把經(jīng)過“改造”的漢字，或者說以漢字為素材，做成一座座巨大的雕塑品，而且連成宏大的雕塑群，應(yīng)該說是劉永剛的創(chuàng)舉。

劉永剛能有如此的氣魄，從繪畫創(chuàng)作邁出這一大步，有其必然的內(nèi)在原因。他對(duì)藝術(shù)的理解，似乎從形而下的層面跳越到一個(gè)很高的新境界。藝術(shù)之所以成為藝術(shù)，它不僅是現(xiàn)實(shí)生活的直接反映，它是把現(xiàn)實(shí)中的精神用藝術(shù)手段加以形象化，給人以力感和美感，給人以想象和啟迪。藝術(shù)家有廣泛選擇題材的自由，更有充分創(chuàng)建個(gè)性風(fēng)格的自由，但他擁有的自由也會(huì)受到諸多方面的制約。這種制約除了來自觀眾的審美和接受水平外，更來自它自身的條件：知識(shí)和技能的儲(chǔ)備狀況，視野和修養(yǎng)的準(zhǔn)備程度。藝術(shù)創(chuàng)作和科學(xué)實(shí)驗(yàn)一樣，在新的課題前面，人們可以大膽假設(shè)、預(yù)想，但最終的成果在許多方面卻要受制于他己掌握的知識(shí)和己具備的素養(yǎng)，盡管也可能有諸多的偶然因素會(huì)發(fā)揮作用。在藝術(shù)領(lǐng)域，不可想象一個(gè)沒有充分知識(shí)儲(chǔ)備和文化涵養(yǎng)的人，可以為所欲為地施展自己的才能；也不可想象，沒有在長期實(shí)踐中獲得經(jīng)驗(yàn)的人，可以在藝術(shù)創(chuàng)新上一舉獲得成功。

劉永剛在上個(gè)世紀(jì)80年代己經(jīng)馳名于畫壇。他在首屆中國油畫展獲奨的作品《北薩拉的牧羊女》，不僅已經(jīng)顯示出他杰出的藝術(shù)才華，而且還表明他在藝術(shù)上求新、求變革的愿望。這件作品中的人物以至整個(gè)畫面境界是靜穆而崇高。從表面上看，這件帶有古典寫實(shí)意味的油畫與現(xiàn)在他創(chuàng)作的以“愛擁”為主題的文字雕塑迥然不同，但細(xì)細(xì)觀察和思量卻可以發(fā)現(xiàn)，兩者之間卻有內(nèi)在的聯(lián)系，那就是都追求一種宏大而嚴(yán)謹(jǐn)?shù)墓诺渚瘢非蟊憩F(xiàn)一種穩(wěn)定而堅(jiān)實(shí)的力量。只是媒材與題材變化了，藝術(shù)氣魄更宏大了，藝術(shù)境界提升了。變化的原因來自于諸多方面：作者在德國游學(xué)的經(jīng)驗(yàn)以及所受到的影響，他對(duì)藝術(shù)創(chuàng)造的新體悟，等等。劉永剛十分贊賞德國現(xiàn)代畫家馬克斯·貝克曼(Max Beckmann，1884-1950)的藝術(shù)，贊賞他藝術(shù)中的寓意性，贊賞他關(guān)注潛藏于表面事物下面的深層含義。劉永剛從貝克曼的藝術(shù)中受到啟發(fā)，結(jié)合自己的生命體驗(yàn)和藝術(shù)經(jīng)驗(yàn)，包括他受到的漢蒙兩種文化的教育，以及他對(duì)漢字形象的理解，終于走向以“愛擁”為主題的雕塑創(chuàng)造。從結(jié)構(gòu)嚴(yán)密的象形漢字出發(fā)，但又不是具體漢字的再現(xiàn)，而是經(jīng)過加工和發(fā)揮，使?jié)h字雕塑的造型切合“愛擁”的主題：宇宙間兩種基本力量—陰陽的對(duì)立與統(tǒng)一。劉永剛在處理這一系列雕塑作品時(shí)，機(jī)智、妥善地解決了雕塑結(jié)構(gòu)的收斂與擴(kuò)張、整體形象塑造與細(xì)部刻畫的課題，他用墨玉石作為材料以加強(qiáng)作品在色澤上取得單純而豐富的表現(xiàn)效果。

