Huang Lihai is a poet and Chief Editor of Poetry and People. 黃禮孩是一名詩人及《詩歌與人》的主編。
Sculpture is a brilliant cultural symbol and an art of strong visual impact. Sculpture is the sculptor’s reflection on society; his or her perception of time, people and things, as well as a manifestation of his or her own psychological and spiritual state of mind. Sculpture is music being materialised; it is silent poetry; it is a freeze-frame shot of a dance; and it is a piece of visual literature. Throughout history, sculpture has had a deep bonding with the human race. It served as documentation, representation and expression, and it is the most beautiful crystallisation of the passions of life. We need sculpture in our surroundings and our lives cannot be separated from sculpture. Xu Hongfei is an extremely talented sculptor. In the recent years, he has been invited to exhibit in many places such as Paris and Hong Kong. Amongst his body of work, his female sculpture series has become a new cultural symbol and a new sculptural language. Because of him, sculpture is no longer a cold, lifeless object. He breathes life into his sculptures and thus leads them back towards humanity. He broke away from conventional practices and liberated sculpture from the chains of traditions. He discovered that there is an alternative beauty dormant in the daily
雕塑是一種耀眼的文化符號，是一種極具視 覺震撼力的藝術。雕塑是雕塑家對社會和時 代的思考，是雕塑家對時間、人物、事件的感 知，也是雕塑家心靈世界的再現。雕塑是凝固 的音樂，是無聲的詩歌，是定格了的舞蹈，是 持久的視覺閱讀。在漫長的歲月中，雕塑藝術 一直深刻地影響著人類，它是記錄，它是展 示，它是演繹，是生命激情最美的結晶。正是 這樣，我們的生活需要雕塑藝術，也離不開雕 塑藝術。 許鴻飛是一位極具天資的雕塑家。這幾年， 他應邀到巴黎、香港等地做學術和藝術的展 覽，產生了廣泛的影響。在他眾多的雕塑作品 中，他的女性系列作品已成為一種新的文化符 號。成為一種新的雕塑語言。他讓雕塑不再冰 冷，他讓雕塑回歸到人性中去，他讓雕塑具有 平凡人的氣息。許鴻飛的雕塑作品從傳統中解 脫出來，擺脫陳舊的觀念。他在南方的世俗生 活和平民文化中發現了另一種美，這美來自我 們身邊，來自我們司空見慣的卻又易於忽略的 美。許鴻飛發現了被現代人所不屑的「胖」的 形象，他大膽把這個「胖」放大，演變成自己 的雕塑文化符號。出乎意外的是這些「胖女 性」受到觀眾的青睞，他的女性雕塑因之對被 「胖」所困擾的女性群體產生了精神上的解 放。對「胖女性」題材的關注便是對這一個群 體生命之美的頌揚。許鴻飛通過這一系列雕塑 藝術回歸到人性的本源，回到自然的生命狀態 中來。這些胖女性，她們喝茶聊天，她們跳繩 拔河，她們酣睡做夢，她們母子情深，她們戲 豬撲鴨，她們下樓打球，她們飛身騎車，她們 演奏音樂，她們手持玫瑰跳躍舞蹈……這些生活 精彩的瞬間被雕塑家形象地捕獲。來自真實生
life and common culture of the south. This beauty lives beside and within us; it is in the people and things that we so often take for granted. Contemporary society despises fat people, but Xu sees the beauty in their full, rounded figure and he is not afraid to represent it and to be associated with it. In fact, he makes it his own sculptural symbol. Surprisingly, viewers are very fond of Xu’s Chubby Women sculptures and many women who struggle with weight are consoled by his work. Xu’s engagement with the social issue of weight shows his interest and care towards women and his celebration of the female form. Through this sculpture series, Xu traces back to the origin of humanity and the natural states of our being. These chubby “women” sometimes chat and drink tea; sometimes they are in a game of tugof-war and rope-skipping. They take naps; they tend to their children; they play with ducks and pigs; they like ball games and cycling; they are musical and they dance with a rose in their hands… and the sculptor captures all of these joyous moments in his work. A beauty that comes from real life has the power to arouse warm feelings of familiarity and it is something to which viewers can easily relate. These “women” are not
concerned with how much they weigh or whether their waist is small enough. They do not see themselves with the eyes of others; they love their bodies. They are free, healthy, happy and kind. They are sexy; they are beautiful. They are alive and they love their lives. In the midst of the contemporary craze of slimming, the sculptor looks in a different direction and then presents to us a beauty that is dignified and reinterpreted. This is the beauty of life, nature and of the full female figure, and it is the aesthetic and meaning of the work of Xu Hongfei. His figurative sculpture possesses a strong internal rhythm; it is full of interesting contrasts and it is also graceful, with fluid contours, clear musculature and humour. Xu juxtaposes and balances content with form, likeness with form, the sense of weight with lightness, clumsiness with nimbleness, and internal movement with external stillness. Not only do viewers feel uplifted by his work, they are also reminded of their original selves, because Xu presents an opportunity to re-discover them. He sees that social prejudice is creating suffering for women, and he sees through the veils of social convention to find the intrinsic beauty in women. It is a beauty
活的美，它更易於讓觀眾有親切的感觸。這些 胖女性，她們不在乎自己身材是否苗條，她們 不在乎身腰是否婀娜多姿，她們不在乎旁人的 目光，她們不為肥胖而痛苦。她們健康，她們 自在，她們快樂，她們善良，她們性感，她們 美好。她們在生活中，她們愛著自己的人生。 當這個時代奉行減肥主義，雕塑家卻反其道 行之，雕塑家給這樣的一個群體以尊嚴和重新 詮釋的美。這美是生命之美、豐盈之美、自然 之美。這正是許鴻飛雕塑作品的美學意義。許 鴻飛的雕塑富有節奏感和內在的律動感，對比 強烈，線條流淌，肌理分明，情趣飽滿。雕塑 家在作品中解決了內容與形式、神態與形態、 厚重與輕盈、笨拙與靈敏、內在的動態與外在 的靜態等問題，使得作品具有視覺的愉悅感和 親近感。許鴻飛的雕塑作品還是對人類自身的 發現。在這些女性身上，他看到因為社會的偏 見給這個群體造成的困惑和痛苦，他也在她們 的身上看到被世俗觀念所遮閉的美。他試圖把 這隱藏的美挖掘出來，把人類對自身不瞭解的 美呈現出來。把尋常的人生上升到美學的層 面，這是雕塑家的敏感力和想像力淋漓盡致的 表達。正是雕塑家內心湧動的情懷，正是雕塑 家春意盎然的情感，正是雕塑家高尚的生命關 懷，這些胖女性因之是活力，是健康，是本 色，是愛。這些酥胸半裸的胖女性，她們美好 而不淫蕩，健康又感性，仿佛鄰居隔壁的女 孩。許鴻飛的女性系列雕塑中，有一部分是裸 體的女性。這些豐乳肥臀的女性，雕塑家給她 們賦予健康的性感，賦予一種具體的美。雕塑 家通過裸體表達了自己對生命的認識和對人生
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that is hidden and estranged due to our own ignorance and Xu attempts to shed a light on it.
的理解。對生命的尊重無疑是最高的藝術，許 鴻飛的雕塑作品體現了這樣的美學：生命美體 現了人和人類的理想。
This elevation of something common and everyday to an artistic and aesthetic level is the evidence of the sculptor’s sensitivity and vivid imagination. It is also an expression of the sculptor’s compassion towards society and people, and his capacity for love. His Chubby Women sculptures are manifestations of energy, well-being, nature and love. They may be clumsily clad, halfexposing their breasts, but they have the appeal of the girl-next-door, who is more beautiful and decent than erotic. Some of the sculptures are nudes with emphatic curves and a healthy sexuality. Through the nudes, Xu expresses his knowledge and perception of life and its meaning. Respect for life undoubtedly makes the highest form of art, and Xu’s work demonstrates that the beauty of life can be found in the form of people and their ideals.
現在在大的城市看雕塑作品是一件容易的事 情，但對於生活在邊遠山區的人們來說卻是奢 侈的。當代藝術都誕生於大的城市，很難到 小地方去。很多時候，因為高高在上的心態， 當代藝術大往往使自身變成小眾藝術，很難與 廣闊的土地產生關係。藝術來自大地，藝術應 該回到土地上去。優秀的藝術作品應該更廣泛 與觀眾對話，去讓作品的藝術力量改變這個過 於物質的世界，改變這個精神貧瘠的世界。許 鴻飛的雕塑作品站立於泥土之上，行走在土地 上，她們與大地有著不可分隔的聯繫。
Nowadays, it is easy to see sculptures in the city, but for people who live in the countryside, it is still a luxury. Moreover, most contemporary art is made in the city and it is difficult for it to be moved elsewhere. Due to a sense of superiority, contemporary art often becomes something elitist and esoteric, and does not relate to the wider world and nature. Art comes from the earth, it should return to the earth. High quality art should have a dialogue with the wider public, so that the artwork can transform this overly materialistic world of spiritual poverty. Xu Hongfei’s sculptures stand on the earth and walks on the earth; they are inseparable from the earth. When Xu Hongfei’s Chubby Women sculpture series was exhibited in large
許鴻飛的《胖女性》系列作品在巴黎、在香 港等國際大都市展出，受到異乎尋常的關注， 她們屬於城市、屬於社會精英、屬於某個階 層，但她們更屬於山野，屬於青山綠水，屬於 普羅大眾。當下商業化的浪潮把藝術家推向前 臺，以滿足市場追新求異的需求，當藝術家的 才華被利用完，其馬上被市場無情拋棄。瘋狂 的市場對於一些缺乏警惕性和抵抗能力的藝術 家來說是一場躲不過去的災難。但真正追求藝 術的人在時代的暴風驟雨中又贏得新的未來。 許鴻飛並沒有覺得他的作品只屬於城市，他的 藝術只有走向廣闊的天地，她們才有生命，才 有永不止息的激情。許鴻飛聽見了大山的呼 喚，他的那些女性也聽到大山的召喚。正是這 樣的精神鏈結，許鴻飛決定把作品帶到連南 去。 2009年11月底，許鴻飛的《胖女性》從廣 州「石磨坊」(許鴻飛工作坊) 出發，到連南 進行一次穿越式的藝術之旅。「胖女性們」乘 著敞開的平板車到連南去，到大山去。載著那 麼多雕塑的四輛大件平板車穿街過橋開出廣州 時，車上被「綁」起來的趕豬妹、窈窕的淑 女、騎車的女孩等等引來沿路市民的注目，成 為瞬間的人文景觀。這個流動的雕塑藝術展就 這麼在路上走了5個小時。到達連南千年瑤寨 後，這些肥女性被瑤族同胞搬下來，被藝術家 安排到她們要站立的地方去。她們站立於梯田 之間，守望收割後的田野；她們坐在溪水之 旁，聽淙淙流水；在千年的石頭上，她們聽瑤 寨講述風中的故事；她們也側耳傾聽瑤族的民
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cosmopolitan cities like Paris and Hong Kong, they were received exceptionally well. These “women” belong to the city, to successful professionals and social elites, but they belong more to mountain, fields, and the general public. The commercialisation of art and the art market constantly demand new ideas, and artists are cruelly abandoned once their talents are no longer an excitement to the market. The market is an unavoidable disaster for artists who lack awareness and perseverance. Only those who are really persistent and passionate about art can find their paths to the future. Xu Hongfei did not think that his work belonged only to the city. He knew that only when his work was close to nature that it could come to life. Xu heard the calling of the distant hills, and so did his “women”. It was for this spiritual connection that he decided to take his sculptures to Liannan. Towards the end of November 2009, Xu Hongfei’s Chubby Women embarked on a journey of cultural exchange. These “women” boarded several large trucks at Xu’s studio in Guangzhou and travelled to the mountains of Liannan. When the four trucks crossed through Guangzhou, people on the street all gaped at the various “ladies” tied to the trucks. It was a temporary cultural landscape. This mobile exhibition of sculptures went on for five hours until it reached the ancient Yao Village in Liannan. These “women” were then lifted from the trucks by groups of Yao people and positioned according to the artist. Some stood on the fields watching over the crops, some sat by the river listening to the running
