【2013艺术部落网年度人物推荐-钞氏兄弟】

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一路钞塑  直抵实在

文/邹  文

钞子伟、钞子艺兄弟二人，算得上北漂艺术家的代表。漂龄十余年。学艺创作，娶妻生子，均处于北漂状态下。我们在北京朝阳区索家村“国际艺术营”设工作室时，与他们做了邻居，赶上他们来北京相对最稳定的一段。钞氏在自己连小产权都没有的两间工棚般的砖房里，居然还建起了烧陶的窑，门外的空地，种丝瓜、葫芦，成熟季节硕果累累，让120多户心神不宁的邻居，总能从这诗意栖居的简易版田园图景中，获得可以安居乐业的鼓舞。然而，好景不长。一天，钞氏兄弟匆匆告诉我，索家村要被拆除。他们主动承担起120户邻居代表的责任，四处奔走，力求找到一切可能的关系，以图改变拆除的法令。除了为自己着急，分明也真的是为所有邻居着急。他们的家园保卫战很弱势，最终不得败走宋庄。但两兄弟旋即就以他们随遇而安的优势心态，在下一个不确定性中安下身来，潜心创作。
从狼籍的索家村搬离时，我竟然发现他们没有半点沮丧反倒有些窃喜。他们说，这又一次的搬迁，是由于被一颗太平洋上的中国卫星侦查到了。想想，某颗高悬在宇宙里的人类之眼，先看见地球，看见亚洲，看见中国再看见北京，停在某刻紧盯朝阳区索家村出现的几排违章建筑，最终锁定在他们家的丝瓜和葫芦，也许被这顽强的定居的决心挑衅了。但钞氏兄弟却似乎感受到了北漂一族，最渴望的发现与重视。
在北京城乡结合部边界线的推移中，在体制内或体制外艺术家的纠结中，在职务性创作与生存性创作的情态里，钞氏兄弟所代表的北漂艺术家们，共性之处无不在于要靠个性立身，要靠创意、已见、绝招或人脉，来标示存在。生存空间的不稳定性和机遇的不确定性，使他们很难因依附被固定，故尔葆有更为珍贵的自由。但更进一步地说，钞氏兄弟与同为北漂的自由状态的其他当代艺术家不同之处，是他们没有因为自由而油滑，没有因为漂移而虚浮。如果可以用两个字来归结他们的人品和艺品，就是“实在”。
所有接触钞氏兄弟的人可能都会有同感，他们待人接物，真实坦诚，不行虚礼，不懂掩饰，经常主动帮人，不求回报。在人际关系中，他们几乎不谙世故与溜须奉迎，很少看他们四处发名片要电话找机会对象合影，如果赶上圈内聚会，他们总是自我边缘地站在一旁，不存批评之心地感受着别人的气氛。自己打车来自己打车去。他们经常替其它雕塑家做雕塑，无意识自己遭到收益的剥削，也不在惜太容易给出去的帮助反而失去矜持和尊重。渐渐地，相处久了，你会被他们的实在感染，享受一种童真、阳光、坦诚，那种附丽在他们及其作品之上的品质。这两个河南人榜样，彻底改变了我们关于河南人的谣传形成的偏见。
     “实在”也是钞氏兄弟艺术的特质。体现在下列几个方面：
      一、表现语言的实在。钞氏兄弟善于极致化地追求塑型的真实，真实到细致入微，每处结构，比例精准，形象高度肖似客观，连肌理、质地、纹路，都会历历呈现，甚至他们已经通过形态表象的细节真实，建构了一种钞氏艺术语言。长期陶艺创作与研究的功底，令他们可以如绣花一般搞雕塑，对造型从不苛且含糊，精微入里。比如做一段城墙与一幢城楼，可见片片砖瓦，开合门窗，数百仪仗，旌旗列阵，物象清晰，情景昭然，认真到精心。一个重要原因，是他们重艺也重技，从不鄙视形而下的技，致力于技艺融合统一，总以精工细作，来保证艺术表达，同时，他们用技有度，能够控制技术和做工的投入，止于沦为工艺之前。看他们作品，少有马虎草率，无处不实实在在。
     二、创作作风的实在
     钞氏兄弟搞创作，从来都是自己动手。而大多数雕塑家这些年来基本上都已转型成了指挥家，画张草图或做个小稿，等不同批次的助手完工再去“点睛”，最后署名。钞氏兄弟一直亲力亲为做雕塑，已属鲜见的实在。另一方面，他们从不故弄玄虚，十分尊重客观真实。他们在中央美院、清华美院雕塑系先后学习，已科班地领受了造型解剖训练，对写实造型没有耻辱感，反以为荣。一次创作唐僧取经的雕塑，特意租了一匹马来当模特。他们最擅做老旧火车、汽车、板车或拖拉机，上面有无数零配件包括难以计数的螺丝、齿轮、管线或板材，不同质地。心情浮躁肯定难以为继，但他们一丝不苟踏踏实实做了一大批，其产量及深入程度，想让人不佩服都难。坚持这种实在的创作，意味着他们从不跟风，不问市场，不懂经营包装，作品没太多水份。
      三、审美趣味和艺术主张的实在
      钞氏兄弟属于中国文化色彩较浓的艺术家，他们来自到处是庄稼和文物的河南，造型底子是陶艺。中国文化与民间艺术元素富含于其作品之中，所以会有抓髻娃娃之类的作品。但另一方面，他们已在审美趣味和艺术主张上，显露了对西方建筑、雕塑以客观真实为最高理想的认同。他们是一对孪生兄弟，外人初识，难分彼此，“这一个”就是“那一个”的“写实”，自小二人就有着镜相有趣的见证经验。秉性的实在，更让二人易于靠近讲求写实的西方艺术精神。他们珍视上帝造物的原创，敬畏客观的相谐和规律，偏执于实在，自觉地抑制着写意、夸张、虚饰或娇情，把心灵的眼睛，交付照像机一般的准确和精密去感知。有无、虚实、是非，一目了然，这种审美的实在，让钞氏兄弟获得一条深进微观的通道，未在途中被虚无诱拐被抽象阻挡，一直深进、深进，直到发现材料的美、情境的美、别人忽视的美。于是，怀旧与复古支撑起他们的美学主张，残垣断壁，废铜烂铁，散发出被当代化洗礼的原味，营造出老照片的氛围，跨时空地复原了一种别具深意的真实。那些停驶的卡车，报废的拖拉机，断履的坦克，已与主人分离的军装，以一种英雄的悲壮静默在我们眼前，传达着钞氏雕塑史诗般的抒情。
       在当代艺术越来越被虚幻、玄乎、伪哲理牵绊的路上，钞氏的实在，乍看拙笨，其实却走得更快和更远。
                                                                                                                  
