January
2 days
Saturday
Reading history is eye-opening, and reading history is wise. Today, Sanya released the "Night Reading History" column for everyone to push is "The Story Behind the Three Famous Sculptures in Hainan".
Looking back at the three famous sculptures in Hainan, we cannot help but marvel at the great charm of urban sculpture: the wisdom of the sage can be seen in the broad forehead of Su Dongpo, the outstanding struggle can be seen from the backbone of the Red Women's Scout Army, and the source of Sanya city can be seen from the ancient legend of Luhuitou. They not only record the value judgments and historical feelings of each period, show the cultural consciousness and ideological context of the nation, but also show the taste and artistic level of life in hainan.
01 "Dongpo Kasa" - A generation of literary heroes is uneven
"Speaking of The Eastern Slope, there is a lot of story in it." The old sculptor Li Hanyi talked about his proud work and gushed endlessly.
It was the turn of the spring and summer of 1985, when Yang Yingbin, then member of the Standing Committee and secretary general of the Guangdong Provincial CPC Committee, went to Danxian (now Danzhou City) to inspect and returned, and wrote a letter to the Party Committee of the Guangdong Academy of Fine Arts, asking them to send the best sculptors to sculpt a full-body portrait of Su Shi for The Dongpo Academy according to the story of Su Shi's "Dongpo Kasa" in Hainan.
The allusion of Dongpo Kasa refers to the fact that after Su Dongpo was exiled to Danzhou, one day he went to visit his friend Li Ziyun, and when it rained on the road, he borrowed bamboo kasa and clogs from a nearby farmer, but when he dressed it, he caused local women and children to laugh, and even the dogs barked at him, Su Dongpo just said: "Laugh is strange, bark is strange!" Later generations cited this incident, but praised Su Dongpo's open-minded optimism and affinity with the people.
Li Hanyi, who received the task, immediately put down the matter in his hand and rushed to Danzhou for a field investigation to understand the local environment and collect information. He found that although the story of "Dongpo Kasak" was short, it profoundly summarized the representative image of Su Dongpo's relegation to Hainan period, and expressed the local people's love and admiration for him. Because the story is vivid and lively, it has attracted successive generations of Danqing masters, who have repeatedly drawn masterpieces with this theme, and even as far away as Japan, there is a "Map of the Eastern Slope of Kasa". However, this is the first time that the story has been expressed in the form of sculpture art.
Li Hanyi carefully pondered several pictures of the Eastern Slope. He felt that Su Dongpo's dress was very kind, because in his hometown of Dongguan, Guangdong Province, it was also popular to wear clogs, "I like to wear clogs the most, because it is particularly dry." ”
His affection for Dou Fang is also very deep. "When I was a child hiding from Japanese soldiers, I wore a bucket hat and traveled almost all over Guangdong. Every time I went to the countryside after liberation, I also had to wear a bucket hat. Because he did not understand the style of the local bucket hat, the propaganda director of the Danxian County Party Committee at that time also specially bought a top for him. The artist's keen observation made him immediately notice that the top of the bucket in Dongguan was very sharp, while the bucket in Danzhou was flatter. In order to determine Su Shi's clothing style, he also specifically looked up historical materials during the Northern Song Dynasty. Considering that the edge of the bucket is very thin, the stone is relatively easy to break, so the sculpture chose copper.
After the costume style was determined, Li Hanyi studied Su Shi's appearance and figure. He made a special trip to Foshan's Shiwan and figured out a famous local statue of Dongpo. "I used this as a sample of appearance, but the face was a little longer than that."
He laughed and talked about a legend of Su Dongpo. Su Dongpo's sister Su Xiaomei is a well-known talented woman, and the two often have fun with poetry. According to legend, Su Xiaomei's forehead was prominent, and Su Dongpo said: Three or five steps before going out, the forehead has reached the front of the painting hall. Su Xiaomei replied: Last year, a drop of acacia tears has not yet flowed to the cheeks. "This shows that Su Dongpo's face is relatively long."
He insisted that this sculpture should have aesthetic value and spiritual enlightenment. For example, when designing the image of Su Shi, he asked Su Shi to gently lift the hem of the clothes with his hands. "It's a natural action when it's raining, otherwise it will affect walking." However, the hem of the clothes is not very high, and the whole person also looks slender and straight, "so that you can show the image of Dongpo being uninhibited and not caring much about the world." ”
After the image design was completed, Li Hanyi began a creative process that lasted for more than half a year. After drawing up a small sample of the sculpture, the party secretary of the academy took him straight to Yang Yingbin's office. Yang Yingbin looked at the sample and did not give much comment, and the sculpture sample was agreed. Li Hanyi believes that Yang Yingbin does not mention any opinions to show that he is very clever, and does not want to sway the artist's thinking because of his own opinions, as long as there is no question of principle, try to leave the author with a broader free creative space.
