Thirteen Art Festival special issues ｜ Ying Yao's responsibility of Chinese artists in the new era

Recently, the "Time Guanghua -Welcome Twenty State Struggle for Twenty State Struggle for the Cultural and History Research Museum of the People's Government of Guangdong Province, the Propaganda Department of the Guangzhou Municipal Party Committee, the Guangdong Provincial Literary and Art Circle Federation, and the Guangzhou Culture, Radio, Television and Tourism Bureau "Xu Hongfei Sculpture Exhibition was held at the China Academy of Painting, Beijing.

At the opening ceremony, Xia Chao, member of the National Committee of the Chinese People's Political Consultative Conference, chairman of the Chinese Literary and Art Critics Association, Wang Linxu, member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, Dean of the National Academy of Nationalities, Lu Yushun, member of the National Committee of the Chinese People's Political Consultative Conference, Dean of the National Academy of Painting of the Chinese National Painting, and Counselor of the People's Government of Guangdong Province (Literature and History Research Museum) Li Zelin, a member of the party group, delivered a speech; Xu Hongfei, member of the National Committee of the Chinese People's Political Consultative Conference, vice chairman of the Guangdong Artists Association, and dean of the Guangzhou Sculpture Institute. At the end of the opening ceremony, Lu Yushun issued a collection certificate from the National Academy of Painting of China to Xu Hongfei. The opening ceremony was chaired by Xu Lian, deputy dean of the Chinese Academy of Painting.

Xia Chao comprehensively expounded the social functions and significance of Xu Hongfei's works and exhibitions. He said that in recent years, Xu Hongfei has devoted himself to creating a number of sculpture works recorded and singing in the era of Acura, vividly showing the new era of the party's leadership to build a new era, and condensing the new journey of the new journey. Xu Hongfei told Chinese stories with affection, helping different civilization exchanges, and showing the responsibility and responsibility of Chinese artists in the new era.

Wang Linxu said that Xu Hongfei's works use a humorous and humorous sculpture language to shape a life scene of personal love and fun, reflecting the beauty of life. The object of his creation comes from the people and the practice of life. The works are infectious. Winned the vast number of audiences, received widespread concern of the society, and had international influence.

"As a member of the National Committee of the Chinese People's Political Consultative Conference, Xu Hongfei's concern and all the proposals are about rural revitalization, foreign exchanges and cultural self -confidence. Through art conveying the construction and development of rural revitalization and a better life, it reflects his' art for the people '' The feelings. "Wang Linxu said, Xu Hongfei took the" fat girl "to the international stage, telling the story of Chinese, his works and the results of foreign exchanges fully reflect the value and significance of Chinese culture, and also fully expressed Xu Hongfei's sculpture art art. Chinese culture self -confidence to the world.

"Xu Hongfei is an excellent artist who is a portrait of the times, is an excellent artist of the times, and is the outstanding practitioner of the life of the people's life and breathing with the people." Lu Yushun said, in firm cultural self -confidence With representative art works expand and enhance the international influence, cultural appeal and national image shaping of Chinese culture, Xu Hongfei has done a lot of thinking and useful practice, and has made a good demonstration for contemporary art workers.

Li Zelin elaborated on his own view of exhibition: First, Xu Hongfei has deep national feelings, and always adheres to ordinary Chinese ordinary people as the creative object, creating a series of outstanding works that reflect the happy life of the Chinese people, exhibiting around the world. Xu Hongfei made positive contributions to strengthening Chinese and foreign cultural and art exchanges and telling Chinese stories. Second, he has a strong sense of responsibility. His creation follows the pace of the times, encourages the times, and records the times with artistic language, showing the sense of mission as an artist. Third, Xu Hongfei created for ordinary people with their hearts. He actively responded to the Party Central Committee's strategy of implementing rural revitalization, often went deep into rural investigations, and created a large number of works that farmers could understand. Xu Hongfei has made positive contributions to comprehensively promoting rural revitalization.