                                                              2011年5月
                                 邹文、清华大学美术学院博士、研究生导师


The CHAO’s Sculptures----Directly into Honesty

Zou Wen

    The brother Chao Ziwei and Chao Ziyi could be regarded as the representatives of the “north-striving group artists”. During more than ten years’ striving experience, they learned the artistic skill, got married and had babies. When we set up our workroom in “International Art Camp” located in Suojia village, Chaoyang District, Beijing, we became neighbors. Relatively speaking, it was relatively stable period for them. In the two brick rooms, which seemed the construction camp, they even didn’t have the property right, but to our surprise, they built kiln, and planted towel gourd and cucurbit in the open ground, which was full of rich fruits in harvest season. All of this encouraged the 120 families who were upset and let them feel living and working in peace as well as contentment from this poetic garden. However, good times didn't last long. One day, the CHAO BROTHERS hurriedly told us this village should be pulled down. They went around here and there seeking any possible help in order to change the regulation of demolition. It was not only for themselves, but also for the neighbors and the 120 families or more. It seemed weak of their homestead safeguard, and they had to remove from Songzhuang. But the CHAO BROTHERS took their ease from this unrest and dived into creation based on their mentality that taking things as they were.

    When they removed from the disordered village, I found that there was no sadness but delight. As to this move, they said, it was because this village was detected by the one of China Satellites above the Pacific Ocean. Think about it, one of the eyes of human being that hanged highly in the universe, it found the earth at first, then Asia, China, Beijing, it stopped its focus on lines of unauthorized constructions in Chaoyang district, finally, towel gourd and cucurbit were discovered, maybe, it seemed the determination of settling down was provoked. However, the CHAO BROTHERS felt the desired discovery and care as one of north-striving group artists.

    With the change of rural-urban fringe zone of border line, in the twist between outer and inner system of artists, as well as in the modality between operative creation and survival creation, the commonness of north-striving group artists represented by the CHAO BROTHERS was that one should be independent, and they should live with creative idea, outstanding thoughts and relationships. The instability of living space and uncertainty of opportunity made them unsteady and offered them much precious freedom. However, taken a step further, the difference from other north-striving group artists was that the CHAO BROTHERS didn’t become slippery because of freedom, and they didn’t become coxcombry because of drifting. If using two words to describe their personality and art character, “honesty” is the right one.

    The people who got along with the CHAO BROTHERS may have the same feeling, and they were frank and honest in their dealings. They were polite and quite generous in helping others. They never battled with the public, and seldom passed out their business cards all around or asking phone number with people. If they came across to an inner circle meeting, they would stand far way and enjoyed the atmosphere with no criticism. They came and left themselves. They often made sculptures for some other artists, they couldn’t feel the unconsciousness of exploitation from the benefit, and they didn’t care the giving which may let them lose restraint and respect. Gradually, you will be moved for their honesty, you will enjoy the fairytales, sunshine and frankness that attached to their works, which thoroughly changed the prejudice of Henan people.

    Honesty is the character of the CHAO BROTHERS’ works, which is represented in the following aspects.

   Ⅰ. The Honesty of Expressive Language
    The CHAO BROTHERS are good at seeking the truthfulness of sculpture, and each configuration is in accurate proportion. The figure looks real, the texture, character as well as lines are fully showed, and they even form the CHAO’s art language through the detailed actual morphology presentation. They can easily carve like embroidering based on the long ceramic creating experience and deep research. Each detail will not be ignored, for instance, in a circumvallation or gate tower, you can see each tile, open or closed doors and windows, hundreds of flags, waved banners, clear objects, etc. One important reason is that they focus on both art and skill, they never look down upon the skill, and they devote themselves to the combination of art and skill. They express their idea through careful skill, and in the meanwhile, they can control the input of skill and work, which keep the appropriate skill using within the limit, from where you can hardly find sloppy works, and you can find honesty everywhere.

    Ⅱ. The Honesty of Creative Style
    The CHAO BROTHERS always create works by their own hands. However, most of the artists have been transformed into directors who only draft a sketch or manuscript, then ask their assistants in different batches to help and finally they conduct the finishing touch and signature. The CHAO BROTHERS always made sculpture themselves, which belonged to rare honest works. On the other hand, they never made a mystery of nothing, and in contrast, they completely respected objective realities. They studied in China Central Academy of Fine Arts and Art Department in Tsinghua University Academy of Fine Arts, from where they received professional training of sculpt dissection, with respect to true-life sculpture, they don’t feel shame, instead they felt glory. They once rented a horse as a model to create the sculpture of “Tang Priest‘s pilgrimage for Buddhist scriptures”. They were good at making old train, truck, handcart and tractor, on which there are numerous accessories like screws, gears, pipelines, and plates with different qualities. Good works were based on scrupulous, their output and degree of works were admired and made us surprised. Upholding of such creation meant they didn’t follow the others, and it also meant they didn’t ask market information and management as well as packaging, all of which indicated their works were real.

    Ⅲ. The Honesty of Aesthetic Taste and Art Proposition
    The CHAO BROTHERS are the artists with heavy Chinese cultural colors, who come from Henan where there are plants and historical relics everywhere, and their shaping base is the ceramics. Chinese culture and folk art can be found in their works, that is why there are some works of “Zhuaji Baby”. But on the other hand, their works indicate that they identify with the western architecture and sculpture, which is the highest objective reality. They are twin brothers, and it is hard to distinguish if you meet them first time, “this one” is the realistic writing and painting of “that one” since they were very young. It was the natural instinct that made them get close to the “true-life” western art spirit. They valued the original creation, and they respected the objective peaceful rules in stead of exaggeration, dissemblance and delicacy. They used the eye of soul to feel, just like an accurate and exact camera. As to their works, it is easy to understand being or not being, false or true, right or wrong. Such honesty of taste made them go further through a channel deep into the microcosmic. They were not abducted or obstructed on their way to art sculpture, and they went further and further until some ignored beauty of material and circumstance were finally found by them. Subsequently, reminiscence and reverting to old days became into their aesthetic proposition. The broken walls and ruins, the iron and bronze scraps sent forth the original smell, which made an atmosphere of old pictures and recovered the profound implication of truth. The disabled tractor, condemned truck, tank with broken belt, separated military uniform from its host, all of which presented silent heroic solemn, stirring emotion and delivered their epic sensibility.

