在传统社会，出自民间工匠的雕塑作品只能出现在两个领域：冥界与神界。为陪伴亡灵而作的墓室雕塑、陵园雕塑和为信仰而造的神佛——寺庙雕塑。人间没有雕塑的位置。无论是皇家园林还是皇宫，除了作为附属于建筑的雕梁画栋、附属于家具、门窗的装饰性浮雕外，从不设独立的雕塑作品，更没有用雕塑为英雄或帝王造像的传统，这是与西方大量设立于公共空间中的纪念碑雕塑和附属于建筑、园林的雕塑很不相同的地方。也是很值得研究的一种体现在雕塑方面的文化差异和审美差异。雕塑在中国真正进入人间生活领域，还是近代以来的事。特别是新兴的都市文化为雕塑家的出场提供了用武之地。在城市这个巨大的空间中，雕塑已不再是可有可无的摆设，它常常成为一个城市的亮点或标志，并与当代人的生活发生广泛的联系，在人们的生活中起着无容忽视的作用。作为雕塑家，思考的重心也从架上和私人空间转向更能施展才智的公共空间。日新月异的都市建设和环境改造为雕塑家提供了实现各种梦想的机会。甚至可以说，我们所处的时代，就是雕塑家的时代。青年雕塑家章华，正是在这样一个文化背景下迅速成长起来。

　　作为一个雕塑家，我们从章华生存的环境和成长的经历中并没有看到什么优越之处，既非书香门第，也没有出生于艺术之家的幸运。但他天性中所具有的感悟力和想象力，却使他仅仅依靠稀薄的民间滋养便可以扎根成长，就如那些岩缝间的树木，不仅茁壮，而且生命力极其顽强。细细想想古代那些优秀的民间工匠，他们给后人留下那么杰出的伟大作品，靠的是什么?手中同样捏的是泥巴，一个可以凭借想象幻化出一个艺术生命，而另一个却只能依靠模子拓出一块土坯。艺术家就是那些能够化腐朽为神奇的人，他们的能力就是能够把一块泥改变成某个形状，把一块石头去掉多余的部分……章华的雕塑让我感到，他天生就属于这一类人。

　　章华的雕塑就其整体风格而言，清新、明快、唯美。与那些沉稳、厚重、强调大体量的风格相比，他的作品充满张扬、流动的大线条，充满动感，充满青春的活力。为此，他用拉长的造型手法，夸张了人体的四肢和腰身，尽情让其伸展、延伸，从而产生一种冲向未来、冲向希望、冲向梦想、冲向那条一定要撞到的“红线”的感觉。而这种向上、向前、向自己所设定的目标飞奔的视觉意象，正是所有有事业心的青年人的内在欲望，也是作者本人内在精神的一种外化。这一特点几乎成为章华作品中一种符号化的象征性表达，无论是借助一种运动形式，例如表现双人滑的《双蝶》，表现花样游泳的《出水芙蓉》，还是动作本身就具有象征意味的《飞翔》、《飞翔的梦》或者《歌颂青春》，其真正的意涵都不在形体动作本身的塑造，而在于一种精神愿望的诉求。这种精神愿望无疑首先是属于创作主体的，是雕塑家用自己的主体精神牵引他的创作前行，并且以这种精神感染他的观众。

　　在章华的雕塑作品中，另一个必须提及的是他选取的题材。那些来自童年的记忆，是他不能不动用的、储存于自身的艺术资源，因为一个人的童年生活即使再清苦，在追忆中也会变得美好。他的《童年记忆》系列作品再好不过地说明了这种质朴的生存经验所具有的精神价值。《编花蓝》、《满天星》、《老鹰抓小鸡》这些清贫时代的儿童游戏在现代人看来或许太不值一提，但现在的幸福儿童却未必能在那堆积如山的玩具中获得“编”一只“花篮”的开心。因为“幸福”的概念并不就是住高楼大厦，吃山珍海味。在章华的心中，恐怕再没有什么比这更美好的东西值得他挖掘和表现：“春天来了”，经过严冬之后的孩子感到了一种温暖的降临，一头长发该剪一剪了，孩子心中这种美好感觉谁能知道呢?只有章华知道。因为，那分明就是他自己所亲历的感受。这样朴素的主题之所以会作得如此动人，正是因为艺术家心中久已酿就的那份美好感情。说到底，这也是成就艺术的诸因素中最重要的因素。