water. Others rested on large stones listening to stories told by the wind and hummed to the folk music of the Yao people. A group of them started a game of tug-of-war in which Yao children happily joined. A few of them could be seen tumbling down the narrow paths on their bike and some led their children towards the rising sun. Nature, culture, reality and romance were all woven into a rich tapestry of contemporary art. Having moved from the city to the village of an ethnic minority, Xu Hongfei’s sculpture exhibition opened up a brand new way for art appreciation. It was by choice that Xu came to Liannan and his art attained a deeper cultural significance. He brought an unprecedentedly rich arts carnival to the culturally under-developed area of Liannan and he facilitated a profound and spiritual dialogue between the culture of an ethnic minority and contemporary art. The striking contrasts between the traditional and the contemporary, the primitive and the avant-garde, the conservative and the innovative, culminated in a symphony of cultures and ideals. Liannan is near the boundary to Hunan and it is a poverty stricken area that receives governmental support. It is where the Guangdong Yao people live, and where their ancient Yao Village is located. The village is a condensed cultural image of life after the Song Dynasty. It is built by the mountains with stones that have witnessed the changes of the earth. It might appear radical to hold a contemporary art exhibition in this place of traditional and cultural
謠、欣賞瑤族的長鼓舞……她們還在那裏進行拔 河比賽；她們在山間小路上騎車飛奔；她們帶 領童真的孩子們走向晨光……自然的、人文的、 現實的、浪漫的就這樣在那裏產生多重的交 匯，演繹出當代藝術豐美的文化。 從繁華之都到偏遠的少數民族地區，許鴻飛 的雕塑展進行了一次全新的價值審美。這也是 一次主動的文化選擇。先行者永遠具有探索精 神，這必讓許鴻飛雕塑藝術走向新的文化境 地。連南這個文化相對滯後的地方，她第一次 迎來了前所未有的當代藝術盛典：邊緣的少數 民族文化與現代藝術進行了一次心靈的對話。 現代與傳統、原始與前衛、保守和開放的交 鋒，強烈的文化差異性給連南帶來一場文化觀 念的衝擊。 連南是廣東瑤族人們的居住地，是鄰近湖南 的邊緣縣份，也是廣東的扶貧縣。那裏還保存 著原始的千年瑤寨。瑤寨是宋朝以來的文化縮 影。寨子依著山勢而建，石頭見證著久遠的年 代，見證著土地的變遷，歷史的進步。在這樣 一個保存著純粹瑤族文化的地方進行一場當代 藝術的展覽無疑具有顛覆的意義。對於扶貧來 說，經濟上的幫忙是解決不了最根本的問題 的，只有文化上的扶貧，用文化去催生力量， 去改變人的認知，讓這片土地上的人都具有創 造的精神和進步的思想，才能真正解決問題。 這也是許鴻飛這個有著社會關懷精神的雕塑家 的人生追求。早在許鴻飛在廣州美院當學生之 時，他已去過連南，在那裏寫生兩個月，對於 那裏的一山一水，一草一木，一人一事，他都 懷著深深的感念。這次連南雕塑展是他對那片 土地深情的回眸，也是一次帶有感恩之情的藝 術家對社會的回饋。 現代雕塑走進山區，它既是對雕塑藝術的釋 放，也是對雕塑藝術的拓展。 好的藝術能使我們的境界得到提升。這次雕 塑展之于連南，是對當地知名度的提升，是一 次沒有走出大山的人們的視覺享受和美學教
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conservation. With regards to fighting poverty, financial aid is not enough. The only effective solution is cultural education because it is inspirational. It can transform ways of thinking and it will bring creativity and motivation to people for improvement in their aspirations. As an artist who cares for the wellbeing of society, it is Xu’s goal to better people’s lives with art. Xu was still a student when he first visited Liannan. He spent two months there drawing from nature; the hills, the fields, the woods and the people there had made a lasting impression on him. For Xu, holding this exhibition at Liannan is like a lover giving a deep, penetrating and lasting look at his beloved. Moreover, he is giving something back to society with love and gratitude. As contemporary sculpture walks into nature, it is a kind of liberation, extension as well as development for itself. High quality art brings about elevation of ideology. This exhibition at Liannan elevated the status and reputation of that area. It was an occasion of cultural and art education for people who never left the mountains. Every Yao person looked at the “women” with curiosity and astonishment; the children played with the sculptures, and tourists from the city excitedly flahsed with their cameras. It was the most interesting exhibition I ever saw. The people there did not see any intimidating work of art, but saw very warm and humane sculptures. When adults and children encountered these “chubby women”, they felt the tender lovingness of a mother and the sweet nature of a sister. They experienced the pure beauty of life. It is a beauty that comes from the earth, the mountains and the feeling of home. This was an adventure of art. The contemporary perspective on art is that it is mixed media and interdisciplinary. It transcends pre-existing cultural logic and blurs the boundaries between different kinds of art. The participation of poets, photographers, film directors, journalists and artists contributed to the inspirational quality of this exhibition because they symbolised a future of possibilities in the arts and culture. The calling of the distant mountains awakens one’s passions in life. It is the calling of civilisation, of beauty, and of love.
育。當我看到瑤族男女老少以驚訝、好奇、好 玩的眼光去看這些女性時，當小孩童心萌動與 這些雕塑玩到一起，當城市來的遊客興奮地按 下快門，我就覺得這是一次前所未有的展覽， 是最有創意的藝術。那裏的老百姓看到的不是 高高在上、盛氣淩人的雕塑，而是親切自然、 妙趣橫生的作品。無論是大人或小孩，他們遇 見了自己熟悉又陌生的「胖女性」，他們從 「她們」身上感受母親的慈愛、姐姐的親切、 妹妹的可愛，讀出生命純真的美。這美就來自 生長的土地，來自連綿的群山，也來自心靈的 故鄉。 這還是一次藝術的狂想旅程。當代視野是一 種混合的藝術，它超越了特定的文化邏輯，藝 術之間的界限在模糊，變成跨文化的行為。詩 人、攝影家、紀錄片導演、記者、藝術家等人 的加盟讓這次女性雕塑展迎來夢想的魅力，並 由此衍生出更多的文化盛事。 大山深情的呼喚就是生命激情的呼喚，是文 明的喚呼，是美的呼喚，也是愛的呼喚。
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Song Weiguang is an art critic and Editor of China Sculpture Magazine. 宋偉光是一名美術評論家及《雕塑》雜誌的執行主編。
As a three-dimensional art, a sculpture is bound to have a relationship with its surrounding space. The meaning of a piece of artwork may expand or change according to its environment. Obviously, the change does not take the piece of artwork beyond its original subject matter and its inherent meaning, but different visions and altered perspectives become possible when the artwork is relocated to a new context. Xu Hongfei took his Chubby Women on a journey from an urban space to an ancient village of one of China’s oldest clans, the Yao people. His artwork is born from the urban environment of Guangzhou. Guangzhou is a fast-paced and modern city, but its people still lead the characteristic lifestyle of the southern Chinese, in which one likes to live comfortably in a relaxed and carefree manner. Xu’s Chubby Women are a humourous reflection of this kind of lifestyle. In the present society where slenderness is fashionable, his adorable Chubby Women happily and confidently defy this contemporary standard of
雕塑藝術作為一種空間性藝術，必然與環境 發生聯繫，一件雕塑作品本身所闡發出的意 義，是可以隨環境的變化而產生意義擴展或意 義變換的。當然這種變化或擴展離不開作品本 身已定格的主體內容，但這個內容卻可以憑藉 不同的環境產生不同的視覺感受和心理取向。 許鴻飛帶著他的《胖女人》由城市空間穿越 到了古老的瑤寨，就他的作品本身而言，其意 象的生成是與廣州這座城市的生活狀態有關係 的。廣州雖是大城市，雖然也是快節奏的當代 都市，然而卻保持著南方人講究生活品質，悠 閒放鬆的生活態度，而《胖女人》正是對這種 生活狀態的帶有詼諧筆調的反映。在這以瘦身 為時尚的當下，他的《胖女人》，以可愛的自 信和快樂與以瘦為美的觀念形成了強烈的反 差。這反映出藝術家對當下觀念的反思，是藝 術介入社會問題的反映。當這種依託於生成的 環境才能貼切地詮釋其意義的作品，一旦離開 了「生她養她」的土地，挪移到另外一個陌生 的環境時，這些「胖女人」頓時與新的環境產 生了強烈碰撞，生成了一種新的敘意方式，也 使得許鴻飛的作品之藝術生命有了另一種方式 的體現。 這個圖像變換了原有構成它的意義之環境， 便產生了新的文化意義，成為了一個「事 件」。
female beauty. This demonstrates the artist’s reflection on conventions and how art intervenes with social issues and phenomena. Interpretation of the meaning of the Chubby Women series relies on the social and cultural background of the artwork. Therefore, when the artwork is relocated to a new context, not only does it create a dramatic and interesting visual conflict with its new environment, it also opens up new modes of expression. When an artwork is placed in a context different from the one that nurtured its meaning, it acquires a new cultural significance and becomes an “event”. On November 20, 2009, the Chubby Women departed from Millstone House in Guangzhou (Xu Hongfei’s studio) for a journey. They climbed mountains and crossed rivers until they arrived at the ancient Yao Village in Liannan County, located in northern Guangdong Province, close to the Hunan boundaries. It is a county of poverty and where the Yao people live. It is where the Yao Village was built against the mountainous terrains, and where it still exists, a thousand years old, with its unchanged Yao culture.
When the trucks of the Chubby Women drove into the ancient village, the Yao people stared at the “women” with awe and affection. As the Chubby Women slowly entered the village, carried and supported by groups of strong Yao men wearing their traditional headdresses, crowds gathered and were exhilarated by the picture they beheld. It was a vibrant and colourful scene of confident, plump women interlaced with the men’s bright red turbans and beaming faces. It was particularly amusing to see the Yao brothers struggling to move on the hills with the “ladies” on their shoulders, and the “ladies”, in contrast, appeared even happier and more elegant. The aesthetic appeal of this interaction is the language for the non-verbal dialogue that took place in this specific time and space. On the following day, when crowds swarmed with joy across the hilly grounds of the village, you could see the “chubby guests” having a game of tug-of-war with the native Yao people, or joining them in a procession of traditional music and dance. As you bathed in the joy surrounding you, walking along a small stony path, you would come across a chubby lady chasing a little herd of pigs.