    The honesty of the CHAO BROTHERS looks clumsy at first glance, but actually it will be expanded faster and further while the modern art is being increasingly entrapped by visional, unreliable and false philosophy.
                    
                                                                May,2011              
                     Zou Wen，Doctoral Supervisor of the Academy of Arts   
                         ant Design in Tsinghua University and an Art Critic

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人文制陶、机械美学、反思性纪念物  
---钞子艺、钞子伟雕塑艺术评析

文\岛 子

钞氏兄弟近十年来的雕塑创作经历了两个实验阶段，显现出两种形态迥异而有相互关联的文化意向。
     第一实验期为人文制陶，即1999年开启的“造房计划”，以写实性和表现性相互融合的语言，再现中国传统建筑的人文意涵与现实命运，作品的选题几乎包容了南北方主要的建筑形式。他们选择了门楼作为民居建筑的独立典型，着意表现其历经沧桑的表情，在其象征性意蕴中，历史的肌体凝固，而其灵魂在诉说。这一系列作品一扫当代流行陶瓷的光鲜艳丽、浮泛虚饰，显现着黯淡、沉郁的悲剧色彩。泥板成型传统技法与现代工艺结合，材料选择上用陶土烧制，并加入化妆土、色剂、化工原料以及食盐草木灰等。不同瓷区不同温度的油料与陶土，力争保持泥土固有的特性，使作品以一种朴素、自然的状态呈现出来。这一系列作品将“怀旧”意识提上了现实日程。“怀旧”（nostalgia）无疑是理解钞氏兄弟雕塑的一个关键词，这个源自欧洲十七世纪士兵因思乡而患的一种臆想症，使我们想起米兰•昆德拉式的抒情，那是一种在别处的生活，无可归家的普遍命运。另一个相对的关键词则是“拆”，这个强权性的单词自上个世纪90年代笼罩了神州广大的城乡，构成了中国跛足改革的生动索隐。民间维权运动此起彼落，多半是由于民众失去自己的家园。
     延续至今的第二个实验期为机械美学的表征。如果说钞氏兄弟在人文制陶阶段解决了陶艺的当代性转换，技法层面的实验大于精神的表现，无疑地，在2003年之后，则逐步实现了观念和技法的统一、主题和题材的切合，尤其是红色历史的矛盾性和复杂性的自觉探索，使得《东方红系列》又名“红色机器”，成为机械美学在中国当代雕塑中的一种独特表征。在钞氏看来:“东方红”是“红色中国”的代名词。自中国红色政权建立及巩固之后，“东方红”便以一个特定的符号登上中国历史的舞台。而东方红拖拉机和火车头就是这一时期工业发展的典型代表。我认为这个系列的“东方红号”老火车最能够代表他们的艺术成就。这件长达六米、体量数吨重的雕塑作品，每个单体部件都经过反复设计、反复斟酌，它克服了原先泥塑形式的不确定性和易碎性，改用zz，使之具有机械的强力、重量和锈蚀效果。“东方红号”老火车具有中国工业历史的肖像意味，它是一个超级特写，钞氏兄弟从工业废墟(同时也是红色乌托邦记忆)中萃取了蒸汽机火车头的特定形象，非再现性地通过体态、重量、色泽的变形，给出了毛时代集体主义的感性情态，与其说作品的震撼力来自形象的逼真，毋宁说，来自一种表现性的揭示，来自历史命运的自我反讽。
从艺术发展史来审视，许多早期二十世纪服膺机械美学的艺术家，都牵涉到一个理想目标，就是藉由机器来建立秩序与和谐。但是乌托邦的负面：反乌托邦，渐渐形成一股现代性的反思暗流。关于“美丽新世界”的预言遭致普遍的批判，是因为反思者认为，技术专制会使人类逐渐失去人性。而对于机械美学持理想论调的人将机器暗喻成和谐与力量，却受到疏离的反论。意大利马克思主义社会理论家葛兰西（Antonio Gramsci）相信机械化带来的标准化会威胁到个人的独特性，这样的信念引起大众恐慌，害怕机器会把人类逐出自然界，至使环绕于周遭的都是人工物品：机械零件、制式化环境、巨形（gigantism）、过度噪音与速度。例如在《摩登时代》（Modern Time 1936）这部电影中，卓别林（Charlie Chaplin）就在讽刺北美工厂的管理方法将人类机械化。影片中有一幕是演出主角的卓别林，因长期重复同一生产线工作而导致短暂地精神错乱。在生产线上他必须同时转动两只扳手来拴紧螺拴，卓别林被这种麻木的过程催眠，掉入工厂背后隐藏的运作机制，他变成自动化操作装置完全执行机器指令，引发喜剧式的效果。
反乌托邦思想认为，在这样“除魅”（disenchanted）的机械化世界里，一切先前抚慰人心特质—特别是精神意义已不复存在。科学技术将人类带离宗教情感和巫术魅力之外，也同时把人类带进机械化世界，一个没有救赎依归与目标的世界，使人产生疏离感。此番评论引起葛兰西的共鸣，他认为凡是把劳工职务内容化约成磨蚀灵魂、去人性化的机械式任务的工业规则，都该予以道德谴责。同时马克思主义的“技术决定论”（technological deter-minism）也表示说，虽然许多社会变动因素源于技术工具的改变，但实际上社会生产关系才最能真正地说明任一特定期间内的特殊面貌。沿着马克思主义者的论证思路可得出一点，即政府与资本主义的联合利益终将技术塑造成一种阴暗、狡诈的社会控制形式。其实科技从来不是中性的。科技并非一个能够自我持恒的机制，它的机制是由现存支配秩序所控制，而技术在服务支配秩序之利益的同时，也复制了那样的秩序。但是也只有在我们的时代里，机械终于超越其本身的实用功能，而获得美感与哲学上的不同意义。机械美学的运作涵盖几个层面:机器本身就经常被表现于画面上成为一项艺术品。机器人形化的正面形象当中亦存有其负面印象，就是被塑造成机器偏执怪物。机械美学透过前卫直觉式的功利语汇能够更进一步融入时代意识中，这点可从表现主义与观念艺术的语言差异清楚地突显。
其实机械美学本身是时代思潮（Zeitgeist）的一部分，代表时代精神，是部分艺术家在思想观念与性情上赫然的转变。由此而言，我更倾向于将《东方红系列》视为有美学价值的纪念物，它们可以用来衡量社会变迁与艺术之间的关系，也称得上是红色中国重要的社会指标及其象征。借此，不妨检讨现代性雕塑存在的主要问题，即可以发现这种反思性纪念物的价值所在。我们看到在纪念物的领域之外，现代雕塑的重要性显然不及绘画。现代主义的阐释多与绘画相关联，大部分还是在界定雕塑不是什么，换言之，就只是说明雕塑不是绘画（Greenberg quoted in O’Brian vol 2,1986:60），雕塑也有抽象手法，只是并不成功。除了现成物的利用外，很难将现代主义的绘画创作论应用于雕塑方面。现代主义发觉难以将个人隐喻性的表现方式融入雕塑作品中。主观性的感受较易用绘画来表现，而且现代主义绘画不费吹灰之力就能进入个体的沉思之途；雕塑则依旧残留有公共仪式意涵，神化的人物塑像还是最为广泛接受的形式。现代主义矛盾的地方就是它追求普遍的共性，却又造成不受一般大众观迎的艺术。雕塑直到1960年代地景艺术兴盛后，才返回公共领域，否则多以新画廊或现代美术馆为营：特别是展示于美术馆的雕塑花园或成为巡回性展览。然而，中国当代公共雕塑至今依然乏善可陈，原因有许多，其中关键问题是思想因素的贫乏、反思精神的薄弱、形式实验的畏缩。
当代纪念物可贵之处是其反思性和实验性，制作者所面临的一个基本两难实际上是一体两面的，不论使用任何媒材或手法，都必须经得起未来的考验，历史的“过去未来性”，也就是当代人对历史思考的意义维度。如何利用自身指涉性强的媒材来引述事件而不只是指涉媒材本身？如何能结合更有效的手法来表达主题？但无论在形式上如何实验，纪念性雕塑是以整体观之，首要目的是引发观者反思或沉思。缘此而言，《东方红系列》以严格而繁重的手工作业而非现成物利用或点子取巧，进入了逆反形式的实验，它的涵义令人沉思且具公共性，尽管形式上还需要更具历史语境关联的营造。甚至其尺度、重量以及展示和陈列的空间、地点，都有待更加倚重公共性和纪念性的意向。如此一来，它将进一步把尊严和谵妄、理想和异化、真实与虚拟结合起来，并在一个充满历史寓言的国度继续引发与历史悖谬的美学对话。
                                                   