After the enlarged clay sculpture was completed, Yang Yingbin was invited to review, but he still did not put forward many opinions, and the review was passed. At that time, Li Hanyi proposed to ask Yang for an inscription, and Yang modestly said: "This is like my inscription is not appropriate, it is recommended to use Mr. Guo Moruo's handwriting." The inscription on the white jade base of the bronze statue is Guo Moruo's handwriting "Dongpo Resident".
The day of the official placement of the sculpture, Li Hanyi has not remembered clearly, he believes it should be December. At that time, he chose the location and orientation for the sculpture, that is, in the flower garden of the West Garden, facing the same direction as the gate. "Urban sculpture must be integrated with the natural environment to produce a landscaping effect."
However, I did not expect that there was a small storm because of this. After consultation, the local town of Zhonghe sent five or six elders to find Li Hanyi and ask why he wanted to put Su Dongpo's statue outdoors and let "him" shine in the sun and rain. Li Hanyi patiently explained to them the difference between urban sculpture and indoor sculpture, "Placed outdoors to allow more people to see, urban sculptures are placed outdoors." ”
Li Hanyi said that he was not angry at all. Because this made him deeply appreciate the weight of Su Dongpo in the minds of the local people. In their eyes, Su Dongpo was no different from the gods and should be placed indoors like other gods and Buddhas, "I am very moved. ”
At that time, Li Hanyi's remuneration was very low, less than one-tenth of the remuneration he received for paintings overseas. "Robbing the rich to help the poor," Li Lao said with a smile, at that time the national economic situation was not too good, and very few urban sculptures were made, "this is to promote urban sculpture." ”
To shape Su Shi, a historical and cultural celebrity, there is no reliable image as a basis. And because Li Hanyi pondered hard, focusing on the use of traditional Chinese expression techniques, and at the same time paying attention to the absorption of Western sculpture art, he finally portrayed the sculpture vigorously and simply, with a deep and subtle intention, and the poet's old and unbroken demeanor and tenacious character came to life.
After the sculpture was completed, it was widely praised by the media at home and abroad. The article in Hong Kong's "China Daily" described it this way: "The statue of Su Dongpo is dressed in cloth and a clogs, looking like a civilian, but the cloth is slightly elegant, revealing the temperament of a scribe." He behaved in a manner, did not stride, and appeared to be stagnant, thus reflecting the difficulty of the environment at that time. Its chest is slightly straight, its eyes are shining, its abdomen is slightly protruding, its qi is uneven, and the whole statue stands majestically, imposing, and has a kind of unyielding strength to resist. ”
02 "Red Detachment of Women" - Comrade Hu Yaobang inscription
In the heart of Nanmen Street in Qionghai City, a statue based on the red women's army soldiers attracts visitors from the south to the north to stop and look. In order to commemorate the revolutionary spirit of the Red Women's Scouts, Qionghai County in the 1980s decided to erect a granite statue for the Red Women's Scouts Company in the heart of Nanmen Street in the city as a red tourist attraction, allowing people to relive the vigorous revolutionary history that had occurred during the tour.
The design work in the early stage of the statue of the Red Detachment of Women embodies the painstaking efforts of a group of famous sculptors. Qionghai sculptor Cui Kaihong designed a clay sculpture sample for the statue, and Professor Lu Hongji, a sculptor from Qionghai, also put forward valuable suggestions in the design process of the statue.
In March 1984, the Qionghai Party History Office, which was responsible for the preparation of the statue, sent a letter to Lu Hongji, Cui Kaihong, and some artists from the Haikou Municipal Cultural Department to solicit drafts, but the first draft was not satisfactory. In late July, taking advantage of the opportunity to go to Beijing on official business, Lin Hongfan, then director of the Party History Office, visited Cui Kaihong, and he promised to return to Qionghai to participate in the design work. In mid-August, Cui Kaihong returned to Qionghai and, after conducting fieldworks on the granite rock materials of Nanmen Square and Changpo, designed a small clay sculpture of the Red Girl Scout Army. On September 15, Cui Kaihong brought the first draft back to Beijing, consulted Liu Kaiqu, Liu Lin and other famous sculptors, and made modifications and additions to the design.
The statue of the Red Detachment of Women is carved from a single boulder weighing tens of tons.