Xu Hongfei said: "Holding an exhibition on a high -standard platform such as the National Academy of Painting of China is an improvement for me. Affected by the epidemic, the exhibition has been postponed many times. During the extension, I also created some new works to supplement the exhibition. I hope my work will bring you happiness and joy. "

Xu Hongfei has been engaged in sculpture art creation for more than 30 years, and has created a series of sculpture works. Its "fat girl" series of "fat girls" series of personal art style is loved by people. Wang Chunfa, the curator of the National Museum of China, previously stated: "Excellent traditional culture is our root and source, and the innovation of art should also take the excellent traditional culture of Chinese. From Xu Hongfei's sculpture works, we can see that he is carrying forward Based on the concept and skills of the traditional human body's realistic structure, the Western freehand and abstract aesthetic thoughts are integrated into the works, and the artistic personality is reflected through the publicity of publicity and positive women. To convey the information of the times, respond to the demands of the times, and reflect the characteristics of the times through art works. From this perspective, Xu Hongfei's sculpture has a unique spiritual connotation. The female image he created is his perception of the spirit of society. "

Tian Liming, president of the Chinese Painting Society and director of the Chinese Painting and Art Committee of the Chinese Artists Association, also said after visiting the exhibition: "Over the years, Xu Hongfei's sculpture language has been well known to everyone. The beauty of life, the beauty of human nature and the beauty of the times, he converted this experience into artistic language, and his work showed the sense of heavyness and warmth of the times. In his works, he could see both the older sculptors to him. The influence of the times can also be seen in the eruption and progress of the humanistic spirit. The character image of the work is a combination of straight lines, arc lines, and diamond lines. It not only visually shows the beauty of the sculpture. With the endless vitality of life. Each of Xu Hongfei's works injects deep humanistic emotions. This emotion comes from his academic education, from his persistent pursuit and unremitting exploration of art. "It is understood that the exhibition is divided into" The four major sections of the four sections of the four sections of the "Time Seal", "Times", and "Shengshi Song" cover rich content such as revolutionary historical themes, major theme creations, and real life themes. The richest life practice, the unique creation of the era full of the times, showing a total of 150 sculpture works that show the vigor of the Chinese children's vigor to the new journey era, dedicate the rich spiritual food for the people to eat, and welcome the 20th victory of the party. Hold.

exhibition site

The guests took a photo at the exhibition site

Works on -site

Works on -site

Incorporate art into the people's life well to tell the story of Chinese

Lu Yushun, Dean of the Chinese Academy of Painting

Literature and art is the horn of the times, the most representative of the epoch, and the most atmospheric atmosphere. Literary workers are engineers of human souls, builders and watches of human spiritual homes, and witnesses, participants, and narrators of the times.

Xu Hongfei is an excellent artist who is a portrait of the times, is a biography of the times, and is a Mingde era. An excellent practitioner who truly integrate art into the life of the people and breathe with the people. In his more than 30 years of artistic creation practice, he has always lived deeply and lives in and with the people's perspective and interpretation of the era. The little bit of ordinary life is beautiful. Whether it is a grand narrative or a whisper, whether it is a hero praise or the epic of civilians, it is full of enthusiasm of life and high passion. His works are full of the atmosphere of the times. He can feel the temperature, flesh and blood, bones, and bones, and he is loved by people.

For example, his "fat girl" sculpture has become a common symbol of human beings, which not only connects the city and the countryside, but also connects China and overseas, expressing and conveying the Chinese's longing for and understanding a better life. He touched the softest place where the people and lived with their own body with a meticulous inspection of the people and life, and touched the softest place of the hearts of the hearts, and used a kind of optimism and passion to bring more people to happiness and joy, let public art, let public art Unknowingly becomes a way of spiritual life.

In the great creation of Chinese history and reality, the theme of creation, the inspiration to capture innovation, profoundly reflect the historical changes of the times, tell the story of China; in firm cultural self -confidence, expand and enhance Chinese culture with representative art works, In terms of international influence, cultural appeal, and national image shaping, Xu Hongfei has made a lot of thinking and beneficial practice, and has made a good demonstration for contemporary art workers.

Since the 18th National Congress of the Communist Party of China, socialism with Chinese characteristics has entered a new era, which is a new historical position in my country. In the new era, new achievements have been achieved, the new era shows a new look, new models have emerged in the new era, and new stories have been produced in the new era. In the new era of historic achievements and historic changes in the cause of the party and the state, in the new journey of marching towards the second century -old struggle, writing a new era epic with heart and hard work, and focusing on the story of the new era. Become a historical responsibility and sacred mission for literary and art workers.