                                                                                                                    
                              岛 子 ,清华大学美术学院教授,博士生导师

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钞氏兄弟的心思
                                                           
文/宋伟光

如果把钞氏兄弟的作品划分到陶艺当中，表面上看似乎没错，但切实地有些不妥。因为一般“玩陶”者重釉色，重机变，求偶然，而钞氏的“陶”重“写实”，是少依赖于偶然，多依靠控制的费神之作，是把“制陶”作为“制艺”的手段，充分地发挥着陶的这种难以替代的语言功能。说起来钞氏的“写实”，是对现实有心的琢磨、选择和提炼，他们的作品似乎可以理解为是现实物品的“肖像”，且看作品《东方红号》，这件破旧的拖拉机驾驶室的顶棚遮盖着防雨布，防雨布的四周均匀的、牢牢地钉嵌着的按钉已在悄悄生出锈斑，驾驶者早已离去，座位上被遗弃的布包仿佛尚留余温。它虽摆脱了劳作和重负，得以喘息，但它老了，不中用了，它辉煌的时代已经过去，如今只剩下残破的肢体，伴随着它的风烛残年，抚摸着破败的车头，心生感叹，蓦然见到“东方红”这鲜红的标示，依旧夺目、依旧光艳，挣扎着向人们提示它那永不泯灭的骄傲-------
这件作品已经远远的超过了一般的“现实”，一般的客观模拟，它具有肖像般的功能。因为这只“拖拉机”有使用者的痕迹，有它经历岁月磨砺的风雨记忆。像这一类型的作品钞氏兄弟还有许多，如老屋、老城楼、老火车头、老汽车------这不禁使笔者要追问，他们在干什么？他们想干什么？他们想干的原来是人类的一种心理需要——回忆。钞氏兄弟用艺术留住了那一典型时代的典型物件，那种机械化作业给当时的劳作带来的欢乐和美好。他们用这种细腻入微的“笔触”通过现实的种种表象陈述着记忆的价值。
钞氏兄弟眼下又完成了新作，此作唤作《昨天》，这件作品入选了第十一届全国美展。这是一组大型的由流逝岁月的物件和不同角色穿的“鞋”，共同组合构成的记忆，它们按照一种节律来排列组合，在组合中烘托出了作品的主题——“昨天”。
且看，引领这只队伍的是一双巨大的“解放鞋”，它表示时代的巨人在引领方向，而随后者以不同的姿态，不同的身份，从不同的方向朝队伍靠拢。这件组合式的作品像小说一样有故事的开始，发展和插曲，而这个插曲便发生在作品的左角，看到了吗？有一只在行进的过程中鞋底朝天的“鞋”它暗喻掉队者，掉队者的出现使得故事中更有了故事，有了花絮，也平添了几分猜测，几分想象-----
故事叙述到这里就完了吗？还没有。在队伍的后面有三组物件，左侧一组是旧军帽、军包、冲锋号等；右侧一组是皮箱、冲锋枪、防毒面具等；而中间一组是则是由炉子、旧笔记本还有毛主席语录等构成。它们分别寓意着战争与和平、火红的年代和冲锋与防守等多重含义，这是故事的策源点，使人们可以凭借着这种象征语言、回忆起那逝去的但仍然记忆着生命与活力的美好年华。
在此，鞋子是群体的象征，是人群的抽象和隐喻，是笔不到意到的留白。从“鞋子”的不同新旧程度，不同的破损与皱褶，不同的生活痕迹和种类中我们得知，这是行进在艰苦岁月中的工农大众，是共和国建设的一代力量。从这些作品中可以看出钞氏兄弟是用心地在琢磨每一个人，每一只脚，每一只鞋，希图通过这些“鞋子”使人们产生联想，唤起它的潜在功能，并由此生出对他们的怀念和敬意。这与“拖拉机”等异曲同工，都是对选取的现实进行的提炼和浓缩，因为典型的物件本身便具有表现性。
有意思的是这组作品中的构成单元本来是各自独立的，各自具有独立的表现内容，然而通过重组，遂产生了互动，生成了故事，形成了指向。这也说明当代艺术以何种方式展示，本身就是一种创造，所以无论你“在场”与“不在场”，当代艺术都应建立一个自身的语言系统。
起先，钞氏兄弟有“造房计划”，之后又有“旧物件的记忆”和“老城门的诉说”等，而今这些旧物件又在生成一种交响，变幻成一个事件，一种评价，一个故事。这是把生活记号转化成艺术符号，形成了“睹物思人”的纪念性价值。钞氏兄弟的作品不是陶艺，不是波普，也非古之“像生”，而是有心思的以细微的情感撷取和选择典型事物，深化细节，关注社会，追忆过去，留住残缺，留住思考的当代之作。
说到这儿，引发出了一点思考。这可能稍稍偏离开文章的主题，即艺术是要与人交流的，一件作品产生之后，应当要考虑受众对它的理解，这样便于传播自己的艺术主张。在艺术作品前观者的位置是可以转换的，即我看艺术品；我看艺术品，艺术品也在看我。当艺术品也在看我时，便可能产生了共鸣，就钞氏兄弟的作品而言，这种共鸣，应该就是——历史应当记住，精神价值应当永存，因为历史尚有启发今人明晰事理以供借鉴之用，而典型的物件恰是对历史的证明，钞氏兄弟又恰是把这种“原型”的信息细致、入微地传达下来，这种有选择的“摹真”便于深度地留住记忆，留住思考，这便是钞氏兄弟的价值点和心思。
                    