2009年11月20日，《胖女人》從廣州石 磨坊（許鴻飛的工作室）出發，跋山涉水來到 了廣東連南縣的瑤族山寨，進行了一次穿越之 旅。連南縣是位於廣東北部鄰近湖南的邊緣縣 份，是廣東的扶貧縣，是瑤族人生活的地方， 這裏是依然存有原生態的千年瑤寨，寨子依山 而建，保持著純粹的瑤家文化。當裝載著《胖 女人》的大型平板運輸車隊駛進古老的山寨這 一刻，瑤民們用詫異而又親切的目光注視著 「她們」，而當這群「胖女人」在身著瑤裝頭 裹紅頭巾的瑤家壯漢簇擁下，緩緩地抬進寨子 裏面的時候，可謂群情激奮，熱鬧異常。紅頭 巾強烈的鮮紅色與激動的面孔和自信的胖姐們 互動為一幅幅熱烈的畫面。特別有趣的視覺效 果是，瑤族兄弟抬著「她們」艱行於崎嶇的山 道上，而「她們」似乎更加悠然自在，這更加 襯托出胖姐們那無所顧忌的快樂，如此少見的 視覺反差，形成了這一時空中特有的非語言交 流的語言方式。 次日當歡樂的人群沸揚於山寨之時，你且看 這些「胖客」正在與瑤胞們進行著激烈的「拔 河比賽」，正參與瑤胞們美妙的歌舞行列之 中。游憩於歡樂之中，步覆在山寨的石板路上 時，你又會在不經意間驀見一位胖姐正開心地 哄趕著一群小豬崽，這群豬崽在她的促迫之 下，野性迸發，四散逃離，恰巧又在崎嶇的山 道上迎面遭遇上了一位駕著單車淩空飛動的 「胖女人」，這種種畫面實在是有意、有趣、 有點、有面地融於了生活、融於了自然之中的 「公共藝術」。
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As the small animals ran wild, they ran into a chubby woman whose whole body had lifted off the bike she was riding. Everywhere you looked was an amusing, interesting and happy picture of art that was integrated into life and nature: it was public art. The various ramifications of the interaction with the native people were even more evident in the days that followed. The arrival of these Chubby Women transformed the entire environment; one did not feel that they came to the village, but that they actually lived there. No wonder when asked of whether they preferred a slim or chubby woman, the Yao people answered, “Chubby of course, because then she has enough strength to work in the fields.” Evidently, the Yao people no longer regarded them as sculptures or visitors, but part of their family. This demonstrates the social value and social function of art. A public sculpture should be intended for the public; it should think for the public and it should be related to public concerns. Then it is capable of intervening, interacting with and invigorating a space. This is exactly what Xu Hongfei’s Chubby Women achieved: it intervened with the Yao Village, brought about interaction and invigorated this ancient and natural space of the Yao people. From the perspective of an art critic, one knows that there is no predetermined or fixed form or style in contemporary art, so public art too, is not confined to a specific form, mode or material. Public art has a responsibility. It is about the relationship between humans, society and nature; it is a type of sociology. In the past, public sculptures were built on
pedestals, which signaled authority and indicated that viewers should look up to the artwork (this mode of presentation is still appropriate for monumental and memorial sculptures). However, new models of construction and expression are being developed in public art. When the top of the pedestal is no longer the only place for public sculpture, the artwork can come down to the people and into their lives. As Xu Hongfei’s Chubby Women sculptures came from the city to nature, a different version of the artwork is created from its interaction with the new context. It brings about new meanings and a richer cultural significance. From the public awareness and collective mentality raised during this particular event, a new kind of “spirit of place” was born: the “place” is the ancient Yao Village, and the “spirit” refers to the channel for dialogue and interaction that was created as a result of the installation of the sculptures. The relocation of the Chubby Women is accompanied by a subtle shifting of one’s compassion and empathy with the sculptures, which not only expands the scope for interpretation but also for psychological and emotional engagement. Through his artwork, Xu Hongfei charges a space with cultural potency, and creates the link between cultural, economical and poverty issues. Art is his instrument for stimulating the economy and subverting preconceptions. Like a piece of performance art, it involves the interaction of viewers with the artwork in a specific place, but it is also a charitable art “event”. “The distant hills are calling, and our hearts grow nearer.”
之後，在數天之內的與當地瑤族同胞的互動 中，更加顯現出這種方式所延展的多種資訊。 這些「胖女人」的到來，使整個環境發生了 變化，使人感到不是她們來到了瑤寨，而是 「她們」本來就生活在這裏。難怪當問到瑤民 喜歡胖的還是瘦的？他們回答：「胖的，這樣 有力氣到田裏幹活。」看來瑤民不是把「她 們」當雕塑看待，也不是把「她們」當做客 人，而是視為自家人了，這就體現出了藝術的 社會功能和價值。就公共雕塑藝術而言，它須 具備這樣幾點要素︰「以公眾為對象」，「為 公眾而思考」，「有關公共事務的」。因此， 它便具備了介入空間、互動空間、激活空間的 可能。許鴻飛的《胖女人》恰恰是由於它的介 入，產生了互動，因而激活了瑤家這一古老的 山寨空間。從藝術批評的角度來審視這一問 題，便會看到當代藝術早已不是某種既定的樣 式或風格，作為公共藝術，當然也不是一種固 定模態、材料和範式。它是一種責任，是人與 人、人與社會與自然之間的關係的藝術社會 學。過去公共雕塑大多建於高高的基座之上， 這表達一種權利、一種導向，須仰視才見（當 然這種紀念碑性的雕塑仍需要這種形成），然 而這種形式也在變化，公共藝術的發展是動態 的，它有新的建構和表達方式，當這個基座已 不再作為城雕的唯一模式時，它便走進了民 眾，走近了生活。 許鴻飛的胖女人來到了山寨，這種圖像移位 元，形成了與城市環境不同的兩種文本，帶來 了一種新的文化質感，生成了新的文化視像 和集聚空間公共意識與大眾心理的「場所精 神」，這個「場所」是古老瑤家山寨的場所， 這個「精神」是指雕塑的空間滲透架起的文化 互動的橋樑。這種圖像移位元生成了新的空間 行為，存在著情感移情的內在因數，這會帶來 潛在的精神交流的維度。 許鴻飛用他的作品將空間轉化為一種文化能 量，去鏈結文化、經濟、扶貧等的問題，以文 化去催化經濟、改變認知、成為了一次具有與 人與環境互動的貼切的「行為藝術」，成為一 次以藝術做公益的「事件」。可謂是「遠山在 呼喚，心靈正貼近」。
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Deng Bo is a photographer. 鄧勃是一名攝影師。
One.
壹
Who is Xu Hongfei?
許鴻飛何許人也？
He is a man – a man who was born in 1963 in the city of Yangjiang, Guangdong; a man who graduated from the Sculpture Department of the Guangzhou Academy of Fine Arts in 1990. He is the man who became a renowned sculptor in China.
首先是男人。1963年生於廣東陽江市的男 人。1990年畢業於廣州美術學院雕塑系的男 人。這男人後來成了中國著名的雕塑家。
His signature features: a moustache, a pipe and his “fat women”. He looks a bit like Lu Xun (one of China’s greatest writers of the twentieth century), but he leads a more enjoyable life than Lu Xun. Renowned Chinese artist Huang Yongyu describes him as having a “moustache on the lips; two hands stuck in dirt”. Rumour has it that this man likes fat women; that once he had such a crush on a particular fat woman that he could not sleep and one day, he started making a series of sculptures of fat women… I asked him about it, and he simply smiled. He smiles more than he talks and his smiles often seem rather ambiguous. This is a man who got because of his “women”.
famous
He has been through over a hundred “fat women” over the past ten years.
鬍鬚、煙斗、肥女人是這男人的三大標誌。 他長了一副與魯迅相仿的面孔，可活得卻遠 比魯迅自在與輕鬆。 著名藝術家黃永玉稱他為「一鬚頂嘴，兩手 和泥」。 傳說中，這個男人喜歡胖女，傳說中，這個 男人曾暗戀某胖女，夜不能眠，有一天，像中 了魔一樣，創作出一個個神態各樣之女人…… 關於這個男人的傳說挺多，問之，這位男子 微微一笑，不答。 這個男人是「靠女人出名」的，這樣說一點 也不過分。他說話時有很濃重的陽江口音，總 是笑而不多說。 他的笑，認識他的人都說有點曖昧。 十年來，這個男人經手的肥女人已達百多 人，而且層次越來越高。在他看來，他愛上胖 女，愛得死去活來，愛的十年光陰，他的愛有 了結果讓他有了如今支配時間和生活的自由。 「對於我來說，藝術是用來玩的東西。一直 以來，藝術都肩負著過於沉重的包袱，在一味 地追求偉大的題材時，卻忽略了藝術的生活化 和趣味性。我想我的胖女人那麼多人喜歡， 是在其世俗化的表面，隱喻一種生活的達觀態 度。世界上各種流派的哲學其實都在追問一個
He is desperately in love with them, and his ten-year relationship with them had eventually given him the freedom to do as he like, when he likes. “For me, art is a game. Art has been carrying a heavy burden for a very long time as artists strived to present something serious and important, and they forgot about the interesting and fun aspects of life. I think the reason my ‘women’ are so popular is that they look familiar, like someone very close to our daily lives and at the same time, they present to us a worry-free attitude to life. The world is constantly asking, ‘How can we be happy?’ My ‘women’ show them the answer.” He is an incredible man. Two. Xu Hongfei’s “women” are curvaceous, content, optimistic and carefree – they show the wisdom to life. They are fat, adorable, innocent and sophisticated “women” who have travelled to France, Italy and Hong Kong. Someone told him that it is hard for contemporary art, which is made in the city, to be moved to anywhere smaller, and that art comes from nature, so it should return to nature, and bring a healing effect to our world of spiritual poverty. That was when he realised it was time to take his “women” deeper into the world – to the historic and natural landscape of Liannan. Loaded onto several trucks, these “women” wobbled their way to the countryside, where the scenery had a resemblance to the ink painting from the Song Dynasty. They turned heads wherever they went, including the Qinglian motorway, which I found slightly worrying. Some people dropped their jaws in shock, but I could see they were smiling with their eyes. They even stopped an ox in its tracks. The ancient Yao Village in Liannan County was their destination. With a modest altitude of 803 metres and approximately 106,000 m², it had at most 700 houses and a population of 7000. It was built in the Song Dynasty, on the foot of the mountains, and with distinct stone footpaths. It is now over a thousand years old, and it still retains 368 pieces of architecture dated to the Ming and Qing Dynasties. Over the one thousand years, had
問題，如何能夠快樂地生活。我肥我快樂這種 精神的傳遞不就是一種人生智慧嗎？大道至 淺。」 這男人了不起。
貳 鴻飛的女人們總是豐腴飽滿，鴻飛的女人們 總是心滿意足，透著知命樂天、達觀從容的 最樸實的人生哲學和生活智慧。這些胖得有 內涵，胖得有境界的女人隨著鴻飛到處「旅 遊」，飛到法國、意大利、中國香港…… 「當代藝術都誕生於大的城市，很難到小地 方去。很多時候，因為高高在上的心態，當代 藝術往往使自身變成小眾藝術，很難與廣闊的 土地產生關系。藝術來自大地，藝術應該回到 土地上去。優秀的藝術作品應該更廣泛與觀眾 對話，去讓作品的藝術力量改變這個過於物質 的世界，改變這個精神貧瘠的世界。」 許鴻飛為了這幾句話，竟把他的19件雕塑 運到連南。他的「胖女」們是應該下下鄉，感 受山野的氣息。 搖搖晃晃、吱吱嘎嘎。一路顛簸。胖女們路 過粵北山區，走進宋元山水畫的意境。就像一 場夢一樣。這夢與藝術有關。一次穿越式的藝 術之旅。這本身就是一場行為藝術。 不是城裡人，笑容很含蓄，下清連高速時， 收費站的工作人員見到他的「胖女」的表情與 動作是，用手遮住嘴，但她眼睛告訴我，她在 笑。 一路上，鴻飛的女人出盡風頭。百分百的回 頭率，面對著險像環生的清連高速，真擔心這 些「胖女」把路過的司機的魂勾走。 進入連南境內，修路的工人停了下來，路邊 賣肉的老漢忘了切肉，手拿著刀，嘴巴張得大 大的，女孩抱在一起大笑，臉蛋兒更紅了，男 孩露出掉了門牙的嘴，之後，跟著奔跑，過路 的黃牛止步，望著這千年不見的尤物…… 鴻飛的女人這次去的目的地是連南瑤族自 治縣南崗古排，這座千年古寨位於連南縣城 兩南，山不高，海拔只有803米，地不大，占 地面積才159畝，卻頗有故事。鼎盛時有民居 700多幢、1000多戶、7000多人，被譽為首 領排。古排依山而建，房屋層疊，錯落有致。 石板道縱橫交錯，主次分明。此寨建於宋代， 至今已有千余年的歷史，保留著368幢明清時 期建的古宅及寨門、寨牆、石板道…… 瑤寨，聽說已一千年。這一千年，看得多 了，但沒看過銅胖女？ 這些在廣州靠吊車才肯上車的「胖女」們， 一遇到強悍、粗獷，頭系紅頭巾，腰纏紅腰帶 的瑤寨漢子，就乖乖的讓他們用雙手把她們 「請」下來。 瑤民言：「胖，這樣有力氣幹農活。」 有些瑤民開心地躺在地上哈哈大笑，笑出許
the village seen any fat women of bronze? When the “women” finally arrived, strong Yao men wearing bright red turbans helped them down the trucks. The Yao people said, “Fat women have more strength and can help in the fields.” They were so excited to see these wonderful sculptures. Some of them even said they had never been so excited about anything before. The chief of the village, Tang Haoren, was very grateful for the joy and laughter that Xu and his “women” brought to the village. Three. A few days before, it had snowed on the mountain tops. When the fat “women” arrived, it was a beautiful day. There was sunshine and there was mist, as if it was somewhere in a dream. It was the dream where these fat “women” came to life. They were attractive creatures of blood and flesh. Their beauty moisturised the wrinkles of the old village, and brightened the spirits of the fields and the mountains. Nature responded as if she was welcoming back her daughters. Someone described the scene as thus, “Here people are able to experience an aspect of art which they would not experience in the city. These sculptures and the natural landscape complement each other and manifest the beauty and mystery of life. As viewers walk across the fields experiencing the sculptures, the colours of the sky, the landscape and the Yao culture become part of the artwork. When the sculptures are put into a different environment, each of them is an expression of the interesting contrast and harmony between nature, culture and art. The visual impact, the realism and ideology behind the healthy and strong figurative forms – they take my breath away! Adam and Eve is the most erotic piece of the series. Adam, holding the forbidden fruit, is fighting an instinctual reaction; whereas Eve appears sad,
holding the snake, which seems to be laughing at her mistake. It took less than a day before their various key body parts got covered in mud. The union of the historical and cultural landscape of the Yao Village and the Chubby Women sculptures may look strange and awkward at first. Yet, like a dream, it seems to have its own logic and suddenly you are convinced that they make the most natural and harmonious combination.” It was a huge arts festival and celebration where “anything was allowed”. The event was like a chemical experiment, mixing history and nature with contemporary art - there could have been no reaction, yet there was a spectacular explosion.
