说到新中国成立以来的雕塑作品，人民英雄纪念碑的浮雕与设计、安置在全国各地鲁迅公园门口的鲁迅坐像、杭州西湖边与无数游人合影的灵鹤……这些熟悉的形象，以人民的、社会的、纪念性、叙述性的塑造，贯穿在70年的新中国社会公共空间和生活之中。

　　天安门广场肃穆的人民英雄纪念碑、小学课本中吹笛子的老红军与小红军、校园中的讲述国立艺专抗战时期西迁历程的高浮雕……这些熟悉的雕塑形象背后有哪些故事？2019年金秋，走进杭州南山路218号中国美术学院美术馆，就能了解这一些雕塑艺术背后朴素深厚的故事，重温新中国人民形象的视觉历程与根基。

　　由国家艺术基金支持、中国美术学院主办的“人民的纪程——主题性与纪念性雕塑大展”，在中国美院美术馆展出。展览挑选了200余件作品、小稿、手稿、文献等，以此呈现雕塑家对历史与时代的知觉、个体与群体的知觉、自然与生命的知觉。

　　展览循着“塑形”“丰碑”“群像”“纪念”“情志”“湖山”这六条关于塑造的思考展开，与进行严格的定义和互相封闭的板块方式不同，展览在雕塑家的创作内容和时代之间保留一种穿越感，呈现出新中国雕塑艺术主题性的坚守与发展，以及纪念性的文化脉络。

重量：熔铸英雄风采

　　在红色的背景墙上，10余幅不同模样的“人民英雄纪念碑”设计手稿一字排开，端端正正地裱在玻璃画框里。

　　在此次展览的所有艺术作品中，这一批为建造人民英雄纪念碑所征集的设计手稿原件颇为珍贵，这些设计稿来自全国各地的建筑院所，均以佚名的形式呈交。

　　走近细看，镜框里的稿纸上，须弥座的正中央雕着一颗五角星；在高大的方碑顶端，一个手举红星的巨人站在那里俯视着整个天安门广场，这是其中一张人民英雄纪念碑设计手稿上纪念碑的样子。如果不是看到这些泛黄的手稿，人们很难想象得到，人民英雄纪念碑竟然还可能是这样。

　　“每个人对人民英雄纪念碑的理解和表现都是不一样的，每一个设计都饱含着对新中国的热爱。”中国美院雕塑与公共艺术学院教授杨奇瑞说。作为新中国成立后的首个国家级公共艺术工程，加上本身具有独特的纪念与象征意义，人民英雄纪念碑从设计到建造都成为了举国瞩目的焦点，集合了国内无数建筑大师、艺术大师与能工巧匠的心血。60多年前，在征集纪念碑的设计方案时，光是设计稿就收到了240多件，之后又几经讨论修改，才最终敲定。

　　这组群像的另一侧，巨型浮雕《烽火艺程》看得人热血沸腾。这幅浮雕作品是中国美术学院庆祝90周年校庆时，雕塑与公共艺术学院师生的集体创作，刻画了抗日战争时期国立艺专西迁的艰苦历程。

　　画面的一侧，一代名师和学术泰斗林风眠、林文铮、雷圭元、赵太侔、潘天寿等挺身而立；另一侧，从水、陆两路搬迁教学教具及迁徙的师生们，在战火中神色坚毅，其志不移——一路烽火，一路艺程，几经风雨，矢志不渝，展现了开启艺智的使命情怀和薪火传承的历史担当。

　　热血的西迁之路也激发了美院教师们的创作热情，杨奇瑞说，在创作这组《烽火艺程》时，他们一度“上瘾”，开工后便停不下来，一口气雕了10块，此次展出的这块浮雕只是其中之一。

经典：再现人民群像

　　除了人民英雄纪念碑的设计图外，在展览中，我们还看到许多经典之作。

　　“这是小学语文课本里的原型！”一位参观者的惊叹，吸引了更多人朝着这件经典作品聚拢——由雕塑家潘鹤创作的《艰苦岁月》。这是一件影响几代人的作品，它曾出现在1982年版小学语文第六册中，课文《在艰苦的岁月里》就是由此改编的。

　　对于杭州参观者来说，展览中还能找到一些“身边”的作品。比如老杭州去西湖边的六公园会看到的志愿军雕像。曾经，这座雕像的旁边是英语角，这是许多杭州人的回忆。杨奇瑞透露，“其实展厅里这座志愿军雕像，才是真正的原版。”

　　中国美院教授、雕塑家潘锡柔是《杭州解放纪念碑》的设计者，他向笔者介绍了当初创作时的设计构思。“我用较为写实的手法，为纪念碑设计了工人、农民、解放军、知识分子等人物形象，并且用石头、树等多种元素对画面进行分割，但总体看仍是一个雕塑构图。”他说。