                                                               2009年  
                                             宋伟光 ，雕塑杂志社副主编


Idea of the CHAO BROTHERS
                                                      
Song Weiguang

    If we divide the works of CHAO BROTHERS into ceramics, it looks right superficially, but actually it seems inappropriate. While the common “ceramics players” think highly of glazing color, chance variation and contingency, the CHAO BROTHERS focus on the reality, their great works mainly depend on the control. They regard the “making ceramics” as the “creating art”, in other words, it is a way of creating sculpture, which fully expresses such linguistic function that is hard to be substituted. As to the CHAO BROTHERS’ “realistic writing and painting”, it is a kind of consideration, choice and abstraction of actuality. It seems that their works can be understood as “portrait” of real objects. For instance, Dongfanghong tractor, the beat-up driving cab’s overhead guard is covered with waterproof cloth, which is symmetrically surrounded by rusty thumbtacks. The driver was gone, left the fabric bag that seemed with residue temperature. Although it gets rid of hard work and deadweight, it is old and useless, its resplendent times was gone, only the dilapidated body left. Touching the beat-up headstock, there was a sense of plaint. When you suddenly see the red marking “Dongfanghong”, it is bright-colored and dazzling as before, which struggles to show its indelible pride.

    This work has the “portrait function”, which has surpassed the common “reality” and objective simulation, because this tractor shows the driver’s history and the memory of suffering. Just like such series of works, there are many others like Old House, Old Gate Tower, Old Locomotive and Old Truck. You may ask, what are they doing? What are they thinking? What they want to do is to retrieve the memory, which is a kind of psychological needs of human being. The CHAO BROTHERS retained these typical objects in that typical time, the mechanization work, which brought happiness and goodliness. They indicated the value of memory by means of “writing combination” though several practical images in daily life.

    A new work has been created, Yesterday, which has been selected into the 11th National Art Exhibition. This is a combination of memory, the passed objects and shoes worn by different people. They are arranged and composed according to a kind of rhythm, in which contrasts the theme of this work——“Yesterday”.

    Just look at the leading huge “Jiefang Shoes” of this troop, which indicates the era giant who leads the direction, and the followers who get close together to the troop are in different poses, identities and directions. This combined work likes a novel, which has the beginning, progress and episode, and the episode is at the left side of this work, see? The upside down shoe, which is the metaphor of straggler, and it makes the story colorful and arouses more guess and imagination.

    Is it the end of the story? No. There are three groups of objects in the end of the troop, an old army cap, army bag, bugle, etc in the left group; leather suitcase, submachine gun, respirator, etc in the right group; camp stove, old notebook, Chairman Mao's Ana, etc in the middle group, which respectively reflects war and peace, flaming times, attack and defend, etc. This is the point of story, which makes people recall the past lives and energy through the signify language.

    Hereon, shoe is the symbol of group, and it is the abstract and metaphor of public crowd. From the different new and old levels, dilapidation and rumple, living histories, we can find that the CHAO BROTHERS paid much attention to each person, foot and shoe, in which way make people arouse its profound function through these “shoes”, and subsequently indicate the miss and respect. Such work has the same effect as “tractor”, which is the abstraction and concentration of reality; because the typical object itself has the expressive character.

    It was interesting that each unit in this work was originally independent and respectively had its own expressive content. However, after the recombination, the interaction, story and direction formulated. The art itself was a kind of creation no matter it was expressed in what way, modern art should set up its own language system no matter you “present” or not.

    The CHAO BROTHERS had the idea of “Building House Plan” at first, then “Memory of Old Objects” and “The Old City Gate’s Complain”, and these old objects made the symphony and turned into an event, opinion as well as story. It was a monumental value that life marks had been transformed into art symbol and formed “Missing the people while watching the object”. The CHAO BROTHERS’ works were not ceramics, bop or the ancient “Xiangsheng”, but the modern works, which focused on the exquisite feeling of deepening details, attention to the society, recalling the memory and thinking.

    It comes a thinking that has little to do with the theme. That is to say, art needs communication with people, and it should considered that audience’s understanding after one work is finished, which is helpful to spread the art proposition. The other people may also make such theme, but it causes different understanding because of the different points, methods and ideas. Once a work is finished, it doesn’t mean the finish of significance, which is gradually shaped during the process. However, as to the original meaning of the work, it needs to be explained widely and effectively, which is the characteristic of modern art, because the modern art depends on the attitude of the elucidator. The position of the spectator could be switched, in other words, the artwork watch you when you watch the artwork, at the same time, the resonance may arise, as to the CHAO BROTHERS, the resonance is that the history should be remembered, spiritual value should be kept in mind forever, because history is helpful to explain matters, and the typical objects are the proofs of history. It is the CHAO BROTHERS who transmits the “original” information carefully and in great detail, which is convenient for retaining memory and thinking. This is not only the writer’s “discovery” of the CHAO BROTHERS, but also their value and idea.