I hope to use this exhibition to drive the majority of artists to better adhere to the same pace with the times, better understand and practice the creative orientation centered on the people; it can drive the majority of artists to show new responsibilities in the original Qingyuan, and keep innovation in innovation and innovation. To achieve new actions, better dedicate the people with boutiques, use Mingde to lead the style, and make new contributions in the new journey of realizing the great rejuvenation of the Chinese nation and write new glory!

(Text is selected in "Time Guanghua -Happy New Year for the Twenty Struggle" Xu Hongfei Sculpture Foreword)

Xu Hongfei (second from right) watch the exhibition with the guests

Show the credible, cute and respectable Chinese image in the typical sculpture art language

Xia Chao, Chairman of the Chinese Literary Critics Association

On the occasion of welcoming the 20th National Congress of the Communist Party of China, the sculpture exhibition of Xu Hongfei, a member of the National Committee of the Chinese People's Political Consultative Conference, director of the Chinese Artists Association, vice chairman of the Guangdong Artists Association, and dean of the Guangzhou Sculpture Institute, was held in the National Academy of Painting of China. This is Xu Hongfei nearly ten The sixth sculpture exhibition held in Beijing over the years. In 2013, at the Chinese Art Museum, 2015 in the Forbidden City Taimiao, 2019 at the National Museum of China, in 2021 at the CPPCC Literature and History Museum, and at the National Grand Theater in 2022, Xu Hongfei held his own personal sculpture exhibition. Beijing -shaped art Baiyuan Garden has brought a strands of art fragrance and special colors of Lingnan. Xu Hongfei is an artist with distinctive artistic style, diligence and production. He is good at thinking and expression of art with humorous, humorous and exaggerated sculpture language. The artistic symbol of a typical personalized sculpture formed. The series of sculptures of Xu Hongfei's "Fat Girl" image, with its plump and smart body, cheerful and optimistic expression, civilian and interesting life scene design, showing a kind of happiness, health, confidence, upward view of life and happiness The view shows the longing and pursuit of contemporary Chinese people for a better life, bringing a new aesthetic interest and aesthetic resonance to the audience, leaving its own mark in the contemporary Chinese sculpture art gallery.

In recent years, Xu Hongfei has also devoted himself to creating a number of sculpture works recorded and singing the era of the Acura era. The works of the party's century -old party, rural rejuvenation, resistance and struggle, Winter Olympics sports and other themes displayed in this exhibition vividly show the party's leadership and people's struggle. In the new era of Judging, the lively picture of the new journey of concentration and hard work. Over the years, Xu Hongfei has taken these works and his "fat girls" series of works, walking to the folk, walking into the countryside, and walking to the public space of the city, which is loved and welcomed by the masses. Xu Hongfei was so known as a contemporary artist who brought happiness and hope for the people.

Xu Hongfei is also an artist who has told Chinese stories and helps to communicate with different civilizations with affection. Since 2013, he has brought his "Fat Girl" series of works, and held 45 Field sculpture exhibition. In February this year, he exhibited his sculpture works in Salamanca, Spain. Through his works, he showed a three -dimensional, vivid, credible, cute, and respectable Chinese image to the people of all countries. At the same time, his works also showed the natural beauty, the beauty of life, and the beauty of human nature, showing the common emotions and value pursuit of human beings, and loved by the peoples of all countries.

All of this shows the responsibility and responsibility of a new era of Chinese artists such as Xu Hongfei.

(Text is selected in "Time Guanghua -Happy New Year for the Twenty Struggle" Xu Hongfei sculpture exhibition)

Guests visit the exhibition

Image and symbol

Song Weiguang, deputy director of the Sculpture Professional Committee of the Chinese Arts and Crafts Society

For more than ten years, I have participated in and witnessed the occurrence, changes and development of Xu Hongfei's sculpture art, and his artistic images have gradually formed a unique symbolic form. From the choice of the theme of the "fat girl" to the shaping, it has gone from realistic to exaggerated, from figuration to imagery, from restraint to wild, from awareness to unconscious. Since Xu Hongfei's personal exhibition was held in the China Art Museum in 2013, in less than 10 years, he successively spread his art symbols to more than 20 countries. Adding together, there are nearly 100 exhibitions. This is a special artistic phenomenon brought by Xu Hongfei's sculpture images and symbols.