以“愛擁”為主題的雕塑介于具像與抽象之間，它們沒有刻畫具體的人的形象，但它們傳達(dá)了人性中最基本、最普遍的感情力量，而又不止于男女之間的愛。面對(duì)這些作品，不同文化層次的觀眾可以獲得不同的藝術(shù)感受，這一點(diǎn)當(dāng)然是劉永剛所期待的。他似乎要讓觀眾在觀賞作品的過程中，在看懂與看不懂之間與作品對(duì)話與交流，從而得到某種精神的滿足。

邵大箴　　中央美術(shù)學(xué)院教授　博士生導(dǎo)師　 中國美術(shù)史學(xué)家

著名美術(shù)評(píng)論家　　《美術(shù)研究》雜志主編

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In the Depth of Character Sculptures: Impression of Liu Yonggang’s Works

Shao Dazhen

Mr. Shao Dazhen, professor from Central Academy of Fine Arts, doctoral tutor, historian of Chinese fine art, renowned critic of fine arts, chief editor of Journal of Fine Arts

‘Transformed’ Chinese characters, or rather, large sculptures based on Chinese characters and connected into groups, are pioneered by Liu Yonggang. There is an intrinsic reason for him to be so courageous as to take this step. His understanding of art seemed to have experienced a leap from a physical level to a new, higher one. Art is not only the direct reflection of real life, but the artistic rendering of it for the purpose of inspiring the sense of power and beauty, and to arouse imagination. Artists are free to choose a wide range of subjects and to establish their own styles, but their freedom is subject to restriction in various aspects. The restriction not only lies in viewers’ aesthetic level, but also derives from artists’ own qualifications—their reserve of knowledge and skills, and their preparedness in vision and cultivation. Like scientific experiments, artistic creations allow for bold assumptions and forecasts, but the final results are in many respects conditioned by artists’ knowledge and cultivation. Despite accidental factors, so far as art is concerned, it is unimaginable that a person ill-equipped in knowledge and culture can use his talent to the fullest extent possible; it is equally unimaginable that a person could succeed at the first go in artistic innovation without experience derived from long-time practice.

Liu Yonggang made a name as an artist in the 1980s. Shepherdess of Northern Sala, a prize-winning work at the first national art exhibition, not only displayed his outstanding talent, but it also expressed his desire for innovation. The human figure and the general effect of that painting convey a sublime serenity. Its classical realistic style appears so different from that of his latest works, the character sculptures named Embrace of Love. However, careful observation and thinking will reveal that both express the pursuit of a grand, rigorous classical spirit and a stable, stern power. The only differences are the change of medium and subject, a broader vision, and a higher level. The changes were caused by multiple reasons, such as influences during his study in Germany and his new ideas about creation. Liu thinks highly of the art of the modern German painter Max Beckmann (1884-1950). He is impressed by pregnancy of meanings in Beckmann’s works, and his concern for deep meanings under the surfaces of things. Inspirations from Beckmann’s art, his own life and artistic experience, his education in Han and Mongolian cultures, and his interpretation of the images of Chinese characters—these led to the creation of the sculptures named Embrace of Love. Though based on tersely structured hieroglyphic characters, they are not the representation of particular Chinese characters. Characters are modified to fit the theme of Embrace of Love—the opposition and unity between yin and yang, two basic powers of the universe. He ingeniously handled the contraction and expansion of the structure, the general image and the depiction of details. The use of black jade as the material strengthened the simple yet rich effect of the color.

The sculptures in Embrace of Love are half way between concreteness and abstraction. Instead of depicting human images, they convey the fundamental, universal power of feelings in human nature, which is not confined to the love between men and women. Viewers of different cultural levels will have different feelings about them, and that is of course what Liu expects. He seems to want them to derive certain mental satisfaction from communicating with his works, a communication that mixes understanding and the failure to understand.