2009  BeiJing
Song Weiguang Sculpture magazine deputy editor

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中国老火车的挽歌
——记钞子艺、伟钞子“东方红”系列雕塑之《老火车》的创作告罄之时
                                                     
文\薄 清 江

自2002年创作陶艺作品《消逝的家园》全国第七届陶瓷艺术展上获得金奖，钞子艺、钞子伟兄弟俩名字开始在陶艺乃至雕塑界崭露头角受到关注起，他们兄弟俩合作的作品便朝着高难度的领域开崛，挑战着陶艺的极限。一直以来作品越做越大，体量越做越重，由外在酷似逐渐触及人们心灵的真实，由技法而观念，由分体而集中，逐渐逐渐梳理出一根贯穿新近一切作品的红线——《东方红》系列“雕塑行动”。在完成了支前车、坦克、解放汽车、拖拉机之后，历时将近一年的辛勤劳作，向我们今天这个社会奉献出他们最新近的力作----“东方红”系列之《老火车》作品。这件长达六米、体量数吨重的雕塑作品着实给人眼前一亮， 似曾相识，眼见其红锈斑驳、铁制嶙峋，让人息叹，启人幽思。当年我们不就是乘坐这样的火车离开家乡踏上建设者的路途的吗？ 而今天这个“工业恐龙”正被时代无情抛弃，重型器械不再担负创建的使命。钞子艺、钞子伟兄弟俩以这种艺术的方式，使身处电子与信息时代的人们有一个便捷的方式向这个通体瘫痪的“工业恐龙”致以最后的瞩目礼，并寄托半个世纪以来中国人特有经历的纷繁情思。
“东方红号”老火车作为一个时代的标志性形象，它所承载着的是新中国老一辈建设者挥之不去的怀旧情节。承载着同代人人生聚散、世事兴衰的情感 记忆。自从詹天佑在中国建起第一条铁路，中国的地面奔腾起一路轰鸣而迅疾的“工业恐龙”，乃至新中国的建设都不曾离开过火与钢铁合并产生远行的能量及其创造的奇迹。
可以说没有哪一种交通工具像老火车这样夹带着人们怀旧和忧伤的气息，对于国人老火车是往事和人生聚散之地，与火车有关的一些场景、阅历、故事会被一个人暗暗地留藏一世。而今在电子与信息时代老火车却渐渐淡出人们的视线之外，老火车正在被人遗忘。但凡是乘坐或亲眼目睹过老火车的同代人们，属于老火车的记忆，任何东西都无法替代。关于它的迅疾身姿，关于它的轰鸣震响 ，以至它在今天的黯然退场。钞子艺、钞子伟以铁锈效果铸铁雕塑的这种最直接的造型方式，把人们的记忆形象地留存凝固下来，在怀旧的同时也为它们唱起最后的挽歌！
前几年在创作雕塑“东方红”系列之《拖拉机》时，作者曾这样坦言自己的构思：“东方红”是红色中国的代名词，是时代的产物。而“东方红拖拉机”自它诞生之日起便宣告了中国农业开始走向机械化作业的道路，它寄托着一代中国人的希望、智慧与梦想。作品用一种写实的手法再现历史辉煌，一部分作品采用陶瓷材料，是因为陶本身具有的原始、古朴，加上泥土在熔炉烧炼过程中产生的神秘窑变效果，则更适于表现这一主题。
正是有这种先前实践的积累和沉着精进的自信，使他们敢于挑战陶艺雕塑的极限。题材上以计划时代的庞然大物，老火车为对象；材料上有先前的陶瓷到现在的金属材料，如铸铜、铸铁以及各种综合材料等。在观念上以现今人们的眼光回顾沉忆的角度------率性而婉约地表现“逝者如斯”的情怀感伤，也昭示着流连过去的人们，以一种世纪回眸式的怀旧情思来重新审视与筹划现实与明天。
从学术层面上看，雕塑作品“东方红”系列之《老火车》，不仅以历史的工业题材，让创作树立了一个时代的典范，而且也拓宽加深了现实主义作品的表现空间和力度，当它在社会上更大面积地接受人们的观瞻和品评之后，这一点可能更强化留存在观众的印象中，因为我们无论如何都不能回避的一个中国“入世”、“接轨”后的共同现实。在这样一个一切都过分匆忙的时代，我们的确需要抚慰的情怀。那么，就让我们面向“东方红”系列之《老火车》这件沉默不语的雕塑大物吧！目瞩它承载着我们对往事的记忆而闪亮登场吧！

                                                     二00六年十二月
                                         薄 清 江, 南阳理工学院教授

    Elegy of Chinese Old Train
—The “Dongfanghong” Series, the Sculpture Creation of Old Train
by Chao Ziyi and Chao Ziwei
                                                            
                                                            Bo Qingjiang

    Since the creation of the work Disappeared Homeland, which won the gold award in the 7th National Ceramics Art Exhibition, the brothers Chao Ziyi and Chao Ziwei were widely concerned in the fields of ceramics and even sculpture, and their works were strived for the fields with high challenges and high-point. The works became bigger and bigger, heavier and heavier, which touched the soul of human being though the similarity of appearance. Dongfanghong Series “Sculpture Action”, the red line among the works was finally formed, from method to idea and from separation to concentration. After their achievements of front line supporting vehicle, tank, Jiefang truck and tractor, Dongfanghong Series “Old Train” came out, which took almost one year. This sculpture was six meters long and it weighed several tons, which brought us brightness, it looked familiar and made us meditate. It was this train that took us to leave our hometown and became a builder. However, this “industry dinosaur” is being put away pitilessly, and the heavy instrument no longer bears the construction mission. The CHAO BROTHERS make people look up to the “industry dinosaur” in such easy art way, which reposes the Chinese special feeling in the work over the half century.

    As a symbol of an era, “Dongfanghong” old train carried the reminiscence of older generation builders who lived in the new China. It carried the memory of meeting and parting, rise and decline. Since the construction of the first railway carried by Zhan Tianyou, it was regarded as the alarming and running “industry dinosaur”, and even the miracle that was combined with fire and steel, which had much energy for a long journey in the new Chinese construction.

    We may say that there is no vehicle likes the old train with reminiscence and desolation. As to countrymen, old train is the place for meeting and parting of past events and lives. A scene, experience and story that related to old train can be silently treasured up for a lifetime. But in nowadays, with the development of electron and information, old train is disappearing from people’s sight bit by bit and is being forgot As long as people took or discerned the old train, it was the memory of old train and nothing could substitute it, such as its rapid body and alarming klaxon as well as its silent exit. The brother Chao Ziyi and Chao Ziwei preserved the memory though rusty cast iron sculpture, which is the direct way to sing elegy for them while calling up old times.

    When creating the sculpture “Tractor” of “Dongfanghong” series, the writer once described their conception: “Dongfanghong” is another name of red China, and it is the product of the era. However, since the naissance of “Dongfanghong tractor”, it indicated the transformation from agricultural times to mechanization, which also carried Chinese hope, wisdom and dream. The true-life method was used in this work, which reproduced glorious history. One part of the work adopted the ceramic material, because the ceramic itself had original, simple and mysterious effect during the kiln firing process, which was more appropriate for expressing this theme.

