Спілка скульпторів Сучжоу: симбіоз традицій та модерності

Abstract

У статті вперше простежуються шляхи розвитку скульптури в Суджоу (провінція Цзянсу) – важливому культурно-мистецькому центрі Середнього Китаю. У дослідженні йдеться про логічні мотивації, що зумовили розвиток скульптури в головному місті Китаю – Суджоу провінції Цзянсу, а саме: якісну підготовку мистецьких кадрів; зв’язок зі світовими мистецькими центрами; організацію об’єднання скульпторів у Спілку, що спонукало їх до колективної презентації творчості у виставках 2015 р For the first time the evolution and development of sculpture was noticed in Suzhou, Jiangsu province – the important cultural and artistic center of Middle China, which contributed to the prosperity of the harmonious relationship of society’s heavenly spheres, as well as the achievements of modern civilization, were the product of intellectual conquests in different historical epochs. Suzhou civilization closely perceived cultural and artistic traditions and cherished them in the different manifestations of the creative world, foremost, in ancient times, in painting and calligraphy. At the same time there were conditions created for the traditional plastics, that already during the rule of the Tang dynasty reached the development in small sculptural forms, popular in applied arts, mostly in ceramics, due to its utilitarian purpose, especially in funeral ceremony functions. Plastic was always accompanied by ornamental art, which was focused on floral and animal motives. This creative line, which was followed by traditionally outstanding names of artists, went through the ages, inspired by the sense of civilization, and developed into active creative intentions of the traditional character with the usage of diverse materials. Meanwhile, especially in the end of the 20th century, its development started professional plastic, which originally was condensed by the rhythms of the «red classic» under the influence of the socialist-realist sculpture of the Soviet Union. However, since the late 80s, there was a significant development of modern plastic, strengthening ties with Western and Eastern art centers. In the work there are properly examined traditional and modern ways of Suzhou sculpture, their dynamics, caused by the activity of the Painting and Arts University in the city, that created a need in concentration of efforts under the aegis of the creative union of artists. In modern visual art, there is a significant development of sculptural regional differences. The important cultural as well as the industrial and economical center of the Middle China – Suzhou, Jiangsu province contributing to the development of modern sculptures. The processes dynamics contributed to the successful preparations of the generation’s plastic artists, which attracted attention to the sculpture, and here – the attention to its presentation at various exhibitions. The splash of such dynamics occurred due to the demonstration of the exhibition timed to the establishment of the city sculptors union that took place in 2015. On the other hand, it was caused by the growing numbers of young artists, thanks to the successful professional preparation of the young artistic generation that more and more equals the personal artistic vocation to the world’s visual practices. This caused the artistic problem to reflect, to generalize arts movements, practices, and creative initiatives of the new artistic thinking in the atmosphere of China and the region, particularly in Suzhou’s artistic space. The study of the new artistic processes enriches arts vision in general. The practice of Suzhou’s sculptors draw the attention of Chinese artistic creativity. However, in Ukrainian history of art, the topic is displayed by the example of the outstanding artist Sheng JiangGuo, whose practice falls in with the tendency of the intensive development of the city. Just a few months ago there was established two volume catalogue that bring together the artists of the traditional practice and the study of arts direction. The author of the fundamental practice, Wang Xiaodong greatly contributed into the study of the sculpture of Middle China. Such works were Sun Chenhua’s monographs «The history of Chinese Sculpture», Wang Ziyun’s «The history of ancient sculpture», and Chen Pei’s «The collection of the catalogues of the modern Chinese sculpture», and can be considered as basic practices. Among western scholars there are distinguished works of S. Fitzgerald «China. The history of culture», Y. Gryshchak’s «Beijing: Chinese wall», G. Kråger’s «China. The full history of Tianxia». The aim of this scientific publication is to define the way of the development of the modern sculpture of Suzhou in the contest of its organizational integration on the level of the Sculptors Union established two years ago. The Sculptors Union, whose exhibition of 2015, demonstrated the connection with the deep traditions of the artistic culture and the need to include practices into modern artistic concepts, show what means are used to achieve the modern, and post modern space. The author set the task to examine the practice on the basis of the first exhibition of the sculptors of Suzhou, and conceptually give rise to thoughts about the modern artistic discourse within plastics. Such practice, as it was shown, drew the attention of the artists from Shanghai, Beijing, Nanjing, to the initiatives of the artistic space of Suzhou, not mentioning the interest from the side of the artists of Singapore, Taiwan, USA. The modern practices of Suzhou are an important component of the artistic culture. To have a large effectiveness the Sculptors Union was established, where there is a harmony between the artists of modern culture with the artists of the ancient technological sculpture and the artists whose imaginations are directed to the innovative searches. The exhibition in Suzhou gained publicity and a world resonance. The exhibition successfully took in guests from Singapore, Taiwan, USA. In perspective, there is a filling of the space in the city complexes with the monumental compositions that would harmoniously fit into the great ensembles of architectonics of the modern districts of ancient Suzhou, and fitting in naturally as the fact of the evidence of the rampant dynamics of the Chinese progress.