不觉——洪涛雕塑展将于10月26日在上海开幕

展览前言

全国政协副秘书长、民盟中央副主席、中国美术馆馆长、中国美术家协会副主席 吴为山

风格，是艺术家在长期艺术实践中自然形成的，它受其生活经历、性格、甚至血型等综合因素的影响。

风格即人。

洪涛雕塑是有风格的。这风格令人一目了然，与其他雕塑区别开来。可贵的是这风格从艺术家心中、手中油然生成。它不流行，也不生涩。率性中的精微，直抵事物的本质、人物的内心。这是艺术家对客观物象深入、敏锐观察、对精神世界领会、深悟之后，在视觉表达、造型意念中找到的对应。是心手相应的智慧创造。

这是来之不易的神遇！心象与视象，技法与艺术，传统与创新，学院与民间，东方与西方诸因素碰撞，融合后浑然天成的艺术生命体，它仿佛玉石的打磨，虽有其独特的质，也需要风动水流的洗练。

洪涛，有扎实的学院功底，写实主义的方式和法则，以及严谨的教学体系为他铺垫了造型基础，留学俄罗斯期间，更使他对中国学院的方式有了更为深刻的反思。作为现实主义雕塑的故乡——前苏联，也在进行着对艺术本体的回归，以表现广泛而深刻的人性为取向，必然在形式创造上更尊崇艺术家主体，更推崇个性。洪涛在 西方传统写实教学体系向现代主义过渡的阶段，到俄罗斯学习。适逢形式为内容的 现实主义处于断裂、分离状态，材料与形式的多元伴随着价值观的改变，给俄罗斯的现当代艺术带来了创造的多向性。

这些都给洪涛以更多的探索与思考的空间。尤其在革命红色主题性创作中，如何熔铸理想、信念、意志于独特的形式之中。这种对主题与形式关系的深刻追问与探究，使得他从俄罗斯雕塑英雄壮美中获得了表现的张力；也从形式的自由创造中找到了表现的方式；更从中国革命的伟大实践中生发出精神的力量。

一个艺术家的努力，其目标在于艺术语言形式的创造和所表达题材、内容及精神、 审美的同构性。洪涛在塑造历史、英雄、崇高、壮美的过程中，以泥片的裹卷取代拍、 打、塑、雕，以指压、手推、捏塑的微妙将形、法、神、态、势的变化表现得意象万千。刹那间，一个似乎偶然的起伏，都胜过刻意的精雕细琢，这种妙，体现在形体上，波澜跌荡；体现在精神上，惟妙惟肖。

我欣赏洪涛。因为在红色革命历史题材的表现与深化中，他是自觉的、自发的。不为任务所为，不为名利所趋。他的《速写长征——向北?向北!》，在尊重历史的基础上，带着对中国革命的敬仰，对老一辈无产阶级革命家的崇仰，在深沉、凝重的历史回望中，突破一般性图解、进入表现。在一篇文章中，我曾这样写道：以排比连环式的构图造势，集中多个体为整体而形式视觉的主动势，看得出作者是深谙雕塑外形的构造与内在律动的整体关系。作品以写意的手法精妙地刻画了长征中的领袖，这种基于准确而肯定的写意与作品所要表达的精神指向是同构的。

希望，他的作品给当代雕塑艺术的发展带来新的学术思考。

2024.10

Preface

Weishan Wu

Director of the National Art Museum of China

Style is naturally formed by artists through long-term artistic practice, and it is influenced by a combination of factors such as their life experiences, personality, and even blood type.
Style is the man himself.

Hong Tao’s sculpture has a style. This style is clear at a glance and sets it apart from other sculptures. What is valuable is that this style is naturally generated from the artist's heart and hands. It's not popular, nor is it raw. The essence of spontaneity lies directly in the nature of things and the inner world of characters. This is the correspondence that artists find in visual expression and modeling ideas after deeply and sensitively observing objects, understanding and comprehending the spiritual world. It is a wise creation that corresponds to the heart and hands. This is a rare and serendipitous encounter! A fusion of heart and vision, technique and artistry, tradition and innovation, academia and folk culture, East and West. These elements collide and merge to form a naturally harmonious artistic entity. It is like the polishing of jade, possessing a unique essence, yet requiring the refinement akin to the movement of wind and water. 