多眼淚，他說，他活到那麼大，還從來沒有如 此的舒暢過。
發生的是現代與傳統、原始與前衛、原料與藝 術的化學反應。
村長唐浩人對許鴻飛感謝涕零，代表全村的 男人和女人，傍晚喝當地米酒，因敬得過多而 話越來越多。
肆
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夜幕徐落。幕色蒼茫，大地緩緩地嘆息，高 山上，「胖女」像夢幻一樣在天空中「飛」。 天沒了。地沒了。山沒了，人沒了。許鴻飛的 女人們也沒了。剩下的只是動物們的嘈吵聲， 它們因為胖女人的離開而難過……它們已捨不得 胖女人。
幾天前，山上下了一場雪。 胖女到的那天，天異常的好。有陽光。有 霧。是造白日夢的好日子。在霧的幫助下，胖 女們都有了生命。她們活蹦亂跳。這些胖女不 是冰冷的，她們是有血有肉的，她們魅力四 射，她們熱情似火……千年古寨蒼老了，沉睡依 然的歲月，讓她眼角的皺紋顯出憔悴和孤獨。 許鴻飛的胖女人原來應該在這裡。她們回到 了家。
陽光還好好的，第二天，下起了雨，一點點 落下，一個勁兒地落下……最後，連山上的湖水 也打濕了。山上的女人說，那是山神的淚……孤 寂的山神也因胖女要離開而傷心。
伍 胖女們從瑤寨回來啦！
Four. It was nightfall; one fat “woman” seemed to be flying through the darkness. The night birds cheered for her, but at the same time they were sad, because they knew these “women” would be leaving the next day. The next day began with a light shower of rain and ended in a downpour. It was the tears of the mountains, who did not want the “women” to leave. Five. The “women” came back to Guangzhou! It was a glorious day, as if the sun also welcomed their return. The experience in Liannan felt like a dream or a distant past. Yet, these “women” continued their exhibition even though they had left Liannan. The motorway and the urban landscape were their exhibition space. A man called Xu Hongfei had done something rather incredible, and now there were even more rumours about him… Some time in the future, a group of Yao people dressed in their traditional costumes led by their chief, carrying a living chicken and pork, would march into Guangzhou. They would not be heading for the shopping malls. They would be coming to Xu Hongfei’s studio and visit their dearly-missed Chubby Women.
有仙人對此景描述如下： 「人們在這裡感覺到從繁華都市的人文展覽 空間所無法感覺到的藝術視角。這些現代雕塑 置於千年瑤寨小徑、高山上、田野裡，在大自 然的完美映襯下，展示著動感的生命力和靜 態的神韻美。參觀者穿梭於現代藝術品和美麗 瑤山間，感受著人文與自然和諧的碰撞；水色 天光、藍天白雲、瑤族文化竟成為藝術作品的 一個組成部分。『胖女人』與霄空、雲海、山 林、淳樸的瑤族原住民和瑤族歌舞對話，另類 卻又和諧地構成了一幅幅美麗神奇的畫面。作 品所置不同地點都能帶來不一樣的感覺與感 動，每一處都巧妙呈現出作品與自然環境、民 族文化融為一體或強烈反差的藝術視角魅力。 名利浮游，如同歷史上的病梅之美：健康不 是更好嗎？許鴻飛先生以燦爛的態勢，『琢 磨』出肥碩的壯美，俺，認為，更是思想現實 的大模樣！ 《亞當夏娃》是全場最色情的一個雕塑。亞 當一手托著罪惡的蘋果，忍受著身體的衝動， 夏娃很無奈，手上的蛇哈哈大笑。一夜之間， 他們很多關鍵部位已經沾滿了泥巴。
那天，陽光奇大，好像要迎接胖女們回來一 樣。 她們經過琶洲會展中心，經過獵德大橋，經 過廣州大橋……她們又見證了廣州的美，同時也 經歷了廣州的塞車！她們站或坐在四輛大平板 車就像一個流動展廳。這行動本身就是一個藝 術。 一位男子名叫許鴻飛，他做了一件非常有意 義的事。 他因這次，在城裡多了許多傳說，這些傳說 在城裡相互傳說，越傳越奇…… 若干時日，一群盛裝瑤服的瑤胞在村長的帶 領下，抱著活雞，拎著新鮮土豬肉出城來到廣 州，不是為了看現代都市不是為了採購物資， 而是來探望他們心中的叨念…… 他們是來探望 許鴻飛，更是來看看那一群曾在他們古老大地 呆過兩夜三天的肥女人。
積澱了千年歷史的瑤族文化以及胖女人兩者 反差強烈，第一視覺是有些荒誕，如同某種 並不可靠的夢境，但隨即，你又會發現它在 『夢』的邏輯中，是那麼和諧而自然。」 一場盛大的典禮，贊歌大地。人山人海，人 在胖女中，胖女在人中，看啊，地無分南北， 人無分老幼，全都歡樂起來，這是一個瘋狂的 季節，應稱為胖季。 「一切都是允許的。」 與其說這是一次游戲，不如說這是一次實 驗，仿佛把某兩種不搭界的化學溶劑倒在一塊 兒，看看它們到底起什麼反應，可能引起爆 炸，可能小小的震蕩，或者壓根沒反應。這裡
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Gao Meng has a Ph.D. in Sculpture from the China Central Academy of Fine Arts and is an Associate Professor of Sculpture Department at the Guangzhou Academy of Fine Arts. 高蒙為中央美術學院雕塑系博士及廣州美術學院雕塑系副教授。
Figurative sculpture has a long history of trying to break through the limitations set by the properties of the medium, in order to reach greater levels of naturalism. Due to the volume and weight of the material, a work of sculpture is often tied down to a base for stability. All horizontal, vertical or diagonal extensions must revolve around a core structural element. Any irregular extension is only possible on the premise that the central element is sturdy and stable, followed by painstaking calculations. These efforts lead to more complex internal structures and a gradual breaking free from a flat surface. Manipulation and composition of space is no longer restricted by the material’s natural form; it becomes possible to build new spatialformal relationships so that the depicted subject appears more naturalistic. Yet, expression is still limited. Beneath the aesthetic and stylistic choices from the eras of Classicism to Baroque to Realism, there is a continuous exploration in how to transform models of construction so that physical restrictions of the material can be overcome, and greater liberty
長期以來以物質材料製作的雕塑總是試圖突 破物質本身的束縛，從自然物質材料本身的屬 性中脫離出來，營造出一種類它比擬的相似狀 態，以求變現一種幻覺的真實，具象雕塑為此 走過了漫長的路途。由於雕塑的實體性限制， 在客觀表現物件的呈像過程中，體積的實在性 和材料的重量感，使得在塑造景觀物象中總是 難以脫離重心引力的牽掛，而牢牢的受制於支 撐的基礎。為了穩定的站立起來，伸展出去， 空間和跨度始終游離在團塊構造的周圍，任何 的突兀延展都要經過及其困難的斟酌考量，然 後在中心穩定基礎牢固的前提下，逐漸突破平 面的限定構成了一些豐富的裏面結構關係，使 得空間的錯落佈置不再從屬於材料本身的自然 形狀，而是在一個新的結構關係中逐漸接近表 現物件。但是這時的表現範圍仍然受到限制， 從古典到巴羅克再到現實主義，風格的變化自 不待言，潛在於各種表現風格變化的基質是結 構構造方式的變化，從封閉的從屬於材料限制 的空間關係中掙脫出來，體積與空間在多大的 範圍內可以自由運動一直是藝術家們琢磨不定 的問題。 羅丹把生命運動的視覺效果推向了極致，在 瞬間的運動中不僅融合了結構和機理細微變化 的細枝末節，而且不顧基本形體常態的一般性 特徵而作出非凡的調整，讓局部的真實服從整 體結合的真實，進而服從整體運動狀態的真
in commanding form and space can be attained. The work of Auguste Rodin was the culmination of realistic representation of a sculpted figure in action. To represent movement, he combined the subtle modulation of form and texture with radical formal choices that went against conventional formal compositions. The realism in the details was coherent with the overall sense of realism, which created a coherent and realistic image of a living and moving figure. He added to the formulaic, superficial grandeur of Baroque sculptures a variety of human expressions that were not determined by the work’s genre, but differentiated by identifiable human personalities. The portrayal of genuine, life-like emotions and the allusion to psychological states highlighted a sense of social realism in his work. Figurative sculpture took another step towards looking like a real person. Though Rodin reinterpreted the lesson of ancient Greek artist Phidias and his use of contrapposto, his work still showed the influence of Michelangelo, the formal and spatial compositions of whose sculptures were predominantly configured on a two-dimensional visual plane. The expression of dynamic movement was still restricted by the necessity of a stable support. Subsequent artists like Aristide Maillol and Carl Milles also strived to make their sculptures appear light and nimble. Maillol reduced the sense of weight and gravity by producing voluptuous figures that seem to float. Milles’s figures were engaged in upward motion, with only a single small point of contact to the supporting base, to create the illusion that movement was driven by an internal, biological energy of the figures. For contemporary sculptor Xu Hongfei, these were precious lessons from which he did not simply learn and imitate, but respected, explored and developed his own distinctive stylistic language.