　　In the traditional way of thinking, sculptures made by sculptors outside the Royal Court system could only have two themes: The after life and the celestial life. Often they ended up in tombs or graveyards and were religious relics such as Buddha and other temple sculptures; sculptures had no place amongst the living. Sculptures never stood out as an individual piece of art, but rather as attachments to buildings, carved furniture and interior decoration, depicting daily life in the Royal Court. Unlike in the west, where the making of famous figures head’s or the depiction of heroes, and the large scale of sculptures on display in public parks, or as part of a building and landscape was already established. Through such differences, we can acquire an insight into how the sculptures were both culturally accepted and the way in which beauty was defined.

　　Only in recent years within China has public sculpture entered the peoples’ daily lives. With the development of new cities and towns, it has given sculptors the space to create sculptures that are an intrinsic part of the landscape; linking together the environment and people. This ideal situation has provided many opportunities for creative sculptors, allowing the transformation of a personal space into a public display. We could almost say that this is a golden era and time for sculptors, and that from a young age Zhang Hua was influenced and nurtured by the acceptance and developments taking place during this period.

　　Zhang Hua as a sculpture artist did not have the advantage of coming from an artistic family background. This did not stop his natural talent and ability to understand and to create, which has taken root from his ordinary surroundings, having grown strong and resilient out of the toughness of life itself. From a simple piece of clay or a simple stone, some artists can create something artistic and amazing by using their hands; they know which part to shape and which part to keep. Zhang Hua is one of those artists, who have such ability; who can turn the mundane into something wonderful.

　　The style of Zhang Hua’s sculptures is fresh, crisp and graceful, never heavy, bulky or lifeless. Extenuated limbs and bodies, flowing lines, motion and youthfulness are the extension for hopes, energetically rushing towards the future with dreams of reaching their final goal. The successful representation and visual impact, of arms stretching upward and forward reflecting the inner desire of people today, bringing out the spirit from within have become synonymous with Zhang Hua’s work. Through movement in sports, pieces such as “Double Butterfly” and “Praise the Youth” representing the energy and spirit of figure skating; “Water Flowers” for precision and togetherness in synchronized swimming; “Flying High” and “Flying Dreams” flying a kite, depicting limitless hopes, dreams and the desire for freedom. The true spirit is not only created by how the external shape is formed, but also captures the inner desire and passion of Zhang Hua to express this vibrant spirit. For such sculptures to be successful an artist needs to have experienced life and to have a special inner quality, which in turn can inspire and influence the audience.

　　The chosen subjects in Zhang Hua’s sculptures, such as the “Childhood Memories” series, were created by using his own artistic observations and memories. Even in times of hardship, childhood memories are often fondly remembered. The “Childhood Memories” series captures the essence of pure life experiences and precious family values. “Basket Weaving” a game played by three children, “Full of Stars” a mother and child game, “The Old Eagle Catching the Chicks” a game often played together by poor children. The joy and pleasure derived from such simple games cannot always be obtained from the toys that are played with by the materially rich children. The concept of “blissfulness” is not living in high-rise apartments or being able to eat unusual food. In Zhang Hua’s heart, simple pleasures like a warm Spring day after a long cold winter or the fresh feeling after a hair cut feels wonderful. Zhang Hua through his own experiences can turn a simple theme into touching of the heart, because the artist has cherished and retained the unique quality of such good memories for a long time. This has become one of the main keys to his success.

作者：贾,方,舟