimin Cadre College in Jiangxi Province, The Portrait of Jiao YuLu created for Jiao YuLu Cadre College in Henan Province, The Portrait of Huang Wenxiu created for the “July 1st Medal” winners at Beijing Normal University, and The Portrait of Yuan Longping created for Yuan Longping, the father of hybrid rice, academician of the Chinese Academy of Engineering and recipient of the Republic Medal can all be be regarded as fine works of sculpture portraits. The difficulty lies in how to mobilize and give play to the artistic plasticity of sculpture on the basis of the character prototype, which seems easy but is full of generalization and exaggeration.
在单体人物肖像创作方面最见雕塑家形象刻画的功力，因为不仅要达到肖似，而且要通过塑造语言发掘人物的内心世界。他为时代楷模所塑造的形象，如为江西省方志敏干部学院创作的《方志敏像》，为河南省焦裕禄干部学院创作的《焦裕禄像》，为北京师范大学创作“七一勋章”获得者创作的《黄文秀像》和为杂交水稻之父、中国工程院院士、“共和国勋章”获得者袁隆平创作的《袁隆平像》等，都可谓雕塑肖像的精品，其难点在于人物原型上如何能够调动和发挥雕塑的艺术塑造性，看似平易却充满概括与夸张。
In fact, the generation of sculptors represented by Lv Pinchang was faced not only with the inheritance of monument sculpture, but also with the huge challenges posed by contemporary art in relation to traditional sculpture art. They were not satisfied with the creation of commemorative sculptures in the general sense, although this was already very difficult. Under the scourge and challenge of the contemporary visual culture trend, creating commemorative sculptures for history or public figures undoubtedly had publicity or field-specific characteristics, but also dissolued the independence of artists’ thinking and was more difficult to cope with during the rise of contemporary art in terms of thinking forms.
实际上，吕品昌这代雕塑艺术家面临的并不只是对纪念碑雕塑的传承，而是当代艺术对传统雕塑艺术形成的巨大挑战，他们并不满足于一般意义上的纪念雕塑创作，尽管这已经很难！在当代视觉文化大潮的冲刷以及挑战下，为历史或人物做纪念雕塑固然具有公共性或场域性，但也会消解艺术家思考的独立性，更难能应对思考形态的当代艺术的勃兴。
Figure 4. Lv Pinchang. Three Pure Reflections of the Moon. Bronze and stainless steel, 3200×460×23200cm, Shangrao city, Jiangxi province, 2010.
The most important artistic concept in contemporary art lies in how to show the activity and creativity of artists’ thinking by means of ready-made objects or all kinds of artistic media, so as to highlight artists’ ingenious use of media and the conceptual nature of “Tao in broken tiles”—exploring profound philosophical thinking from any ordinary object.
当代艺术最重要的艺术理念在于如何能够借助现成品或一切艺术媒介来展现艺术家思维的活跃与创造，以此凸显艺术家对媒介的巧思性的利用，以及“道在瓦甓”的观念性——从任何普通物品发掘出深刻的哲学思考。
Figure 5. Lv Pinchang. Bound Form No.3. Steel-jade porcelain, 66×45×32cm, 2016.
The difference between Lv Pinchang and traditional sculptors lies in his transcendence and rebellion. His sculpture education started with his study experience at Jingdezhen Ceramic Institute (now Jingdezhen Ceramic University), but he did not indulge in the study of traditional ceramic art. His master’s thesis “On the Aesthetic Quality of Ceramic Defect Textures” is regarded as his artistic declaration challenging the traditional ceramic aesthetic standards, and this declaration also laid the ideological foundation for his exploration of the contemporary art transformation of ceramic media.
吕品昌与传统雕塑家的区分便在于他的跨越与叛逆。他的雕塑教育起步于景德镇陶瓷学院（现景德镇陶瓷大学）的学习经历，但他却不沉湎于传统的陶瓷艺术研究，其硕士毕业论文《论陶瓷缺陷肌理的审美品质》被看作是他向传统陶瓷审美标准发起挑战的艺术宣言，这一宣言也奠定了他对陶瓷媒介的当代艺术转向探索的思想基础。
Figure 6. Lv Pinchang. Bound Form: Bi No.2, 3, 4. Steel-jade porcelain, 73×72×15cm, 2017.
If it is said that the sinicization of Western realistic sculpture enabled him to create a series of large-scale commemorative monuments with historical themes, which is his artistic odyssey starting from ceramic art and realizing his dream of becoming a sculptor, then ceramic art, as the mother body of Chinese sculpture culture, has always been his channel of rebirth for returning to the essence of art and native culture.