After holding a solo exhibition in the China Art Museum, his sculpture came to the Forbidden City and entered the National Museum. His art connected to history and entered the collection. After that, he held a sculpture exhibition of performance reports at the CPPCC CPPCC CPPCC CPPCC as a member of the National Committee of the Chinese People's Political Consultative Conference. This year, Xu Hongfei held a large -scale solo exhibition at the National Theater and the National Academy of Painting of China.

In an outdoor sculpture exhibition in 2009, Xu Hongfei brought "fat girls" to ancient Yaozhai from the city space. This "image" field transformation produced a new symbolic relationship and formed a "fat girl" New interpretation.

Xu Hongfei's artistic symbols can produce different contexts in different fields, sometimes each other and each other; sometimes they are excited and jumping. For example, the exhibition held in the hinterland of the Renaissance -Florence Midi Palace was the classic eternal contemporary self -confidence; when the "fat girl" appeared on the Thames, the open "fat girl" shook the gentlemen Holding the British humor.

In the past few years, the "fat girl" "runs" to the distant and mysterious kingdom -Peru came to the embrace of the Inca -Andes. The "situation" here can be described as primitive and contemporary, surprise and shyness, nostalgia and longing. It is also in the Americas, and Cuba's reflection of the "fat girl" is presented in the scene of romance and reality, dream and real ...

Another thing that is worth mentioning is the issue of sculpture and materials. The material diversity used by Xu Hongfei sculpture, almost all the materials suitable for sculpture he is involved. One of the typical cases of cross -border materials for sculpture materials are sculptures he created with emerald. He converts traditional arts and crafts into contemporary sculpture forms. This move has strong experimental and challenging, breaking the audience's traditional understanding and application of jadeite. Through the sculpture form, he expanded its expression function, obtained further digging and exerting the material attributes, so that the materials such as jadeite were released in a psychological release. efficacy. I have pointed out that the spiritual effectiveness of modern art should be examined to a large extent. The core of accepting aesthetics is to start from the audience. No matter how good the works are, if there is no docking or collision with people, there is no great infectious power, and the communication power will be limited. Here, we must further point out that the works of the artist refer to the medium that constitutes an objective relationship with the audience. Once a relationship with the audience, the work itself has broken through the existence of isolation, becoming the experience and emotions that have merged readers, that is, aesthetic subject, and emotions. Aesthetic object with artistic taste.

Xu Hongfei's sculpture has the value of mass culture. He found the path to integrate artistic personality into the psychological commonality of the audience. It can "go out" and "come back", can be ascended to the hall, can go to the streets. He always pursued and captured the materials in life, and expressed the expression of "Xu Fang humor", so as to create a popular artistic style of the public. "Fat Girl" has a large number of audiences, and his artistic symbols are constantly spreading from home to foreign countries. This phenomenon is worth further research and attention.

(Text is selected in "Time Guanghua -Happy New Year for the Twenty Struggle" Xu Hongfei sculpture exhibition sequence)

Xu Hongfei Sculpture Art Academic Symposium site

Experts and scholars gathered

The era and innovation of Xu Hongfei sculpture works

Xu Hongfei Sculpture Art Academic Symposium was held at the National Academy of Painting on the day of the exhibition. At the seminar, more than 10 experts and scholars conducted discussions on the theme content and form of Xu Hongfei sculpture works. The seminar was chaired by Song Weiguang, deputy director of the Sculpture Professional Committee of the Chinese Arts and Crafts Society.

Member of the National Committee of the Chinese People's Political Consultative Conference and Dean of the Chinese Academy of Painting Lu Yushun

Xu Hongfei's work fully reflects his artistic practice, artistic creation, art pursuit, and love for life. This is also what the Chinese National Academy of Painting should actively advocate as a creative research unit.

From the work, we see the social responsibility and the times of the artist. In terms of Chinese stories, he showed the cute, friendly and respectable Chinese image to audiences at home and abroad; through the work, Xu Hongfei was a good practitioner. His works will become our collection and long -term display.

Wang Linxu, member of the Standing Committee of the National Committee of the Chinese People's Political Consultative Conference, Dean of the National Academy of Nationalities Painting

Fatty and thinness regardless of national borders, Xu Hongfei's art has caught the commonality of the world. He conveyed beauty to the world through the artistic symbol and artistic paradigm of "fat girls". Why do foreigners look at Chinese art works? What kind of work? It depends on the innovative, inheritance and common work, which should be exactly the interpretation of the human body in the background of informationization and internationalization. After continuous development, Xu Hongfei found his own art carrier, and told Chinese stories with sculptures through international exchanges.