Hong Tao has a solid academic foundation, underpinned by the principles and rules of realism and a rigorous teaching system that laid the groundwork for his sculptural skills. During his studies in Russia, he gained deeper insights into the methods of Chinese academia. As the birthplace of realist sculpture, the former Soviet Union was also experiencing a return to the essence of art, with a focus on expressing broad and profound human qualities. This inevitably led to a greater respect for the artist's individuality and creativity in form-making. 

Hong Tao went to Russia to study during a transitional phase where Western traditional realist teaching systems were evolving towards modernism. At that time, realism, which prioritized form as content, was in a state of fragmentation and separation. The diversity in materials and forms, along with changing values, brought a multiplicity of creative directions to contemporary Russian art. 

These experiences provided Hong Tao with ample space for exploration and contemplation. Especially in his creation of revolutionary red-themed works, he pondered how to forge ideals, beliefs, and will into unique forms. This deep inquiry into the relationship between theme and form allowed him to gain expressive tension from the heroic grandeur of Russian sculpture. He also discovered methods of expression through the free creation of forms and drew spiritual strength from the great practices of the Chinese revolution. 

An artist's effort aims at the creation of artistic language forms that achieve a homogeneity with the subject matter, content, spirit, and aesthetics expressed. In his depiction of history, heroism, nobility, and grandeur, Hong Tao replaces traditional methods of sculpting, such as beating, tapping, shaping, and carving, with the wrapping technique of clay pieces. He skillfully uses subtle finger presses, hand pushes, and pinches to vividly convey the myriad transformations of form, method, spirit, posture, and momentum. In an instant, a seemingly accidental rise and fall surpass deliberate meticulous carving. This magic manifests in the form's dynamic undulations and in the spirit's lifelike authenticity.

I admire Hong Tao because, in his depiction and deepening of red revolutionary historical themes, he is both conscious and spontaneous. He does not act out of obligation or for fame and fortune. His work "Sketches of the Long March - Northward? Northward!" respects historical facts while embodying reverence for the Chinese revolution and veneration for the elder proletarian revolutionaries. Through a profound and solemn historical reflection, he transcends mere illustration to achieve true expression.

In an article, I once wrote: "Using a parallel, continuous composition, the artist creates momentum by integrating multiple individuals into a cohesive visual form, demonstrating a deep understanding of the relationship between the external structure of sculpture and its internal rhythm. The work masterfully portrays the leaders of the Long March with an impressionistic approach, where the accuracy and assuredness of the technique align perfectly with the spiritual message the work aims to convey."

I hope his work brings new academic reflections to the development of contemporary sculpture art. 

2024.10

艺术家简介

洪涛，1966年9月生于黑龙江省哈尔滨市，现为鲁迅美术学院雕塑艺术学院院长，二级教授、硕士研究生导师、博士生导师，鲁迅美术学院学术委员会委员；自1986年进入鲁美雕塑系学习并留校任教至今，毕生所学奉献于雕塑教育事业；2005年于俄罗斯列宾美院雕塑系获硕士学位，师从库巴索夫等雕塑大师，奠定了他在雕塑创作领域的坚实基础。

雕塑艺术家洪涛在中国美术界的影响力显著，荣获“中宣部四个一批”人才称号，中央党校“宣传思想文化领域高层次人才”，并担任中国美术家协会雕塑艺术委员会副主任、国家重大题材美术创作艺术委员会委员，以及中国文化产业促进会公共艺术委员会副会长等职务。曾是第十三届、第十四届全国美展的评委，辽宁省“兴辽英才计划”哲学社会科学领军人才，以及辽宁省普通高等学校本科教学名师，2022年研究生教学成果特等奖获得者。

