流有缓急,潴有浅深——悟谈雕塑创作中的“疾涩”论  

The Ebb and Flow of Creation——A Discussion on the“Swift and Retarded”Theory in Sculpture Creation

作　　者：林熳玄 李宪锋 王彦雯 Lin Manxuan;Li Xianfeng;Wang Yanwen

机构地区：[1]不详

出　　处：《景德镇陶瓷》2025年第1期78-81,共4页Jingdezhen Ceramics

摘　　要：疾涩论隶属书法创作理论范畴,始于中国东汉书法家蔡邕,其技法运程与审美思想的本质内核同样适用于泥塑创作。本文结合疾涩论观念,叙述笔者于泥塑创作中所悟得的己见,辨析“疾涩”与泥塑创作技法间比肩联袂的纽带联结,由泥塑创作理论中的“雕”“塑”两方面谈及疾涩与创作统合时的实践体现,剖析影响疾涩体验的主客观因素,以期泥塑创作者从中感悟泥塑创作的“疾涩”之乐,完备实践中的“妙得”之感与创作前的身心准备,也为进一步的雕塑实践创作铺陈理论之路。The“swift and retarded”theory,which originated in the Eastern Han Dynasty of China with the calligrapher Cai Yong,is a concept from the realm of calligraphy creation.However,its core essence in terms of both technique and aesthetic ideology is equally applicable to clay sculpture creation.This paper,drawing on the concept of the“swift and retarded”theory,narrates the authors'personal insights gained from clay sculpture creation.It explores the close connection between“swift and retarded”and clay sculpture techniques,discusses the practical integration of“swift and retarded”in clay sculpture creation from the aspects of“carving”and“molding”in clay sculpture theory,analyzes the subjective and objective factors that influence the experience of“swift and retarded,”and aims to help clay sculpture creators appreciate the joy of“swift and retarded”in their creation.It also seeks to enhance the“subtle attainment”in practice and the mental preparation before creation,and to lay a theoretical foundation for further sculpture creation practice.

关 键 词：疾涩论 泥塑创作 雕塑理论 

分 类 号：J305[艺术—美术]