Xu Hongfei's creation stems from his own life, the story around him, conveying the beauty of life, the beauty of nature, and the beauty of art, which reflects the age of the work.

Liu Wanming, member of the National Committee of the Chinese People's Political Consultative Conference and Deputy Director of the National Museum of China

I think the excessive exaggeration of space sculptures is difficult to grasp, and Xu Hongfei handles it just right, which reflects the artist's unique space perception. The work through the body shape of the "fat girl" emphasizes the expression of dynamic and body language, which is the perfect combination of form and content.

From the perspective of theme and choice, Xu Hongfei's works have many folk elements, especially folk clay sculptures, which are full of interest. The humor in the work incorporates emotions, and the work shows vitality. "Fat Girl" has a folk and ethnicity, while also has both worldwide and has the common aesthetic characteristics of the world. He tells the Chinese story in the sculpture language. Foreigners understand at a glance that because happiness and happiness are the emotions of human beings, Xu Hongfei has indeed made a great contribution to the spread of the outside world.

Wang Jianguo, member of the National Committee of the Chinese People's Political Consultative Conference and director of CCTV Record Channel

Ten years ago, Xu Hongfei and I met Wanhetang, Huang Yongyu. At that time, I took an overseas overseas Chinese, and he wanted to make a sculpture for his father. Huang Yongyu shook his head after watching several sculptors: "The sculptures you made for your father were not for worship in the temple, but should be placed in the courtyard or square. It is a kind of "grandpa" image. "Said, Huang Yongyu took us to the backyard and saw a statue that Xu Hongfei plasticted for him. I saw Huang Yongyu in the statue with a cigarette fight, which was very vivid.

This story makes me think about what the function of art is. Every time I see Xu Hongfei's sculpture, I have a surprise in different places. In the park, the square, and the countryside, you can see the joyful children taking a photo around the sculpture. Today, when most women are anxious for weight loss, such sculptures have appeared, which gives people confident and gives life a comedy effect. It tells us that life can be more rag and casual, naive, and romantic. Yu Wenjiang, Deputy Dean of the Chinese Academy of Painting

Xu Hongfei is not good at talking, but it can be seen from the work of the humor and humor of the inner world. Xu Hongfei's symbol is "fat girl". She is kind and happy, free and beautiful, and the character shows the character with temperature.

Xu Hongfei promoted Chinese culture abroad with its own power, let Westerners understand the thinking of Chinese people, understand our socioeconomic and culture, and get everyone's recognition. This is not easy.

Xu Hongfei's works are not temple art. They are displayed in public space and truly integrate into life. Its performance is ordinary life, without losing humor, such as the work "Flying" by a fat woman, the work "Wedding Dress" made of clothes in front of sewing machines, including piglets, geese, etc. in the work Very fresh, and also inspired me to create.

Professor and doctoral supervisor Zheng Gong of the Chinese Academy of Art

Xu Hongfei can constantly flip the theme of the "fat girl", and from his works, he can observe every corner and details of life. Xu Hongfei is not influenced by theoretical dogma. His sculpture works are very interesting to the "instant" grasp, reminiscent of the past and future, resonate with the audience, and start the time and space of sculpture from "instantaneous". In addition, Xu Hongfei re -interpreted the time and space in the sculpture. Works such as "Kiss", "Flying Song" and "Dancers in Snow" are emphasizing the sense of suspension and loss of weight, and use the sculpture to allow the viewer to experience the feeling of people in different time and space.

Use sculpture to express the "fat girl" of the "fat girl", which is also intriguing. The "fleshy" feeling of people will form bumps. I pay attention to the emerald work of "Qingquan", and the recessed part of it is elastic, fleshy and temperature. Whether it is painting or sculpture, the inner structure is supporting the skeleton. What do you support a fat woman? What is the support hidden in the meat? Cut in from external forms, audiences can obtain visual formal strength in the work.

Peking University professor Ding Ning

While creating, Xu Hongfei practiced art communication. This makes his work strongly public. "Fat Girl" is often displayed around the world, and artists are absolutely impossible to do without their confidence.