實，從而豐富了巴羅克以來在空間關係上的虛 張聲勢的程式化格局，情境瞬間的表情特徵不 僅存在於類型的變化中，而且存在於個性的差 異中，由此人的社會現實性得到強調，精神面 貌的情緒變化顯現出來，雕塑的人向真實的人 進一步接近了。 羅丹在祖述希臘傳統菲迪亞斯的四個轉折面 的形體結構中，仍然沒能徹底背離米開朗基羅 兩個面的整體感構造，運動的依託仍然難以徹 底排除。後來他的門徒馬約爾和卡爾米勒斯都 試圖使雕塑輕巧起來，馬約爾借肥碩的人體以 漂浮的動作來淡化重心引力，米勒斯則以小接 點的支撐和向上伸展的動勢來營造人的輕盈動 態，讓體積的重量轉化成克服自身重量的動力 源泉，先賢們提供的藝術實踐成果，成為後來 者有益的借鑒範例。廣州雕塑院的雕塑家許鴻 飛正是在這種結構圖示的文化資源中探索自己 的形式語言的，面對文化遺產，他不是簡單魯 莽的翻牌出牌比大小，而是懷著深深的謙恭， 在前輩大師引導的線索中，走出自己的路。 許鴻飛的肥胖女人運動系列雕塑，既有羅丹 的運動感，也有馬約爾的體量感，在淩空運動 方面則又與米勒斯有異曲同工之處。這一切， 並非學究似的各家形式要素的機械羅列幷置， 而是根據自己對既往藝術經驗的體悟，對當代 現實生活的觀察，把藝術語言有機的匹配到現 實生活現象中，從而豐富了傳統語彙。關於現 實生活狀態，關於對現實生活狀態多樣性的態 度，許鴻飛用豐富多彩的構造形式，在經驗判 斷和藝術表現中與現實景觀搭建了一條審美通 道。讓壓路不用碾子下河不借筏子肥胖婆娘們 揚長避短，該顯示力量的時候不含糊，該輕盈 的時候不笨重，體積和空間在胖婆娘的生活百 態中變化多端伸展自如。克服了雕塑重心引力 的羈絆，肥胖的形態和雕塑的體積便可以有效 的結合起來表現動感的主題，把過去長期由動 勢暗喻的運動態勢鋪展開來，拓展了運動的空 間範圍，這就使得生活的場景式記錄成為可 能，像古代的張宣周舫一樣，時代的畫卷落墨 於日常生活的平淡和閒適之中，許鴻飛的肥胖 婆娘系列，無論是吹拉彈唱，還是遊戲嬉戲， 或者劇烈運動，力量調控的張弛有度。在結構 性的組合中，四兩千斤的對比關係和失重平衡 的動態把胖婆娘自身重力加速度的動感推向了 臨危的限度，再由肉山一樣巍然屹立的穩定性 構圖嘎然而止。富態安詳的胖婦們可以動若矯 兔靜若處子，絕沒有有躁動的唐突，也沒有呆 滯的沉悶，豐腴體態的運動，包含了欣欣向榮 的自然天性的茁壯和繁茂，又在具體形象情景 化的表現中顯得真實可信。
Xu Hongfei’s series of Chubby Women sculptures embody the sense of movement found in Rodin, the sense of weight in Maillol, and a trace of Milles when counter-gravity movements are depicted. This is the result not of a mechanic combination of the achievements of his predecessors but of his own learning: an integration of his personal creative experience and observation of nature. It is a transposition of an artistic language to scenes of the contemporary everyday life; it is an innovation of a traditional formal language. Xu uses a rich formal vocabulary to depict the diversity that he sees in the mundane daily life and carves out a special standard for beauty between reality, objective observation and artistic expression. His plump figures seem to move without any strenuous effort. They express power and strength, but their movements appear light and supple despite the size and shape of their physical mass. Xu succeeds in overcoming the sense of gravity. He manages to combine heavy and massive forms with the actual volume of the sculpture and ends up with the effect of fluid, unrestrained and dynamic movement. When sculptures can extend and expand within a larger space and scale, it becomes possible to document more actions and scenes from the ordinary everyday. As in the work of ancient painters Zhang Xuan and Zhou Fang, Xu’s choice of subject matter falls on the seemingly insignificant details
in life. And whether his “women” are engaged in music, games or exercise, Xu demonstrates a confident and precise control over the degree of tension and power he wishes to appear in his work. In terms of formal elements, he utilises the contrast of the heavy against the lightweight. He produces images of a heavy and substantial woman caught in dynamic movement, in which the woman’s weight seems to be the cause for her imminent collapse as well as her precarious, momentary balance. Xu’s Chubby Women can appear nimble and agile, or still and peaceful. They are neither impulsive, nor dull and passive. These animated women sculptures emanate a sense of natural wellbeing, and they appear realistic and convincing. I have known Xu Hongfei for a while and I see that he has the down-toearth conscientiousness of a person from Lingnan. He is keen to challenge conventions and does not blindly follow rules, especially in his artistic practice. He does not submit himself to authorities; he concentrates on training himself and developing his skills, and eventually he stands out from the masses. As an artist, he understands that when art is intended for the public, the public’s reaction to the artwork is more important than the quality judgment made by experts and patrons. Xu endeavours to make art serve the public. He retains an
Recently he is planning to install his heavy women sculptures in the natural landscape of Liannan.1 However, regardless of their physical weight, when these big, lively ladies set foot on the vast landscape, with the mountains as a backdrop, they will surely look graceful, beautiful, light and airy as a feather.
以我長期與許鴻飛接觸的經驗看，他有著嶺 南人勤奮踏實的品性，同時在雕塑創作實踐方 面也不墨守成規，無盲目崇拜權威的奴性，在 默默工作中積攢自己的實力然後異軍突起。作 為一個藝術家，在以公共藝術為主要創作方向 的同時，他深深知道判斷藝術品優劣的標準除 了專家和委託人的鑒賞之外，廣大民眾的態度 更為重要，藝術為大眾服務不是空話，而是他 時刻牢記的創作方向，這使他在對現實生活移 情自適的選擇性表現中，仍然不失對現實生活 中重大事件的關注和敏感性，而在處理這些表 現題材的時候，不是拿樣作怪的擺出一幅沒有 靈魂的形式軀殼，尋找一些先入為主的題材和 內容充塞到固定的形式中去，而是從平凡生活 的細節中發現震撼力的藝術元素，根據此情此 境的感動，形式和內容油然而生悄然暗合，這 在表現酣睡的救災士兵的雕塑中得到了很好的 體現。因此，許鴻飛創作中多樣性的表現，就 不僅停留在題材和內容的更替中，而是隨時根 據表現內容作出相應的調整，這樣，我們便可 以發現在許鴻飛的表現範疇中，沒有習慣性的 程式，不是像一些雕塑家那樣，一招先吃遍 天，從一而終，再也突破不了自己創下的輝煌 頂點，成名的那一刻即是衰敗的開始，許鴻飛 的創作仍然處在變數的過程中。 最近他又在籌畫把自己的雕塑運去粵北山區 連南做雕塑巡迴展，送沉重的雕塑作品下鄉， 這種沉重是重量上的，當這些活蹦亂跳的肥婆 娘們出現在粵北山區的田間地頭時，在更大的 背景下，襯托著粵北的崇山峻嶺，這些肥胖歡 娛的婆娘們便會顯得輕盈靈巧婀娜多姿了。1
1 This piece was written and published prior to Xu Hongfei’s Liannan exhibition in November 2009.
1 文章寫於2009年11月上旬，許鴻飛連南展覽之前。
acute sense of sensibility and personal empathy towards what is happening in the world around him. His work is not an empty, soulless, formal representation of his subject; nor does he fill an empty shell with some subjective, superficial preconception. Instead, he looks for the artistic potential in the most minute of details, from which he develops a most natural and suitable form that is coherent with the content of the work. His sculpture of a group of sleeping soldiers is a fine example. Xu does not adhere to a single subject matter, but is always finding new ways that best represent any particular subject. He does not work according to a formula and he is not like those sculptors who make one masterpiece, and then repeat the same idea over and over again, never surpassing themselves, always in their own shadow of glory. Xu Hongfei’s art is constantly changing and evolving.
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Huang Lihai is a poet and Chief Editor of Poetry and People. 黃禮孩是一名詩人及《詩歌與人》的主編。
Renowned for his Chubby Women sculpture series in China and abroad, Guangzhou sculptor Xu Hongfei performed yet another astonishing act of art. Towards the end of 2009, he loaded nineteen pieces of larger-thanlife Chubby Women sculptures onto four large trucks to transport to Liannan County in Guangdong, and installed them in the middle of the beautiful and mysterious terrace fields of the ancient Yao Village. Xu Hongfei called his “Chubby Women” “Chubby Suns”, as they light up the world of art he created. When he placed his “Chubby Suns” onto a landscape that was in symmetry with the sky, they became guardian mothers of the earth and fields. In fact, one of the most remarkable pieces from the series is called Mother Earth. The Marriage of Art and Nature An interesting aspect of art is that new perspectives for appreciation emerge when they are least expected. When Xu Hongfei transported his sculptures from Guangzhou to Liannan, one of the most unusual sculpture exhibition in Chinese sculpture history took place. It was the reunion of nature and man, the marriage of reality and imagination, and the artist’s observation of life and reflection on the laws of nature. The arrival of Xu Hongfei’s pure, innocent and kind “women” was a large scale arts festival in the Yao Village, which had never been visited by contemporary art before. The primitive and tranquil beauty of the fields and
以《肥女人》系列雕塑而聞名國內外藝術 界的廣州雕塑家許鴻飛，在2009年底又有一 個令人瞠目結舌的動作，就是把19件碩大的 「肥女」雕塑立在4台大卡車上一路拉到廣東 連南，安放在千年瑤寨美麗而神秘的梯田間。 許鴻飛把他的「肥女」稱之為「胖太陽」，那 是他創造的一片獨特的藝術天空。這一次，他 把他的「胖太陽」放置在與天空對稱的大地 上，表現守望土地的母性形象，那是大地之 母，田園之母。對了，他這批作品其中最令人 關注的一個，就叫做《地母》。
一次藝術與大地的聯姻 藝術的奇特之處是在你想不到，或認為不可 能的時候發生了異樣的審美。是的，當許鴻飛 把一系列大部頭的雕塑作品從廣州拉往邊遠的 瑤山時，中國雕塑界關於雕塑的一次異質之美 的展出就這麼產生了：大自然與人天然地走到 一起，完成了現實與想像的結合，成就了藝術 家對自然法則的觀察和體悟。 許鴻飛的「肥女」雕塑來到瑤山大地，這些 或質樸或時尚或可愛或善良的女性，她們的到 來成為瑤山盛大的節日。而之前這一片亙古的 土地從來沒有當代藝術光顧過。土地原始的 寂美和現代雕塑的視覺張力產生了以往藝術經 驗裏所沒有的衝突。當不可能變成可能，藝術 的邊界也發生了變化，瑤山土地上的人與物都 成為藝術的一部分。是藝術把人帶到這樣的地 方，這是藝術的魔力。當瑤族老百姓以驚訝、 好奇、好玩的眼光去看這些女性時，當小孩童 心萌動與這些雕塑玩到一起，當城市來的各色 人物興奮地按下快門，這一次前所未有的展出 就成為最有創意的藝術。雕塑藝術真正需要的 是對雕塑作品本身的反映，來自心靈世界的第 一感觸就是其敏感度和生命力的表現。許鴻飛 雕塑作品與大地與人心的三度呼應成就了這一 次超乎尋常的大地與藝術的聯姻。它是藝術家 對自然劇場的一次大膽的導演，也是一節藝術 家請教大自然的真實課堂。
the aesthetic impact of contemporary sculpture formed a contrast that was unprecedented. When the impossible became possible, the boundary of art began to shift, and every person and thing in the Yao Village became part of the exhibition. Art brought people here; that is the power of art. The Yao people looked at the “women” with curiosity and astonishment; the children played with the sculptures, and visitors from the city excitedly flashed with their cameras. It was the most interesting exhibition I ever saw. Xu’s sculpture responded to the earth and its people, which led to the extraordinary marriage of art and nature. Xu was a radical director on the stage of nature, as he was a humble student to the teaching of the earth. Mother Earth Dances with Nature A lot of the exhibited sculptures seemed to be made especially for the Yao mountains. There were female figures skipping, cycling, chasing after pigs, walking in the sun and preoccupied in a game of tug-of-war. However, the piece I will discuss is another very evocative piece: Mother Earth. Mother Earth depicts a woman in dance, with one leg lifted and both arms raised. Unlike other dancers, she does not have a long and lean figure or erotic, appealing movements. She is unrefined and fat. Her upper body is long, whilst her lower body is short. She has neither a pretty face, nor a small waist, nor long limbs. She is as far as one could be from a typical dancer. However, her physical shortcoming does not affect her, nature’s goddess of dance. She is not pretentious; she comes from the earth; she dances to the rhythm of life, and her eyes glow with the natural beauty of a luscious fruit. This dancing mother of the earth has a body that is brimming with life and passion. Her breast is as wide, comforting and generous as the