　　踱步在展厅中，我们被艺术家们用诚挚的心、灵巧的手塑造出的作品所感动。另外还有英勇顽强的战士英烈、不能忘却的时代先驱、各民族的生活情态、新中国建设者的动人身姿……艺术家们汲取不同时期和不同地域的语言特点创作的作品，形成了对新中国建设历程中各种生命气息的凝结，浑厚而生动，正是巍然的人民群像。

艺术：浸透专业感悟

　　展览中有宏大叙事，自然也有水石之趣。

　　展厅中，还有一件潘锡柔的代表作——创作于1984年的雕塑《西湖春晓》。它选取了江南水乡的老农妇在杭州西湖旅游时的有趣片断，生动刻画了农村妇女纯真、朴实、欢快的可爱形象，也从一个侧面反映了农村致富后的生活。

　　环顾四周，我们不难感受到艺术家们纵心放逸的气质，其古雅温润的表达提供给我们各种不同的湖山视野。这些被安置在自然中的雕塑，召唤出另一重自然、历史、城市之间有关地域精神对话，那是留存在一座城市历史记忆中的湖山气质。

　　慢慢退出展厅，回望中国美术馆的四层空间，我发现一件有趣的事情——在这里，每一件作品都给予观众360度的观看角度。在每个展厅的空间里，百余位中国三代雕塑家的作品仿佛在对话，它们用雕塑的语言讲述国家、社会和个体，感受新中国建立和发展历程中的新气质、新创造。

（纪念碑设计图稿均由张颂仁私人收藏）

An exhibition of sculptures was staged from September 19 to October 6 at the art gallery on the Nanshan campus of China Academy of Art. It was held in celebration of the 70th anniversary of the founding of the People’s Republic of China.

About 200 exhibits were on display, including sculptures, drawings, manuscripts, and documents. The sculptures essentially presented a journey Chinese people took to modernization over a period of 70 years.

The most eye-catching exhibits were probably ten plus drawings displayed on a red wall. These drawings are designs of the Monument to the People’s Heroes built from 1952 to 1958 on the Tian’anmen Square in Beijing. It was very interesting to examine these drawings presented more than 60 years ago. Back then, more than 240 designs came in. It was the first public art project the People’s Republic of China erected after 1949. Architects came up with quite a few designs. Visitors today wowed at the inspirations presented to the central government back then. Most of them remained on paper.

Another eye-catching exhibit was a huge relief called , created by teachers and students of the Sculpture and Public Art School, China Academy of Art. It was created in 2018 in celebration of the 90th anniversary of the founding of the academy. China’s war of resistance against Japanese aggression broke all out on a full scale in 1937. In November 1937, the National Hangzhou School of Art set out on a westward journey to the inland in order to escape Japanese aggressors. It was not until October 1946 that the school came back from the exile and resumed its operation in Hangzhou. The enormous relief depicted a group of teachers and students on their way to the west. No sooner had the artists of today completed the first relief than they expanded the original initiative and started a series. Altogether ten have been created. Only one of them was on display at the exhibition.

Some quite famous sculptures on display were recognized by relatively old resident of Hangzhou. The printed image of , a sculpture that depicts two Red Army soldiers on Long March, appeared in a primary school textbook published in 1982. Local visitors also encountered some images that graced the city once upon a time. Many of them have disappeared. But the sculpture of a volunteer soldier who fought in Korea in the early 1950s still stands at No. Six Park on the eastern shore of the West Lake. The sculpture on display, it turned out, was the prototype of the sculpture. The sculpture in the park is actually a duplicate.

Pan Xirou, a professor of sculpture with China Academy of Art, felt happy to come back to look at his design on display. His best know artwork is presumably the . The 18-meter-tall, 22-meter-wide monument celebrates the May 3, 1949 event when Hangzhou was liberated in the war that lasted from 1946 to 1949. The sculpture looks like a hybrid between an ancient Chinese memorial archway and the Arch of Triumph in Paris. A closer look reveals the hidden images of people. The monument, unveiled on May 3, 2002, stands by the Qiantang River.

The exhibition was more than a grand narrative of events that shaped the whole country. Some sculptures focused on the everyday life of Hangzhou.  displayed at the exhibition was a sculpture created in 1984 by Pan Xirou. It depicts three rural women sightseeing around the lake. In spring, women from regions around Hangzhou organize themselves into groups of pilgrims and travel to visit religious temples. Hangzhou is one of the destinations. They are quite a sight in the lake zone. The three women are apparently on such a pilgrimage tour on the West Lake.