Lin Hongfan said that when selecting materials for the statue, the staff involved in the design and production made an analysis of the local climate environment in Qionghai, and decided to choose granite as the carving material according to the characteristics of high temperature and strong light in Hainan. At the same time, it was also decided that only a single piece of stone could be used for carving, and not to adopt the common method of carving in small pieces and then piecing together a whole image in the interior, so as to prevent the phenomenon of moss in the patchwork due to age.
Due to cost considerations, it was decided to use local materials on the Duoyi Ridge in the Long Slope Area of Qionghai. At that time, it was not easy to find such a huge stone, and it took a lot of effort to almost go through the entire mountain to find a stone that met the requirements. After more than 2 months of mining and processing, this huge stone weighing more than 40 tons was processed into 20 tons of rough stone. After the rough blank is completed, it is not easy to transport it back to the city for detailed carving, Lin Hongfan said, fortunately, at that time, he learned that there was a stone yard in Qionghai with two giant cranes, which could do the job. On April 16, 1985, the crane transported the 20-ton rough stone back to the new compound of the Qionghai County Party Committee.
The statue of the Red Detachment of Women, which is now on display, was conceived by Cui Kaihong and the famous carver Lu Sannan based on the facial and physical characteristics of local women in Qionghai. It is understood that the head portrait of the Girl Scout Army designed by Cui Kaihong in the early days lacks the simple regional appearance characteristics unique to Hainan women, and the temperament is biased towards northern women. Cui Kaihong decided to redesign the avatar. But to have a satisfactory avatar, there must be a satisfactory model. Therefore, Lin Hongfan entrusted this task to Chen Dexiong.
After receiving the task, Chen Dexiong set a standard for the model in his heart, that is, to show the tall image of the girl scouts, but also to have a healthy and simple temperament, that is, to be beautiful with a little earthy atmosphere. Therefore, Chen Dexiong mainly set the location of the model selection in the qionghai countryside. After several days of running and screening, four Qionghai women with the facial characteristics of Hainan women became models in his shots. Cui Kaihong designed the avatar based on the photos provided by Chen Dexiong. In order to carve this statue, Lu Sannan stayed in the streets of Qionghai for several days to observe the body shape of local women, and then went back to modify the statue, and finally carved the current statue that reflects the characteristics of Hainan women.
At the beginning of 1985, the construction of the statue of the Red Detachment of Women began. After discussion, the relevant leaders and staff of Qionghai County unanimously agreed that Comrade Hu Yaobang, who was then the general secretary of the CPC Central Committee, should be asked to write an inscription for the statue, because this can best represent the Party Central Committee's affirmation of the revolutionary spirit of the Red Women's Army.
Li Liangduan, who was a member of the Standing Committee of the Hainan District Party Committee, was studying at the Central Party School at the time, and she paid a special visit to Chen Weiren (who was the secretary of Comrade Hu Yaobang), who was then vice president of the Central Party School, and took the opportunity to mention the inscription in small talk. Chen Weiren enthusiastically agreed, but asked the Qionghai County Party Committee and the county government to write a report to the general secretary and clearly write down the reasons for the inscription. Lin Hongfan immediately asked Cui Xiujian, a staff member of the Party History Office who had written well, to write a report with a brush. After receiving the report, Li Liangduan immediately sent it to Chen Weiren's office.
After Chen Weiren obtained comrade Hu Yaobang's consent by telephone, he sent the report and materials to his office according to the agreed time. After reading the materials and report, Hu Yaobang told Chen Weiren that building a statue for the Red Detachment of Women was a meaningful thing, and he was very happy to write the inscription. After speaking, he took out a pen and ink, wrote down the five big characters of "Red Women's Army" on rice paper, and signed his name.
Today, the statue of the Red Detachment of Women has become one of the symbols of Qionghai, and the inscription inscribed by Comrade Hu Yaobang has become a permanent memorial.
03 "Deer Return" - a beautiful legend
Nowadays, going to the deer to look back at the sculpture is the wish of many tourists who visit Sanya.
Chen Renzhong, who was deputy secretary of the Sanya Municipal Party Committee and chairman of the Municipal Committee of the Chinese People's Political Consultative Conference, talked about the past of the Luhuitou sculpture construction period, and his excitement overflowed into words.
Luhuitou is Sanya's famous "South China Sea Love Mountain", circulating a beautiful and moving love legend of the Li people: in ancient times, there was a handsome and brave young hunter of the Li ethnic group, chasing a beautiful slope deer, from the Five Finger Mountain to the coast of the South China Sea. Beneath the cliffs is the vast sea, and there is no way for the deer to escape. The hunter is bending his bow and pulling the string, ready to release the arrow. Suddenly, after a golden light passed, the red cloud rose, and po deer turned back and transformed into a beautiful girl, smiling at the young hunter. They fell in love and married, and from then on men and women weaved, multiplied offspring, and lived a sweet life.