如果说，西方写实雕塑的中国化让他创作了一系列历史题材的大型纪念碑雕塑，这是他从陶瓷艺术开始的艺术远行，从而成就了他的雕塑艺术家梦想，那么，陶瓷艺术作为中国雕塑文化的母体却从来就是他回到艺术本体、回归本土文化的重生通道。
What is most characteristic of his artistic exploration is exactly how to transform ceramic art into contemporary art. For example, the A Fu series is his re-exploration of folk art. He hopes to use the softness, extensibility and plasticity of clay to maximize the sense of expansion and fullness in folk sculpture. Also, the Chinese Freehand Series, which has continued from the 1980s to the present, reflects his attempt to stay away from busy work and secular life by creating the freehand image of “me” and thus reach an inner peace like the “Peach Blossom Spring.” In his works, he is transformed into monks, literati, and artists. The conceptual nature lies in cleverly using and splicing together the ready-made objects he collected during his travels and the “me” in the sculpture, creating the ancient lifestyle of lying and traveling to realize the unceasing literati concerns and spiritual ideals in his heart.
他在艺术探索上最具其个性特征的正是如何运用陶瓷进行当代艺术的转化。如，《阿福》系列是他再度回到民间艺术的触角，他希望利用泥料的柔软性、延展性和可塑性，最大程度地强化民间雕塑式的扩张感和饱满感。还如，从80年代延续至今的《中国写意系列》，体现了他试图通过创作“我”的写意形象来远离繁忙工作与世俗生活，以此抵达“世外桃源”式的内心平静。作品中的他被演化为僧侣、文人、艺人，其观念性在于巧妙利用他远游收集而来的“现成品”与雕塑中的“我”进行拼接，创造出“卧以游之”的古人生活方式来实现其内心难息的文人忧患与精神理想。
Figure 7. Lv Pinchang. Bound Form No.9. White marble, 149×45×28cm, 2016.
Obviously, ceramics is the medium that shapes Lv Pinchang’s art with individuality, yet it is also highly characteristic of Chinese local culture. This is the most distinct symbolic manifestation of his return to the artistic homeland. Here, there is both the paper-like art as thin as cicada’s wings—Touching the World: Society, and the huge Space Program series that makes people feel heavy. In the Space Program series, he wraps ceramic and metal materials around each other, creating a visual perception of weight tension through the combination of the five elements of earth and gold. The clever integration of abstract geometric forms and naturally flawed textures highlights the warm, rustic quality of the clay material, shaped by its incompleteness and randomness, in stark contrast to the smooth, mirror-like surface and cold, hard nature of stainless steel. This comparison is precisely the visual collision between agricultural civilization and industrial civilization generated by the intertextual effect of the medium itself and ready-made objects. Although Space Program has the implication of human conquest of nature, it also has the deeper metaphor that human beings must abide in harmonious coexistence with nature.
显然，陶瓷是塑造吕品昌艺术的个性化却又极具中国本土文化特质的媒介，这是他回归艺术乡土最鲜明的符号表征。这里既有薄如蝉翼的“纸质”艺术——《触摸世界——社会》，也有体量巨大让人感到沉重的《太空计划》系列。在《太空计划》系列中，他将陶瓷与金属材质互为包裹，通过“土”与“金”的五行融合制造了视觉感知的重量张力，其抽象几何形体与自然缺陷肌理的巧妙结合，充分彰显了残缺性、随机性所形塑的温厚古朴的陶泥质料和光滑如镜、冰冷坚硬的不锈钢形成的强烈对比，而这种比对正是媒介本体和现成品的互文作用生发出的视觉性的农业文明与工业文明的碰撞。《太空计划》虽具有人类征服自然的寓意，但也不乏人类与自然必须信守和谐性相处的更深隐喻。吕品昌对陶瓷媒介的运用正体现了当代艺术如何回归传统文化的命题。
Figure 8. Lv Pinchang. Bound Form No.3. White marble, 70×46×35cm, 2019.
Lv Pinchang’s use of ceramic media embodies the proposition of how contemporary art returns to traditional culture. In 2024, he created the series of variable installation works On Site. The works always present virtual archaeological excavation sites. The works semi-melt the ready-made objects through high temperature firing of ceramics, and these ready-made objects contain composite modern product waste such as porcelains, pottery, metals, and fireproof vessels. The image of this site expresses the archaeological excavation of post-modern life, because post-modern civilization sites will eventually become the historical civilizations buried deep underground. Through these civilization fragments, the works attempt to reveal the deep relationships between historical and contemporary, characteristics and spirits.