    It was the confidence that was accumulated from earlier experience made them dare to challenge the utmost of ceramics sculpture. As to the theme, there was old train, which was the dateable monster; as to the material, there were ceramics and metallic material, such as cast copper, cast iron and several synthetic materials, etc. As to the idea, it was viewed from the memory of current standpoints, willfully and gracefully expression of “things flow away”, which also call people to reexamine the reality and plan tomorrow through reminiscence.

    On the academic side, the sculpture work “Old Train” of “Dongfanghong” series not only set the example based on historical industry theme, but also broadens and deepens the expressive space and strength. When it is widely viewed and won the approval, this point may be kept in mind by the audience, because we can not avoid the common reality after “joining WTO” and “connection of tracks”. Under such busy times, we certainly need feelings to comfort ourselves. So let’s face the silent “Old Train” of “Dongfanghong” series, and watch its twinkling entrance with our memory for the past.
                                          
                              
                                                       Dec. 2006
                 Bo Qingjiang,Nanyang polytechnic college professor

闻正

“技艺承载观念”  
解读钞子伟、钞子艺兄弟的雕塑作品

文/黄春平

钞子伟、钞子艺兄弟的作品造型逼真，极具写实性又兼有粗犷之风。题材大多选择带有历史意义的旧物为主题，从早期的老宅门楼到近期的“东方红”拖拉机，都沿用被现代社会淘汰的老式物件为创作对象，具有浓厚的都市怀旧情绪。钞氏兄弟的作品选择易于塑造的陶泥作为创作材料，采用泥板成型的方式，在陶泥上精心雕琢刻画，最后入窑烧制或用其它材料翻制而成，雕刻的作品几乎到了乱真的地步，他们的写实功底造诣很深，这种写实的手法，在他们之前也曾被人采用，比如宜兴、石湾和佛山等地的仿生茶具和写实陶塑，以及台湾陈景亮（阿亮）的陶塑《桥》的创作手法，但是，钞氏兄弟的写实手法加入了更多的主动性，加入了更多对材料自身语言的尊重，“我的作品采用的是超写实手法，但决不是盲目的照猫画虎，搬摹对象，我在制作过程中，要么大刀阔斧，任意挥发，要么精雕细刻，千锤百凿，以车系列为例，我先用泥片在原木上印制出木头的纹理，然后再用非常细腻写实的手法，用极锋利的刀片，削刻出作品所需要的肌理、木纹、朽木、样头、铆钉，并有意识留下那些尖锐的刀痕，以保留陶艺的特质”（钞子伟自述）。

　　钞子伟创作作品极为勤奋，并注重个人修养的提高，1998年到中央美术学院雕塑系助教班学习，1999年起在中央美术学院雕塑系陶艺工作室学习阶段，是钞子伟个人艺术转折时期，在那里他学到了陶艺的制作技术，接触到来自世界各地的当代艺术观念和现象，扩大了艺术视野，找到了表达自己艺术语言的方式。钞氏兄弟的作品在国内外屡获大奖，2000年纪念中国人民抗日战争胜利55周年美展获“三等奖”（北京）；2002年全国第七届陶瓷艺术展获“金奖”（龙泉 ）；2003年韩国国际陶艺双年展获“铜奖”（韩国利川 ）；2005年 “第七届亚洲艺术节主体雕塑” 三等奖（佛山、广州）。除精湛的写实技术引发观者的赞叹之外，都市怀旧情绪也是得到公众认可的重要因素。这种情绪的表述，一方面来源于钞氏兄弟的自身生活经历，另一方面，则是来自于作为现代人对生活中消逝的旧事物的反思。

　　上世纪90年代末，中国的雕塑艺术完成了向注重当下文化背景的观念性雕塑的过渡，并开始关注自身的传统文化，对历史意义的事物进行反思，大量的历史题材开始出现，如“文革”题材、毛泽东形象、中山装等，钞氏兄弟的作品也应该属于这种题材之内。当然，这其中不乏功利主义者，利用这些既定的符号特征，来获取市场利益。与这类泛泛之辈相比，由于以纯熟的写实技术为依托，运用材料语言恰到好处，钞氏兄弟的作品表现得极为真实、自然。作品给人最大的印象就是形象逼真，刻画精细，创作过程中如果没有极大的意志力和耐心是无法做到的，他们的每一件作品要耗费大量的时间和精力才能完成，最近完成的大型作品《火车头》花了半年多的时间才制作完，并且要求每一个细节都要做到位，正是这样丝丝入微的严谨精神使得他们的作品不仅耐看，而且经得起推敲。这种精神在当下艺术背景下是很可贵的。也许正是这些可贵的品质，艺术品收藏者的订单不断，近来也有国内外画廊要求与他们签订推广合同。

　　当然，作为技艺性的艺术家最需要思考的问题是表现对象的选择，以此有效地切入当代艺术的问题上来。钞子伟早期的《门楼》系列尽管成功地塑造了门楼的破败、沧桑感，但由于选择的题材不够新颖，其艺术价值便缺少份量。今年六月在美术馆展出的《“东方红”拖拉机》系列让人耳目一新，作为文革时期技术象征的拖拉机承载了更多的历史意义，不仅有着强烈的视觉张力，更赋予观者更大的思考空间。钞氏兄弟的作品之所以能够成功，离不开材料的恰当选择和熟练的陶艺成型与烧造技术的运用，陶土这种材质本身就是朴素自然的，正好与表现的题材完美的结合在一起。以技术性为依托来表述观念，其艺术性更为凝重，视觉效果也更为强烈。

　　当代艺术自20世纪40、50年代以来，观念性艺术逐渐占据主流，现成品、影像装置、行为艺术纷纷上演，艺术家可以不需要掌握技艺，只要有一个好点子就可以成为一名好的艺术家，传统的手工技艺似乎要退出这个艺术的舞台，然而，事实并非如此，当代艺术并没有成为观念艺术独霸天下的局面，而是朝着两个方向展开，一个是强调写实的技术性，另一个则注重艺术的观念性，波普艺术和超级写实主义可谓是当代艺术的代表，技术和观念就好比人类的精神与物质一样，二者缺一不可，过于追求物质性，可能带来精神的空虚匮乏，而过于强调精神性，又可能影响生存质量。强调艺术的技艺性并不是反观念，偏重写实技艺的艺术不能只是简单的模仿对象，对当代社会文化现象漠视不管，否则，其艺术作品只会流于平庸，高度写实性绘画的代表人物石冲早期的绘画过多的偏重于画面的细节处理，后期转向观念性的表达使画面具有了深层次的意味。当代雕塑方面则有隋建国、展望、于凡等人，这些雕塑家的作品在扎实功底的写实手法的形式下带有典型的观念性。