The main body of the entire sculpture of Lu Huitou is the fairy deer goddess and the hunter. The deer girl has a knotted head, a necklace around her neck, an embroidered tube skirt, and a shy and beautiful and amorous veins. Her casually raised left hand seems to sow the seeds of a happy life, reminiscent of a beautiful picture of the future that she and the young hunter envision. The young hunters who appeared on the back of the huge sacred deer seemed to be repenting of the mistake of chasing the sacred deer, bowing their heads in shame, but their hearts were full of happiness.
The designer of the sculpture, Lin Yuhao, is a native of Hainan and has a high reputation in the domestic sculpture industry. Therefore, when the then Hainan Li and Miao Autonomous Prefecture decided to build a Luhuitou sculpture, he entrusted him with the task of designing and building the sculpture. Chen Renzhong recalled that Lin Yuhao created more than 20 luhuitou sculptures. The design before the finalization can be summarized into three categories: first, the use of the body of the maiden head deer, so that similar to the foreign commonplace sculpture of the human face beast, there is no novelty; second, the normal proportion of people and deer in real life, like a deer herder, lost the sense of deification; third, the hunter and the deer girl handled together, it is bound to be vulgar love, the style is not high, and the deer girl alone feels that it cannot meet the audience's requirements.
After a long period of repeated deliberation and in-depth folk research, Lin Yuhao finally formed a deer head sculpture of the hunter, deer girl and po deer. At that time, Lin Yuhao planned to make a huge sculpture 40 meters high. In this regard, Lin Yuhao and others came to the site site, and comrades from the garden department of YaXian (now Sanya City) took machetes and crawled in the dense forest full of thorns and rocks in Luhuitou to find an address. After investigation, it was decided to abandon the idea of placing a 40-meter-high sculpture on the flat top of the coastal peak and change it to 12 meters high and 4.9 meters wide to coordinate with the mountaintop environment and leave room for excursions.
After determining the image of the sculpture, Lin Yuhao made a one-meter-high "clay sculpture". Lin Youzhuang, a student of Lin Yuhao, enlarged it 10 times in Guangzhou, a process that took a whole year to complete the plaster cast. The plaster statue was divided into 200 pieces according to a certain proportion, loaded with several trucks, and transported to Luhuitouling. Lin Yuhao invited more than 20 stone carving workers from Fujian to compare and carve a piece of granite according to the shape of each plaster statue.
When assembling the sculptures, Lin Yuhao and Lin Youzhuang always came out early and returned late, walking up and down the mountain every day. When polishing the faces of hunters and deer girls, Lin Yuhao wore a long-tongued hat on his head, tied his waist with a thick hemp rope, hung in mid-air, and worked carefully. Illuminate it with a flashlight when it gets dark.
Lin Yuhao often nibbled on a cold steamed bun when he was hungry, drank a sip of cold boiled water when he was thirsty, and did not return to his residence for dinner until eight or nine o'clock in the evening. "Whether it's windy or rainy, or scorching sun, he watches over the construction site. He poured all his energy into the statue. When we finally see the sculpture, we feel that the myth is solidified in the hands of the sculptor. Chen Renzhong recalled.
How more than 200 granite rock blocks fit together. Lin Youzhuang said that at that time, 200 stones were encoded sequentially. Then the two adjacent stones are left in a convex and concave position for each other when the sculpture is carved, so that they are stuck together when the sculpture is installed. When all the stones are finally combined, Lin Yuhao and Lin Youzhuang will polish the joint and close the gap between the joint. After more than a month of restoration, the deer head sculpture was officially completed.
Because of its high craftsmanship, the deer head sculpture after its completion has won many awards. It is understood that Lu Huitou's sculpture works have won the first Red Cotton Award of Guangzhou Literature and Art, participated in the national exhibition of urban sculpture works, and have been published many times in domestic and foreign magazines such as "Fine Arts". After the sculpture was completed, the road leading to the sculpture has always been a dirt road, which has affected tourists to go and see it. At the beginning of 1990, Sanya City allocated funds to transform the road into asphalt. Subsequently, Sanya City built Luhuitou Peak Park with sculpture as the central attraction. Since then, Luhuitou Sculpture has become a well-known scenic spot in Sanya, receiving millions of people to visit every year.
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Source: Hainan Daily (November 15, 2010, 15, 16 editions Shan Yigang, Xu Chunmei, Guo Jingshui/Wen)
Editor: Chen Shulin