infinite stretch of the earth. Her joy and her happiness come from her love of all life. Mother Earth does not belong to the city; she is part of the mountains and the fields. The refined and elegant dance of ballet is not the dance for Mother Earth; her dance is a primitive folk dance. Nonetheless, if she performs a modern dance, the earth will still fall on its knees in praise. In the fields of the Yao Village, I saw a resemblance between the working women and the sculpture. These women also belonged to the earth and have a motherly nature. Even wild flowers blossom in spring. Dancing is not the privilege of professional dancers. Every individual has her own unique dance. When she is so overwhelmed by joy or grief that a rhythm beats from within the heart and she starts dancing, that is the perfect manifestation of life. Xu Hongfei is a sculptor who does not know how to dance, but he can still create beautiful movements. His sculptures are the fruit of his imagination. The sculptor projects his feelings onto a dancer, and the sculpture becomes a crystallised piece of poem, silent music and a freeze-frame shot of a dance. Xu did not depict a pretty and slim young lady dancer, but chose to represent a large, rough, countrywoman. It is evidence to his values and morality. It makes a lot of difference whom the sculptor chooses to portray. Xu did not choose a celebrity or a pretty, young girl, but he focused on an ordinary woman and endowed on her the life and energy of nature. This is because he knows that the earth gives us food, and so art is a fruit of the earth. The wind gently sweeps across the harvested fields. The tranquility of the gardens is a sign of the peace of ordinary rural life. Mother Earth, the guardian of happiness, dances to give thanks to the harvest. The earth is blessed, and even the golden sun cannot resist but spin with the dancing Mother Earth…
從土地上舞來的《地母》 這次展出的趕豬、拔河、學單車、迎著晨 光、跳繩等作品仿佛是專門為瑤山創作的，但 在這裏我要說的是另一件充滿力度的雕塑作 品：《地母》。《地母》，雕塑的是一位舉起 雙手，揚起一隻腳舞蹈的婦女。與別的舞者不 同的是，這一舞者沒有修長的身材，也沒有妖 嬈的舞姿，沒有什麼誘人之處。她粗糙，身材 臃腫，上半身長，下半身短，與臉蛋俊美、細 腰豐臀、下身長和手臂長的標準舞者相去甚 遠。雖然輸掉了曼妙的身材，但一點都不會影 響她作為大地的舞蹈之母。她不做作，從土地 上舞來，和著土地物種的節奏，眼光閃爍果實 野性的光芒。這個舞動的《地母》，她的身上 洋溢著生命的熱情，有著大地厚實的胸懷，她 的喜悅來自於她對生活的熱愛。《地母》一開 始就不屬於都市的，但在山裏頭、在土地上， 她仿佛就是這裏的人。舞蹈的《地母》是下里 巴人的民間舞，而不是陽春白雪的芭蕾舞。古 典舞好像也不是那麼回事，但是地母來跳現代 舞，大地將為之傾倒。在連南瑤族的田間，當 更多的勞動婦女圍著這位舞蹈著的《地母》看 時，從她們欣賞的表情，我看到大山的女性與 《地母》有著相似之處：她們都是屬於土地 的，有著母性寬廣的胸懷。野百合也有春天， 每一個人都有自己的舞蹈。舞蹈並不專屬於專 業的舞者，一個內心動感的人，當她因為悲傷 或喜悅而舞動時，都是對生命最完美的表達。 舞者的舞蹈旋律來自自己的內心，就像不會舞 蹈的雕塑家許鴻飛，他也可以創作出或旋轉， 或跳躍，或飄逸的舞姿。雕塑是想像力的產 物，雕塑家把自己的感受賦予到一個舞者的身 上，雕塑就成為凝固的詩篇、無聲的音樂和定 格的舞蹈。許鴻飛沒有選擇一個妙齡美女來作 為他的舞者，而是選擇一個魁梧的大山婦女來 作為雕塑物件，這是雕塑家精神向度的指出。 給什麼樣的人做雕塑是完全不同的。雕塑家沒 有選擇名人，沒有選擇光鮮的女孩，而是為一 個普通的婦人立傳，把土地的生命力放到她的 身上，這是因為雕塑家知道，土地長五穀雜糧 養活人類，藝術也是從土地上長出來的。 風吹過收割後的田野，寧靜的田園襯托出日 子的殷實和愜意。守望幸福的地母因為豐收而 情不自禁地舞蹈起來，大地吉祥，那金黃的陽 光也隨著地母轉動起來……
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Tan Yanfeng and Zhang Jianyun are both journalists. 譚豔鳳與張建雲均任記者。
All the way from the heart of the Pearl River Delta, nineteen gigantic Chubby Women sculptures rode 250 kilometres on four large trucks into the countryside of Liannan, located in northwestern Guangdong. It was like a mobile museum. One of the sculptures measured approximately two tons in weight and nine metres in length and it depicted a group of large women in a game of tugof-war. When it was placed on the
newly harvested fields, children from the Yao village squirmed their ways over and under the thick round bodies. Some found a place on a broad back; some planted kisses on the women. Xu Hongfei had brought his most renowned sculpture series to the country. Our reporter interviewed Xu Hongfei, one of China’s most prominent sculptors and the vice president of Guangzhou Sculpture Academy.
從珠江三角腹地到粵西北的連南， 19件碩大的「肥女」雕塑立在4台大卡車 上，「招搖」一路，這250公里的下鄉路 程，仿如變成一個流動的雕塑博物館。當 重達2噸多長達9米的「肥女」拔河雕塑 放到收割完畢的麥田上時，瑤寨的孩子們 躥上躥下，有的騎在肥女背上，有的親吻 肥女......許鴻飛帶著他的得意之作「肥 女」下鄉了。對此，記者專門採訪了中國 著名雕塑家、廣州雕塑院副院長許鴻飛。
Reporter: Mr. Xu, a lot of your work emphasises on the sense of “fun”, and your work reflects your own personal perception of beauty. Can you tell us something about your thought processes when making your work? Xu: It’s not always necessary to have a defined purpose in making sculpture. There should be more fun, something amusing and witty that stands out and with which people can identify. “Fun” can be found in skill, method of presentation, forms, composition and ideas. You have done something special if you manage to capture the interesting details in our everyday surroundings. In art, we often restrict ourselves to a specific theme and we spend little time on the small things in life. There is always an urge to do something big, serious and important, and that makes us overlook all the extraordinary, fun and inspiring things that are close around us. I like to work with the small, insignificant but interesting things in life; and when I do, people can often relate to the work and they tend to like the work. I like to make a record of the small details in life. Have a sense of humour, and the world becomes a happier place. That’s life. Why do most people like my work? I think it’s because there is a sense of humour in my work, and it illustrates a part of everyone’s daily lives. You asked about my thought processes when making my work. There’s really nothing complicated. I do what I feel like to do.
記者： 許老師，您的雕塑作品重在一個 「趣」字上，反應了您個人的一種特別的審美 情調。能否請您談談您在創作作品時的想法？ 許鴻飛：雕塑創作不一定要刻意為之，要多 一點有趣味的東西，這個「趣」很好玩，顯得 比較特別。能夠一下子引起別人共鳴。 這種「趣」是指你的技術、技法，包括整個 造型、整個構思都比較有趣味，生活中比較有 趣味的細節被你抓到了，這本身就已經很特別 了。我們在創作上往往都有鎖定一個主題的習 慣，很少去按自己的方式以及生活中的一些細 節琢磨，經常去做一些大的題材、大的主題， 而忽略了生活中一些很特別、很好玩、很有趣 味的東西。我會經常做一些生活中不是很重要 的，但是它又是經常會有的趣味性的情節，以 我的造型語言把它表達出來，很多人都能接 受，大家都會喜歡。這類題材它很有深度不現 實。但我喜歡把一些生活細節記錄下來，用幽 默的眼光看世界，會發現很多快樂，生活就是 這樣。為什麼現在那麼多人看到我這些作品都 喜歡，而且比較容易接受？可能是我的作品很 生活，很有趣吧？你問我創作時有什麼想法？ 其實也沒什麼想法，感覺好，就做了。
Reporter: In your artwork, you mainly show the positive qualities of being “fat”, such as having a carefree attitude, happy, kind, sexy, beautiful…etc. You continue to associate “fat” with beauty. The celebration of this alternative beauty in your work gave you tremendous success. What do you think about this success? Xu: I don’t really think about it, and I did not think about how I could become successful. I keep working because a lot of people like my work and they remember it. A lot of people say they haven’t seen me, but have seen my work and recognise my work. This is a kind of success as well, but that’s another subject. As a sculptor, it is easier to have one’s name remembered within the art scene; but it is relatively harder to be recognised by people in other industries. Some people compete to make a name for themselves, but I just focus on my own work, express my own views. It is already an achievement to make an artwork, and it is a different matter whether it is successful or not! If you can make artworks to which people can relate, you have accomplished something. There are many types of success. To make something that people like, that is a success. Of course, not everyone agrees with that, but that is very normal. Art is diverse. If you feel something, then you should listen to yourself and act upon it.
記者：在您的創作中，主要表現了「胖」 的樂觀：諸如自在、快樂、善良、性感、美 好……等等。您「以胖為美」的主題創作，開拓 了另類對生命讚美的主旋律，並得到了極大的 成功。您是怎麼看待這種成功的？ 許鴻飛：對於這種成功，我自己沒想很多， 也沒想怎麼取得成功。我做這些真的是很多人 看著都很喜歡，看過之後印象很深，下次再見 都還會記得。大家都會說沒見過我，但是見過 我的作品，知道是我做的，這也是一種成功， 那又是另外的一回事、另外的一個話題了。 作為一個雕塑家，一般的姓名啊什麼的在這 個行業內比較能夠被接受，但跨出行業就不一 定能夠被認同了。總是想著重大事件，大家總 是要去爭一個什麼樣的榮譽，那也就是另外 的一回事了。我就是把我喜歡的東西按我的觀 點去表現，能表現出來就已經很不錯了，成不 成功則也是另一回事了！如果你做出來，能夠 得到大家的共鳴並且比較欣賞，那就已經很好 了。就成功來說，也得看是哪一方面的。那如 果是大家都接受、都喜歡，也可以說是一個成 功。當然有的人也不這樣認為，這是不奇怪 的。藝術本來就是多種多樣的，如果你自己有 感覺，那你就應該按你的感覺去做。
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Reporter: Mr. Xu, your association of “fat” and beauty is founded upon society and reality, which is why your work is widely popular. This time in Liannan, you invited poets, photographers, writers, designers, reporters, entrepreneurs, artists and collectors to participate in the exhibition. It was an inter-media and interdisciplinary event. Was this what you expected? Xu: Yes. I know a lot of people in other professions; they are a big part of my social life. I know poets, designers, writers, celebrities, dancers and entrepreneurs. Each of them has his or her own kind of success, and I believe they possess qualities that are lacking amongst artists. If I only stay within an artistic circle, it would be a bit monotonous, and I believe art should be diverse. Our ability is limited and often restricted within a specific area. But if you speak to different kinds of people, they can inspire you. They have their own perspective. Their opinions are often more objective and more genuine, so their views are very useful for your work. Within the same field, however, people are less objective because their thinking is restricted by certain modes of judgment. Then it is harder for you to discover and work your own talent and strengths, and chances are, works become similar. I think this is very dangerous for an artist.