2024年他创作了一系列装置可变的作品《现场》，作品始终呈现出一个个虚拟的“考古”发掘现场，作品以陶瓷的高温烧造将现成品半溶化，而这些现成品则包容了瓷器、陶器、金属及耐火器物等复合性的现代产品垃圾。这个“现场”所具有的意象，表达了对后现代生活的“考古”发掘，因为这些后现代文明“现场”终将成为掩埋在深土下的历史文明，作品通过这些文明碎片试图揭示历史与当代、特质与精神的深层关系。
Lv Pinchang’s artistic journey began in Jingdezhen, the ancient city known as the Pottery Capital. In 1995, he was introduced as a talented individual and transferred to CAFA, where he established the ceramics studio in the Sculpture Department, initiating the expansion and enrichment of CAFA’s sculpture discipline construction. With the integration of disciplines and the teaching reform of the studio system in the Sculpture Department at the turn of the new century, Lv Pinchang has always been deeply involued in front-line teaching. He has sought a balance between art education and creation in his personal creations, teaching, and research, with the contemporary development of Chinese sculpture and the construction of local culture under the backdrop of globalization always running through his work.
吕品昌的艺术起点是陶都古城景德镇。1995年，他作为人材引进调入中央美术学院，并在雕塑系创建“陶瓷工作室”，开始拓展和丰富央美雕塑学科建设。伴随着学科融合和新世纪初雕塑系工作室制的教学改革，吕品昌始终深耕于教学一线，并在个人创作、教学和科研中寻求艺教与创作的平衡，而贯穿其中的则始终是中国雕塑的当代发展及全球化视野下的本土文化建设课题。
Figure 9. Lv Pinchang. On-Site No. Song. Found objects and foamed ceramic, 150×86×60cm, 2024.
During his tenure as the head of the Sculpture Department at CAFA, he actively promoted the comprehensive development of teaching the sculpture discipline. He built several influential national youth sculpture creation platforms, created a brand new model for Chinese sculpture education, and became a tremendous influence in the field of sculpture education. He successively planned and established academic brands, such as the Zeng Zhushao Sculpture Art Scholarship. To promote the development of youth sculpture aesthetic education, he planned and implemented projects like the National Youth Sculpture Exhibition, and in order to promote and advance the diverse Chinese sculpture cause, he and his colleagues created the model of the Chinese Contemporary Sculpture Biennial, planning and implementing events such as the Datong International Sculpture Biennial.
在担任中央美术学院雕塑系主任期间，他积极推进央美雕塑学科教学全面发展，搭建了多个富有影响的全国青年雕塑创作平台，打造中国雕塑教育的全新模式，在雕塑教育领域形成了巨大影响力。他先后策划并创建了“曾竹韶雕塑艺术奖学金”等学术品牌，为推动青少年雕塑美育事业的发展，策划实施了“全国青少年雕塑展览”等项目，而为了推动和繁荣多元并举的中国雕塑事业，他与同道创建了中国当代雕塑双年展模式，策划实施了“大同国际雕塑双年展”等。
In October 2020, Lv Pinchang embarked on a new artistic journey. Invited by the Jiangxi Provincial Committee, he took up the post of Deputy Party Secretary and Vice President (in charge of administrative work) at Jingdezhen Ceramic University, becoming the true helmsman of the only university in the country named after ceramics. His artistic journey has returned to its starting point, yet this starting point significantly indicates the true belonging of his art.
2020年10月，吕品昌再度开始他的艺术新履，受江西省委邀请赴任景德镇陶瓷大学担任党委副书记、副校长（主持行政工作），成为全国唯一一所以陶瓷命名的大学的真正“掌舵人”，他的艺术远行又回到了起点，不过，这个起点却富有深意地表明了他艺术的真正归属。
（文/尚辉，中国美协美术理论委员会主任，2024 年 11 月 28 日，来源：AF國際版）
艺术家简介
吕品昌，1962年出生于江西上饶，1982年毕业于轻工业部景德镇陶瓷学院雕塑系，1982—1983年浙江美术学院（现中国美术学院）雕塑系学习深造；1988年获硕士学位。现任景德镇陶瓷大学党委副书记、副校长（主持行政工作）；江西省美术家协会主席；中国城市雕塑协会副主席；中国美术家协会理事、中国美协公共艺术艺委会主任、国家重大主题美术创作委员会委员、中国美协雕塑艺术委员会副主任、秘书长；全国城市雕塑指导委员会艺委会委员副主任；中国雕塑学会副会长；中国文促会陶瓷专业委员会主任/雕塑专业委员会委员；中国艺术研究院中国雕塑院特聘雕塑家；中国国家画院雕塑院特聘雕塑家。曾任中央美术学院造型学院副院长、雕塑系主任。1992年起享受国务院“政府专家津贴”；国际陶瓷协会（IAC）会员。
来源：文化视界