In traditional sculptures, the work is often the object of looking up. The sculpture object is a hero who rewrite history, and Xu Hongfei has made fundamental changes. "Fat Girl" is an ordinary person. The action of the fat girl "action, which constitutes the vision of audiences and art, is also the best way to test the results of the artist, and it is the advancement of artistic innovation. "Fat Girl" also has a beauty of flying, which is the innovation of Xu Hongfei's artistic language. His use and grasp of various materials such as copper, white jade, emerald, and wood all reflect the multi -facetedness of the artist.

In the work of anti -epidemic, the "Malty Girls" opened their mouths, which broke the rules of traditional sculptures, because the general statue cannot speak, and the empty cave after opening is ugly. This is Xu Hongfei's anti -classical classical classical classical classical Limited the bold attempts of sculpture, he became humorous and fun.

Wang Ping, president and chief editor of China Art Newspaper

Xu Hongfei has a "ugly" character, and it also has a "earth" taste. This is actually "ugly" in Chinese cultural traditions, and is an important cultural phenomenon. There are ugliness in the drama, and there is always a tradition of "ugly" in calligraphy painting. In the light and beauty, it emphasizes the internal beauty. The shaping of Xu Hongfei has risen inner spirit, conveying happiness and confidence in happiness. It is not a beautiful woman, but the motherhood and vitality of the character's image. The "ugly" is not so fashionable, but it conveys the truth, goodness and beauty.

Xu Hongfei's exaggerated techniques are in line with Chinese folk art, and at the same time absorb the roundness and liquidity pursuing the pursuit of Henry Moore in modern western sculptures. Such artistic language is very affinity. Volkswagen can also read his life experience from different sculptures. Xu Hongfei's works originated from life and higher than life.

Chen Ming, deputy director of the Institute of theoretical Research Institute of the Chinese Academy of Painting

Classical sculptures are facing aristocratic people, heroes and other characters, which belong to monument. Today, the trend of sculpture development is stronger. Since the new century, Chinese contemporary sculptures have experienced publicity and personal interaction. This association is very interesting. Although Xu Hongfei's sculpture is a very personalized and exaggerated "fat girl" image, the integration of public space is strong.

Xu Hongfei graduated from the Guangzhou Academy of Fine Arts, and his creative development and expansion tended to be very clear. While absorbing the essence of modern sculpture elements and the essence of Eastern and Western sculptures, it also naturally integrates personal emotions into it, forming a unique sculpture style. His sculpture language is realistic and exaggerated. At the same time, he pays attention to society. Being able to find witty fun and exaggerated shapes in a bland life, and to find the fun of art, "Vaccine" and "Three Women" are comparison of the form of contrast of shape. Spirit. The artist is looking for the profound nature of the spirit in daily nature, and develops a more magnificent spiritual space for the work. This is a typical characteristic of mature artists. Professor Li Changju, a professor at Beijing Forestry University

For women, "fat" is a sensitive word, and weight loss is a lifelong career. The "fat girl" created by Xu Hongfei brings me a very different impression. It does not conform to contemporary aesthetics, but under the shape of the artist, it can be so comfortable, vibrant, optimistic, romantic ...

His works have a strong sense of dailyization and substitution, and the audience is also immersed in the exhibition. Whether in the city, the countryside, or the palace exhibition hall, it can resonate with people. When it becomes a phenomenal incident, I will think about the value of this image. And my overall feeling is the tension of life, which is reflected in two aspects:

First, the character's image is in the state of leap, floating, dancing, running, etc., breaking the daily state. They are simple and happy, and the viewers are easily brought into the emotion and have an empathy.

Second, Xu Hongfei is good at controlling various techniques, such as figurative and abstract sculpture language. "Fat Girl" has exaggerated deformation and abstraction on the basis of realism. It is the use of comprehensive methods. Artists value the treatment of opposite language such as movement and quietness, lightness, simplicity, and richness. It is a very pure female image.

Yu Yang, a professor and doctoral supervisor of the Central Academy of Fine Arts

Xu Hongfei's sculpture can be said to have the characteristics of the times and is the spiritual password of society and the times. In general, there are four characteristics:

First, the sense of form. Many of his sculptures are a large amount of main body and small volume support, namely large blocks and light support points, similar to "Ma Safeiyan" in traditional sculptures. Light and lost weight were strengthened by Xu Hongfei again.