記者：許老師，您「以胖為美」的創作，實 際上是植根於現實、植根於社會人群的，這也 是您的作品廣受歡迎的原因。而您這次在連南 邀請詩人、攝影家、作家、設計師、記者、 企業家、收藏家、藝術家共同參與的女性雕塑 展，已經成為了一個跨文化的行動，這種藝術 效果是您所預期的嗎？ 許鴻飛：是的。平時我的生活習慣，包括人 際關係，都是跨行業居多。我很喜歡和其他行 業的人接觸，如詩人、設計師、作家、文學 家、明星、舞蹈家、企業家……這些人都有他自 己成功的一面。作為我這個行業所缺少的可能 就是他們成功的那些元素，如果老是在這個圈 子裏繞，就是有點單一了，我覺得藝術應該是 豐富的。一個人的能力是有限的，很容易局限 在某一個範圍，但是如果你接觸到形形色色的 人之後，你就得到更大的啟發，這會讓你的創 作變得豐富。不同的人以不同的眼光來看我的 作品，都是比較客觀的，只要是客觀的意見就 是發自內心的。這些意見對你的創作很有益 處。但在同行業裏得到很多意見都不那麼客 觀，是因為有一種模式左右了評論者，把他給 套住了，這樣他的真實見解就很難發揮出來 了。而本身你自己的一些潛能、一些特點也就 很難發揮出來了，有時候就容易走向共性和雷 同。我覺得這對搞藝術是很不利的。
Reporter: I would like to know, Mr. Xu, how will you take your work further? What is your direction and what are your goals? Xu: It is very difficult to define an artist’s direction and goal. Every step that an artist takes is like a link that will eventually become a chain as the artist takes more steps. That is how the artist works; he keeps going, and in the process he may learn something, and that will determine his next step. If he has an idea on this step, then he has the reason and drive to take another step. But when he is out of ideas, then he might stay on the same step, or even fall backwards. There must be coherence and logic in the artist’s ideas and work, because then there is a system, and he will be able to identify his next step. So, it is very hard, even illogical and unnecessary, to define a specific direction or goal. Most often I act on my idea and make something first, because as you act, you have already completed 50%. It gives you an advantage on doing the rest of the work. When you feel the need for a breakthrough, and you seem to have all the skills required, but the breakthrough does not happen, that is because you do not know where your next step lies. So before you can have a breakthrough, you must do a lot of work first. Everyone knows that I make a lot of work. I rarely stop to talk about what I have done or
what I am doing. I make something, and then I quickly forget about it, and start on something new. Like this exhibition in Liannan, many people think it is a massive event. I don’t talk or think about how great it was, because I am actually thinking about my next step already. It might be very soon that I have an even greater and more radical work. The result of this exhibition was how I expected it to be; I was confident about it. I am now at a stage where I can often be spontaneous about what I do. I rarely do something very pre-planned and deliberate. You have to be in control and not seek affirmation from others. Do it your own way – that will render the most effective results. For example, when I made the sculpture Nine Days Nine Nights, I did not think very much, I just did what I felt I wanted to do, and when the work was installed at the sculpture park, for me, that work was complete and over. Yet, this November, when the vice chairman of the Central Military Commission, Xu Caihao, visited the United States, he mentioned this work during his speech. Then all of a sudden, our main newspapers such as People’s Daily, Guangming Daily and PLA Daily did a substantial feature about it, and the work ended up with a lot of publicity. Be spontaneous and do your own thing. Do not see your work as a means to an end.
記者：接下來我想請許老師談談您今後的創 作目標和創作方向。 許鴻飛：一個藝術家的目標和方向，你很難 一下子給他界定清晰。藝術家每走一步是一個 臺階，就像一條鏈，你走一步停在哪里就是一 個圈，不停的一步一步就成了一條鏈。藝術家 就是這樣：他一直走下去，可能會明白很多東 西，然後會一步一步推進。在這一個臺階他想 到了什麼，他就有理由、有條件再上一個臺 階。但如果他沒有想法的時候，或想像不到的 時候，也有可能停在已爬上去的臺階上，甚至 從臺階上掉下來。藝術家的想法和行為一定要 有連貫性，這樣容易形成一個系統，只有走到 某個程度才能明白下一步。像你說的，我要一 下子定位，這是很難的，也是說不明白的，所 以很多事我感覺是先做了再說，做了就等於完 成了50%，等到你具備很多條件的時候，再做 就方便多了。你要尋求突破的時候，雖然你已 經具備了很多方面的條件，但是一直不能完成 突破，關鍵就是你還不知道該怎麼走。突破的 前提是你先前必須做了很多事。我每做一件事 都是大家所關注的，大家都知道，我也是不停 的在做事。我沒有一直停在那裏老是說以前怎 麼樣、曾經怎麼樣，我現在的這些作品又怎麼 樣。幾乎是每做完一件事我很快就把它忘了， 然後又開始做另外的事情。就像我做連南的展 覽，大家都認識是轟轟烈烈的，我就一直說它 怎麼轟轟烈烈了，那不是我的做法。我其實已 經想著下一步了，可能很快就會又有一波，比 這個更有超越性的。這是在我意料之中的，因 為我有把握能夠做到這個效果。到了現在這個 階段，你做開了，很多東西都是很隨意的，很 隨意的就可以做到的，不是說很刻意的我一定 要怎麼樣，這是沒有的。這主要是你自己有控 制，而不是非要一幫人去認可。按照自己的方
式去做，那樣是最自由的，也是最有效果的。 比如做《九天九夜》那個雕塑。做的時候沒考 慮太多的東西，覺得有雕塑感就做了。雕塑安 放在雕塑公園後，這件事就告一段落了。可是 今年十一月份，中央軍委副主席徐才厚訪問美 國時，在演講中提到了《九天九夜》這件雕塑 的事。一時間，國內幾家主要媒體，如，《人 民日報》、《光明日報》、《解放軍報》等大 幅刊載了這一事蹟，再次出現了強大的宣傳態 勢。隨意，不要可以去為了達到什麼而去做事 情。
Reporter: Thank you Mr. Xu. 記者：謝謝許老師的採訪！謝謝！
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From 20 to 22 November 2009 – I exhibited nineteen pieces of my large-scale “Chubby Sculptures” in the ancient Yao Village in Liannan County, Guangdong. We invited lots of photographers to document the event. In the thousands of photographs taken, there are humourous as well as dramatic images. This book is a collection of the most interesting photographs as it is a documentary and a souvenir. In August 2009, the County Committee Secretary of Liannan, Cui Jianjun, and a group of officials from the Liannan County government came to see me at my studio. They were organising a Yao Arts and Culture Festival and they would like to see an exhibition of my sculptures in the ancient Yao Village in Liannan. It was an invitation I could not bring myself to turn down. The next day I went with a group of friends to visit the ancient village. I had been there 26 years ago on a drawing trip and I was glad to find that it was still the same primitive and uncontaminated place that I remembered so fondly. As soon as we got back to my studio we began planning the exhibition. The artworks would be installed at the foot of the mountains, on the little paths
2009年11月20日至22日，我帶著我的 19件大型的「胖雕塑」到廣東連南縣的「千 年瑤寨」展了一回，十多位攝影師將活動的全 過程拍了下來，數千張照片中，不乏精彩、有 趣的畫面。我們從中篩選了部分特別有意思的 照片，彙集成這本攝影集，既為記錄，亦為留 念。 舉辦這次展覽活動，純屬偶然。2009年 8月的一天，連南縣委崔建軍書記帶著縣委、 縣政府的領導班子造訪石磨坊，邀請我在連南 的「千年瑤寨」辦一個雕塑展覽，以配合他們 舉辦的「瑤族文化藝術節」，盛意拳拳，不好 推托。第二天，我就帶了一班朋友到這個古寨 走了一趟，那是一個很質樸、很原生態的地 方，26年前我在這裡寫生、畫畫時的感覺依 在。回來後，我們就著手籌劃這次展覽活動， 將雕塑放到大山下、山路邊、田野上，讓這些 曾經到過法國巴黎、香港等大都市的「胖雕 塑」下到鄉村，讓現代藝術與古老文化產生碰 撞，嘗試一次「文化穿越」。 這樣的展覽形式，可能是世界雕塑史上的第 一次。它的過程是不可重復的。 活動的過程異常震撼，四台12米長的平 板車，裝載著19件姿態各異的大型「胖雕 塑」，一線鋪開，浩浩蕩蕩，穿城過寨，仿 佛一次「行為藝術」，極具視覺衝擊力；在 古寨，瑤胞們穿著傳統民族服飾，肩挑手抬著 「胖女人」上山下田，群情振奮，熱鬧非常，
and on the fields. These sculptures, which had been to cities like Paris and Hong Kong, would find themselves in a rural and historic setting. It would be an encounter between contemporary art and the ancient Yao culture. It was probably the first and only exhibition of this kind ever to take place in the history of sculpture. It was a spectacular art event. We had several twelve-metre-long trucks carrying nineteen pieces of sculpture formed a line that travelled down the motorway, then up and around the hills and countryside. In the village, the Yao people dressed in their traditional costumes and carried the Chubby Women up and down the hills, their bright red headdresses contrasting with the white and bronze of my sculptures. Sculpture, mountains and people interacted with each other and invigorated the Yao Village with joy. It demonstrated the aesthetic value and social function of art.
鮮紅的頭巾與白色的、古銅色的雕塑彙在一 起，妙趣橫生。雕塑、大山、人群產生了互 動，激活了瑤寨，使這個往日平靜的千年古寨 頓時歡騰起來。這是藝術審美功用和價值的另 一種體現。 許多好友參與了活動，見證了這次「瘋狂的 行為」（一個意大利藝術家對這次活動的描 述），有來自意大利、美國、德國、瑞士和香 港的藝術家，有老師、同學和朋友。多家電視 台、報刊雜志的記者和十多位攝影師跟蹤拍攝 采訪，為這次活動留下了珍貴的資料。攝影集 得以成印，也是得益於他們的勞作。 香港畫廊 Galerie Ora-Ora 設計、編輯了這 本集子，這是極其勞心勞力的事，我非常感激 她們！
Many of my friends participated in this “crazy” event (as an Italian artist described it). There were artists from Italy, America, Germany, Switzerland and Hong Kong; professors, students, friends, journalists, producers and photographers, who all contributed to creating the precious memories recorded here in this book. Galerie Ora-Ora, an art gallery in Hong Kong, edited and designed this book. It was a huge task and I really appreciate it!