　　各种门类的艺术形式都有着自己独特的艺术语言，表达观念的同时如果没有对该门类语言的基本认识和掌握，必然无法达到理想的效果。观念性艺术家借助他人的技术帮助来实现自己的意图，而技艺性的艺术家通过娴熟的技能表述自己的观点，表现手段可以多样性，在运用材料的语言方面可以做到胸有成竹，这一点是纯观念艺术家不可比拟的。当代艺术家都在思考重回艺术的本体语言的问题，也许，技艺性艺术家在这方面可以起到非常重要的推动作用。
                                          
                                                              2007年
                                             黄春平,北方工业大学教师

“Skill carries the Idea”
Reading sculpture works created by Chao Ziwei and Chao Ziyi

Huang Chunping

    The works created by brother Chao Ziwei and Chao Ziyi are lifelike with both realistic writing and straightforward character. The theme is mainly from significant historical objects, from the early old house gate tower to recent period “Dongfanghong” tractor, and the old objects with rich reminiscence feeling which have been eliminated are used continually. The ceramic was chose as the material for creation, which was easy to be sculptured, they carved and depicted on the ceramic by using the mud shaping method, and finally the works were shaped by kiln firing or other ways. The carved works seemed nearly real with masterly skills, such realistic depiction was adopted by some other people, such as the simulate tea set and ceramic sculpture in Yixing, Shiwan, Foshan, as well as the ceramic sculpture Bridge created by Chen Jingliang(A Liang) in Taiwan, etc. However, the CHAO BROTHERS added more initiative to their realistic writing as well as language respect to the material itself. “My works use super realistic depiction but not the blind copy or plagiarism. During the creating process, sometimes I drastically exerted, sometimes carved with great care again and again, take truck for example, I used mud slice to print wood vein on the log, and then carved the texture, wood grain, deadwood, head sampling, rivet with sharp blade according to the necessity, sometimes left the knife mark in order to reserve ceramic character. “ (Described by Chao Ziwei)

Chao Ziwei worked very hard to create new works, and he paid much attention to improving personal cultivation, he studied in Sculpture Department of China Central Academy of Fine Arts in 1998, then he studied in ceramic workroom of Sculpture Department from 1999 in China Central Academy of Fine Arts, from where he learned the ceramic technology, experienced the modern art idea and phenomenon from different countries all over the world, which broadened art view, he found the way to express his own art language. The works of the CHAO BROTHERS won many awards home and abroad. They won the “Third Prize” in the 55th Anniversary of Anti-Japanese War in 2000 (Beijing); the “Gold Award” of the 7th National Ceramics Art Exhibition (Longquan); the “Bronze Award” of 2003 Korean International Ceramics Biennale Guest Exhibition, (Icheon, Korea); the “Third Prize” in the 7th Asian 2005 Art Festival Subject Sculpture (Foshan, Guangzhou). Except for the exquisite true-life skill, there was another important element, that is, the urban reminiscence, which was expressed from their life experience, and on the other hand, it was the rethinking of past events as to modern people.
    In the end of 1990s, Chinese artists finished the transformation of conceptual sculpture under the current cultural background, and they began to pay attention to their own traditional culture and rethought historical events. Many historical themes turned up, such as “the Cultural Revolution”, Mao Zedong image and Chinese tunic suit, etc. The works created by the CHAO BROTHERS belonged to this theme. Of course, there were some ignorant people who used them to benefit from market. Compared with such ignorant people, the CHAO BROTHERS’ works were based on experienced true-life skill and material, which were expressed real and nature. The most impression of their works were the visualization, reality and careful carving, they couldn’t be finished if there was no strong willpower and patience. It took much time and energy for them to create each work, the Locomotive cost more than half a year, and each detail was strictly required. It was this rigorous spirit that made their works beautiful and elaborated. Meanwhile, it was this worshipful character that caused the incessant orders, recently, there are some foreign galleries who request to sign contracts with them for spread.

     Of course, as to a skilled artist, what the most necessary problem to think about is the choice of representation object, which may effectively cut-in the modern art. Although the early Gate Tower series successfully shaped the ruins and vicissitudes, the theme was not fresh enough, which lacked of art value. The “Dongfanghong” Tractor, which was exhibited in June in art gallery, made people refreshing. As the typical symbol during the Cultural Revolution, the tractor carried much historical significance, not only with strong visual tension, but also with more imaginary space. Their works couldn’t be so successful without the appropriate choice and familiar ceramic shaping and firing skill. The pottery clay itself is simple and nature, which matches the theme perfectly. When it is expressed based on technicality, the dignified of artistic quality, the stronger of its visual effect will be.

     From 1940s to 1950s, the conceptive art became into the mainstream, completed products, video equipment and action art showed up, the artists no longer needed to master skill, an good idea could make them into a good artist, the traditional hand skill seemed quit the historical stage, however, actually it was not true, the conceptual art didn’t become the major stream of modern art, it was spread into two directions, one focused on the technicality of true-life while another emphasized conception of art, Pop art and super realism were the symbols of modern art. Technicality and conception were just like spirit and material of human being, neither of the two could be dispensed, pursuing excessively for material might cause spiritual emptiness while excessively emphasizing for spirit might affect the quality of life. Emphasizing the art skill didn’t mean going against with conception, the true-life skill was not the simple copy and disregard of modern social culture, otherwise, the work would be the common one. Shi Chong, the representative individual of true-life drawing, paid much attention to the details of appearance in his early works, and then he turned to conceptual expression in later works, which made deep significance. Sui Jianguo, Zhan Wang, Yu Fan were the representatives of modern sculpture, their works had typical conception character under the solid true-life method.

     Each kind of art has its own special art language. If you don’t have the basic understanding and mater for this language, you can’t achieve the ideal result. The conceptive artists reach their goals with the help of the other people’s skill. However, the skilled artists express their idea through experienced skill with various methods. They have a ready-formed plan in the language aspect of material using, which is hard to reach. The modern artists are all thinking about regaining artistic ontology language, maybe, the skilled artist play an important role in this aspect.
  
                                                                              2007
    Huang Chunping, North China University of Technology