鲁迅美术学院雕塑艺术专业学科带头人，担任多项国家级项目主创设计，特别是主创中国共产党历史展览馆大型组雕《追梦》，于2023年荣获“庆祝中国共产党建党100周年主题雕塑创作工程”突出贡献奖；个人成就以2014年第十二届全国美展银奖作品《速写⻓征⼀向北？向北！》为主要代表作，主创大型组雕《旗帜》立于中共中央党校，主创大型组雕《胜利的起点》⽴于井冈⼭⾰命博物馆荣获全国城市雕塑优秀奖，主创中国⼈⺠⾰命军事博物馆⼤型组雕《⾛向胜利》，主创⼴⻄湘江战役纪念⼴场⼤型浮雕《红军魂》，创作⼤型汉⽩⽟雕塑《杨靖宇》⽴于河南杨靖宇将军纪念馆，创作上海中共一大会址纪念馆雕塑《本党定名为中国共产党》，多件作品收藏于中国美术馆等国家级美术馆。他的雕塑艺术创作方向：大型主题性雕塑创作、人物肖像研究、历史人文写意表现，他认为艺术家的使命和责任是用艺术语言解读历史，首先要具备客观审视历史的素养，具备艺术创作的技艺，最终实现塑造作品的能力。从“技”到“艺”到“塑”，是一个艺术家精神世界的呈现。

Artist Biography

Hong Tao, born in 1966 in Harbin, graduated with a bachelor's degree from the Sculpture Department of Luxun Academy of Fine Arts in 1991 and a master's degree from the Sculpture Department of the Repin Academy of Fine Arts in Russia in 2005. He is currently the Dean of the Sculpture Art School at Luxun Academy of Fine Arts, a second-level professor, a master's supervisor, a doctoral supervisor, and a member of the Academic Committee of Luxun Academy of Fine Arts.

Hong Tao is recognized as a distinguished cultural figure by the Publicity Department of the CPC Central Committee and is among the "Four Batches" of talents. He serves as the Vice Chairman of the Sculpture Art Committee of the China Artists Association, a member of the National Major Theme Art Creation Committee of the China Artists Association, the Vice Chairman of the Public Art Committee of the China Cultural Industry Promotion Association, and has been acknowledged as a leading talent in philosophy and social sciences in Liaoning Province as well as a distinguished teaching master of undergraduate education in general higher education in Liaoning Province.

He has also been the project leader for the 2020 Ministry of Education Humanities and Social Sciences Project, a judge for the 13th and 14th National Art Exhibitions, the project leader for the 2020 National Art Fund Communication and Promotion Project "Centennial Dream Casting," a beneficiary of the 2020 National Art Fund for Art Creation, a recipient of the 2023 National Talent Title Project, the project leader for the 2023-2024 National Cultural Talent Training Project by the Publicity Department of the CPC Central Committee, and the project leader for the 2024 National Art Fund Communication and Promotion Project "The Great Ones of the Country."

部分展出作品

Selected Exhibited Works

闻声踏雪 Treading on the snow while listening to the sound

铸不锈钢 Cast stainless steel

112 x 85 x 27cm
Year/2023

“老我难忘舐犊情”
 "I will never forget the love I have for my child. "

舐 Licking

铸不锈钢 Cast stainless steel

90 x 45 x 24cm
Year/2023

“竹杖芒鞋轻胜马，谁怕？一蓑烟雨任平生。”

"With a bamboo staff and straw sandals, I move more freely than on horseback, so why fear? Let me face a life of misty rain, clothed in a simple raincoat. "

定风波  Ding Feng Bo

铸不锈钢 Cast stainless steel

85 x 30 x 15 cm
Year/2023

“中国人都投降了，还有中国吗？”

"If all Chinese people surrender, will there still be any China left? "

靖宇 Jingyu

青铜 Bronze

40 x 25 x 25 cm

Year/2021

大钊  Da Zhao

Bronze 青铜

60 x 30 x 30 cm

Year/2021

“母亲和你在生前是永远没有再见的机会了，希望你，宁儿啊！赶快成人，来安慰你地下的母亲！”

"As your mother, I will never have the chance to see you again in this life. I hope you, Ning'er, will quickly grow up to bring comfort to your mother in the afterlife!"

一曼 Yi Man

青铜 Bronze

45 x 25 x 25 cm
Year/2021

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