Xu Hongfei 許鴻飛 22 February 2010 • 2010年2月22日
Xu Hongfei was born in 1963 in Yangjiang, Guangdong. He had expressed an interest in art at a young age. Throughout his education he took on substantial artistic training and eventually entered the Guangzhou Academy of Fine Arts to specialise in sculpture. Within a few years he was actively involved in numerous public sculpture projects in different parts of China. In 1995 he opened his own studio to concentrate on his personal creative production. His remarkable technical skills allowed
2009 “The 11th National Art Exhibition of China” – shortlisted sculpture Nine Days Nine Nights, Changchun, China《中國人 民共和國第十一屆全國美展》- 入選雕塑作品 《九天九夜》，長春，中國 “Hong Kong International Arts and Antique Fair”, Hong Kong, China《香港國 際古玩及藝術品博覽會》香港，中國 “International Wood Sculpture Competition”, Taiwan 《台灣2009國際木 雕大賽》台灣 2008 “Hong Kong International Arts and Antique Fair”, Hong Kong, China《香港國 際古玩及藝術品博覽會》香港，中國 “Olympic Fine Arts 2008”, Beijing, China 《2008世界奧林匹克大會》北京，中國 “The 3rd Anniversary Olympic Sport & Art Contest”, Switzerland 《第三屆奧林 匹克與藝術大賽》瑞士 “Hooves on the Move” Sculpture Debut Ceremony and Celebration of Hong Kong Public Art, Hong Kong, China《展驥－香 港公共藝術展覽》香港，中國 “Hong Kong International Contemporary Art Fair” Hong Kong《香 港當代藝術博覽會》香港，中國 2007 “Pan-Sculpture Art Exhibition”, Shanghai, China《泛雕塑藝術展》上海， 中國 2006 “Xu Hongfei Sculpture Exhibition”, Hong Kong, China 《許鴻飛雕塑展》香港， 中國
him to be artistically experimental and stylistically flexible. His unconventional view on the aesthetic of the female form was discerned two years later when he began making sculptures of plump women. Xu has exhibited in France, Hong Kong, China and Thailand; and he is currently the Vice President of Guangzhou Sculpture Academy and Member of Guangzhou Culture and History Society. His work is collected by private as well as corporate collectors such as the China Military Museum and the International Olympic Committee Headquarter in Switzerland.
一九六三年生於廣東陽江，許鴻飛從小便 對藝術有濃厚興趣。從求學時期他便不斷報 讀各類藝術課程，最後考上廣州美術學院， 主修雕塑。短短幾年內他已活躍於中國各省 的公共雕塑項目。於一九九五年他開設了屬 於自己的工作室，拓展他個人的藝術創作。 他的非凡技巧使他有空間探索各種不同風格 及表現方式。兩年後，他開始以略胖的女人 做雕塑題材，顯示出他與別不同的的審美 觀。許曾於法國、香港、中國及泰國展覽， 現時他為廣州雕塑院副院長及廣東省文史館 館員。他的作品為各國的私人或公共機構 收藏，包括中國軍事博物館及瑞士國際奧委 會。
2005 “Guangdong Sports Art Exhibition”, Guangdong Museum of Art, China 《廣東 省體育美展》廣東美術館，中國 2004 “Guangdong Provincial Art Exhibition”, Guangdong Museum of Art, China 《廣東 省美術作品展》廣東美術館，中國 2001 “Romantic River - Sculpture Exhibition”, Guangdong Museum of Art, China 《許鴻 飛一江春水雕塑展》廣東美術館，中國 “The 16th Asia International Art Exhibition”, Guangdong Museum of Art, China 《十六屆亞洲國際藝術展》廣東美術 館，中國 “Celebrating the 80th Anniversary of the founding of Communist Party in China Art Exhibition” , Guangdong Art Academy, China 《慶祝中國共產黨成立 80周年廣東省美展》廣東畫院，中國 “Guangdong Sports Art Exhibition”, Guangdong Art Academy, China 《廣東省 體育美展》廣東畫院，中國 2000 “Chinese Contemporary Sculpture Exhibition”, Guangdong Museum of Art, China 《中國當代雕塑展》廣東美術館，中國 1999 “Joint Exhibition of Sculptures by Xu Hongfei, Yin Xiaoai and Lu Zhenkang”, Exhibition Hall of the Guangdong Artists Association, China 《許鴻飛、尹小艾、陸 增康雕塑展》廣東美協展廳，中國
“Celebrating the 85th Anniversary of the Founding of Communist Party in China Art Exhibition”, Guangdong Art Academy, China 《慶祝中國共產黨建黨 85周年廣東省美展》 廣東，中國
“Celebrating the 50th Anniversary of the founding of People’s Republic of China”, Exhibition Hall of the Guangdong Artists Association, China 《慶祝建國50周 年廣東省美展》廣東美協展廳，中國
“Sculpture Exhibition in Guangzhou, Hong Kong and Macau”, Guangzhou Museum of Art, China 《廣州、香港、澳門 雕塑展》廣州藝術博物院，中國
“The 9th National Art Exhibition”, Shenzhen Guanshanyue Museum of Art, China 《第九屆中國美展》深圳關山月美術 館，中國
“Sculpture Exhibition by Guangzhou Academy of Sculptures”, Hong Kong, China 《廣州雕塑院雕塑展》香港，中國
“Chinese Artists Exhibition”, Bangkok Art and Culture Centre, Thailand 《中國 美術家泰國大滙展》曼谷文化藝術中心，泰國
“Joint Exhibition of Chen Jixuan, Chen Yongqiang and Xu Hongfei”, Loire, France 《陳紀萱、陳永鏘、許鴻飛作品展》法國盧瓦 爾市
1998 “Chinese Artists Exhibition”, Bangkok Art and Culture Centre, Thailand 《中國 美術家泰國大滙展》曼谷文化藝術中心，泰國
1997 “Guangdong Provincial Sports Art Exhibition”, Guangzhou Culture Park, China 《廣東省體育美展》廣州文化公園，中國 “The 4th China Sports Art Exhibition”, Shanghai Museum of Art, China 《第四屆 中國體育美展》上海美術館，中國 1995 “The 50th Anniversary of Commemorating the Victory of SinoJapanese War Art Exhibition”, Exhibition Hall of the Guangdong Artists Association, China 《紀念抗日戰爭勝利50周年美展》廣 東美協展廳，中國 1991 “Celebrating the 70th Anniversary of the Founding of Communist Party in China Art Exhibition”, Exhibition Hall of the Guangdong Artists Association, China 《慶祝中國共產黨建黨70周年美展》 廣東美協展廳，中國
2009 “Xu Hongfei Chubby Women Sculpture Exhibition”, Gallery By the Harbour, Hong Kong《許鴻飛肥女人雕塑展》尖沙咀 海港城美術館，香港，中國 “Xu Hongfei Sculpture Exhibition in Liannan”, Liannan Yao Village, Guangdong, China《許鴻飛雕塑連南展》連 南千年瑤寨，廣東，中國 2008 “Xu Hongfei’s Sculpture Exhibition”, Red House Museum, Guangzhou, China 《許鴻飛雕塑大展》紅‧藝術館，廣州，中國 “Chubby Sculptures”, Le Conseil du 8e arrondissement, Paris, France 《胖雕塑》巴黎第八區市政府廳，法國 2004 “Solo Exhibition of Xu Hongfei”, Hong Kong, China 《許鴻飛雕塑展》香港，中國
“Solo Exhibition of Xu Hongfei”, Dongguan, China《許鴻飛雕塑展》東莞， 中國 “Chubby Women Series- Sculpture Exhibition of Xu Hongfei”, Guangdong Museum of Art, China《許鴻飛肥肥系列雕 塑展》廣東美術館，中國 “Solo Exhibition of Xu Hongfei”, Foshan Shijingyi Culture and Art Museum, China《許鴻飛雕塑展》佛山石景宜文化藝術館， 中國 2003 “Chubby Women Series - Sculpture Exhibition of Xu Hongfei”, Guangzhou, China 《許鴻飛肥肥系列雕塑展》廣州，中國 2001 “Extraordinary Men and Women - Xu Hongfei’s Sculpture Series”, Guangzhou Museum of Art, China《非常男女系列許鴻 飛雕塑展》廣州藝術博物院，中國
China Military Museum 中國軍事博物館
Ferguson Lane, Shanghai 中國上海武康亭
International Olympic Committee Headquarter, Switzerland 瑞士國際奧委會
Chairman of the Hong Kong Arts Centre
Olympic Art Center, Beijing 中國北京世界 奧林匹克大會
Former Chairman of the Hong Kong Arts
香港藝術中心主席
Centre 香港前藝術中心主席 Warden of Paris 8th District, France 法國 巴黎第八區區長 Mayor of Loire, France 法國盧瓦爾市市長 Guangdong Museum of Art 中國廣東美術館 Guangzhou Art Museum 中國廣州藝術博 物館
2009 Nine Days, Nine Nights, Guangzhou Sculpture Park 作品《九天九夜》，廣州雕 塑公園 Running Horses, Dongguan Songshan Lake Science & Technology Industrial Park 作品《奔馬》，東莞松山湖科技工業園 Peanut, Guangzhou Zhujiang Town 作品《花生》，廣州珠江新城
New
2007 Satellite, Guangzhou Sculpture Park 作品《衛星》，廣州雕塑公園
Go Left, Go Right, Guangzhou Sculpture Park 作品《向左走、向右走》， 廣州雕塑公園 2004 Guangzhou Huijing New City 廣州滙景 新城 2003 South China Normal University 華師大 南海學院 2002 Guangzhou Jingui Yuan 廣州金桂園
2006 Guangzhou Baiyunshan Chinese Medicine Company Limited 廣州白雲山和 黄中藥有限公司
Doncheng, Dongguan 東莞市東城區
2005 Hua Yuan, Hunan 湖南省花垣縣
Guangzhou Yinian Yuan 廣州頤年園
Jishou University, Hunan 湖南吉首大學
1996 Guangzhou Ocean City 廣州海洋公園
2000 Changping, Dongguan 東莞市常平
Mr. Huang Yongyu 黃永玉先生 Thai
Young
Chinese
Chamber
of
Commerce, Thailand 泰國華人青年商會 Thai School of Oriental Culture Academy, Thailand 泰國東方文化書院
SPECIAL THANKS TO: All who had supported and contributed to the exhibition
鳴謝︰各位支持本次活動之朋友
CREATIVE DIRECTOR:
Xu Hongfei
監制︰ 許鴻飛
PLANNING:
Hu Jiefeng
策劃︰ 胡杰風
Cui Guoxian Zhan Weiping Luo Qiang Zhao Liping Chen Xuejing
主編︰ 崔國賢 湛衛平 羅強 趙利平 陳雪敬
Galerie Ora-Ora
編輯︰ 奧拿.奧拿畫廊
GRAPHIC DESIGN: Odetti Tse @Ora-Ora
平面設計︰ 謝穎君@Ora-Ora
PHOTOGRAPHY:
Zeng Yulin Deng Bo Wen Jianping Huang Lihai Hu Jiefeng Song Weiguang
攝影︰ 曾雨林 鄧勃 文建平 黃禮孩 胡杰風 宋偉光
TEXT:
Song Weiguang Huang Lihai Gao Meng Deng Bo Tan Yanfeng Zhang Jianyun
文章︰ 宋偉光 黃禮孩 高蒙 鄧勃 譚豔鳳 張建雲
CHIEF EDITORS:
EDITOR:
ENGLISH TRANSLATION:
Rebecca Liu @Ora-Ora
英文翻譯︰ 廖鎧熒@Ora-Ora
PRODUCED BY: Guangzhou Shimofang Sculpture Aesthetic Co., Limited ADDRESS: 108, 110, 112 Hai Ying Road, Haizhu District, Guangzhou TELEPHONE: 020-34368977
出品人︰廣州市石磨坊雕塑景觀藝術有限公司 地址︰廣洲海珠區海鷹路108、110、112號 電話︰ 020-34368977
PUBLISHER: Ora-Ora International Limited ADDRESS: Galerie Ora-Ora, 12/F, Tin On Sing Commercial Building, 41-43 Graham Street, Central, Hong Kong TELEPHONE: +852 2851-1171
出版人︰ 奧拿.奧拿國際有限公司 地址︰奧拿.奧拿畫廊, 中環嘉咸街41-43號12樓 電話︰ +852 2851-1171
Printed in Guangzhou, 2010 ISBN 978-988-18648-3-3
2010年印於廣州 書號 978-988-18648-3-3