Second, the characteristics of realistic shapes and image expression. Many portrait sculptures of Xu Hongfei have no background. They expressed their narrative directly from the character's posture. From the perspective of the kernel, this is inherited from the traditional Chinese sculpture. Such as his Winter Olympic theme "Walking Walking" and "Fighting Rugging Ice Rink", etc., all reflect this characteristic.

Third, the materials such as gold, copper, white jade, jadeite and other materials are diverse. In addition to increasing the richness of the media, the artist also exerts the sense of touch of the media to the extreme, including derivatives of different media, which highlights the performance of texture and touch.

Fourth, cross -border performance of subject matter. Xu Hongfei's works have theme social and historical subjects, as well as the subject matter of people's livelihood. He can combine narrative and lyricism in a wide range of themes.

Professor Liu Libin at the Central Academy of Fine Arts

Xu Hongfei's sculpture revealed the tradition of Chinese craftsmen. I saw the vivid rhyme running method in his work. Its works are full of shapes, and even a few are close to the circle, which makes people feel the "movement" and "flying" of the sculpture, so that the appeal and emotions of the work can be expressed. The eyes are the same as that of the ancient Chinese law, which makes people feel unobstructed. In addition, Xu Hongfei's creative understanding is different from the college tradition, and there are many elements from folklore.

Jin Xin, Deputy President and Deputy Chief Editor -in -Chief of China Art Newspaper, Jinxin

In terms of appearance, the image of the "fat girl" has the original vitality. From a spiritual level, her expression and body language release self -confidence and even a strong self -proclaimed and unsatisfactory, with the spiritual meaning of modern women's spiritual meaning Essence I think she is a multi -faceted image that combines tradition and modernity, appearance and internal.

When Xu Hongfei reached a certain level of "fat girl", he turned into a "fat girl". For example, "Bring Me Flying", my interpretation is: not the "fat girl" really flew, but the happiness in my heart fly; it can also be interpreted as a symbolic, running a healthy master man It symbolizes the continuous self -improvement in our culture, and the image of the "fat girl" symbolizes thick morals. In the work "Flying", the "fat girl" next to the cello is also a state of flying, which can be understood as the feeling of traveling in the music world. From the perspective of female audiences, the problem of aesthetic standards has triggered the anxiety of modern women in appearance. The appearance of "fat women" also reflects the improvement of social civilization and women's status.

Deng Ke, head of the Sculpture Institute of the National Academy of Painting of China

I want to call Xu Hongfei's art as a "surging group." His works are naturally out of power, and the original power is out of power. The surging shape reflects the sudden increase in strength and is ready to go. "Fat Girl" is the power released. These group blocks are happy. The bulge of the group is the power and force of strength and power, and it is the power that burst out completely.

The work reveals sincerity when capturing the moment of capture, especially in the series of works that show the epidemic situation. There are a lot of grasp of the "instant". It is the revealing of natural emotions. The work is natural and not roundabout. temperament. In addition to being funny and humorous, many works also reveal a serious temperament. I interpret it as "serious humor." Artist Xu Hongfei

My work contains the elements of traditional Chinese culture. If I imitate the works of Italian artists, I dare not go to Italian exhibition and imitate the works of French artists, and I dare not go to France to exhibition. The humor, happiness and love that my work brings everyone in the world is common.

I remember when they just exhibited in Europe, many people couldn't believe that the Chinese now will be as happy, humorous and confident as the "fat girl". Therefore, our culture must "go out", "walk in", enter the mainstream of the West, and let them understand the current living conditions of the Chinese people through modern art. At present, many countries have begun to invite me to host exhibitions. Through the depression brought by the happiness and strength of the work conveyed, the "please go out" and "please go back". I want to continue to tell the Chinese story with sculpture art.

In recent years, I have started the domestic hundred village exhibitions and continuously investigated in rural areas. I have created many works related to the countryside, including various animals, expressing the joy of harvest, and using art to help rural revitalization.

(The pictures of this article are all provided by the Stone Moifang Studio)

Author: Li Rongkun

Editor -in -chief: Li Yang

"China Culture News" on September 15, 2022

9th edition -D8 version publishing the 13th China Art Festival Special

Among them, the D06-D07 version published

"Responsibility for Chinese Artists in the New Era"

↓ ↓ ↓ ↓ ↓ according to

- END -