惊绝："泥人张"第四代传人张锠彩塑艺术，在创新交融中不断吐故纳新！

张锠是中国著名雕塑世家“泥人张”的第四代传人，毕业并任教于中央工艺美术学院，现任清华大学美术学院教授、中国文联民间文艺家协会顾问，中国非遗艺术设计研究院院长等职。中国民协分党组书记、副主席邱运华如此说：“张锠的艺术脚步与轨迹是将传统艺术记忆背景和现代学院派教学相互融合与探索的过程，他的人生态度和学术风范，堪称德艺双馨。这不仅将他的个人艺术生涯推向一个又一个高峰，并且作为一名传道授业解惑的灵魂工程师，他的成就更给予后学以极大的启示和影响。”

在近代中国雕塑艺术史上，“泥人张”彩塑以其独树一帜的艺术成就被铭记。徐悲鸿先生曾于上世纪三十年代专门著文记述，评价曰“虽杨惠之，不足多也”。传统的“泥人张”技艺承载了许多书卷之气，亦有人物肖像绘画的技艺借鉴，所塑人物多取自民间生活、风俗、文学与戏曲，手法写形传神，兼具塑容绘质。而“泥人张”第四代的杰出代表张錩先生在其家传技艺和学院体系的双重交汇中，领悟客观形态与主观形式，民族集体记忆与个人体验的关系，并油然将这种心得和理论升华注入自身的创作而呈现出鲜明的个人风格，在“泥人张”艺术文脉上卓然有立，名闻艺坛。

中国美术馆馆长、中国美术家协会副主席、中国雕塑院院长吴为山认为家学、名师、才情、勤奋形成了张錩先生雕塑艺术的格局气象。“先生自幼随父习研彩塑，精于传统人物创作。弱冠就学于中央工艺美术学院，受教于留法归来的郑可等老一辈先生，学习东西方传统雕塑的造型手法。而立之年执教于母校，后学院并入水木清华，任雕塑专业负责人、装饰艺术系主任、教授之职，在三尺讲坛辛勤耕耘三十余载，且刀笔不辍，勤勉有加，对于雕塑艺术探索不止，历时经年，渐成独具风貌的装饰意象特色。究其根本，其因有三，首为家学渊源，这根深蒂固的血缘文化是他与生俱来的艺术基因；次为得名师指点，那些洋溢着中西精华的雕塑经典乃为范本;三为学术背景濡染，中央工艺美院庞薰琹、张光宇、张仃等大师对造型艺术中装饰风的深刻研究和谙熟己成为学院传统，当它与现代设计结合必然将提炼、夸张、组合、适形等手段揉入雕塑创作，以精巧与妙思形成喜闻乐见的形式美学法则，并与内容形态的化而为一，展现出具有装饰艺术学派的作品面貌。毫无疑问，这也是‘泥人张’近二百年历程中之所以显著地刻上张锠之名的重要因素。”

张錩由早期自然主义的写实手法入手，继而揉入意象装饰情趣，尝试不同材质特性，风格为之一转。晚年又侧重于以传统为本，执中鉴西，形式美感、设计巧思均蕴含内敛，作品风貌又为之一变。“细细品味张錩先生的作品，传统为其源流，在承传转换中拓展家学体系;发展即是延续，在创新交融中不断吐故纳新。既纵横捭阖于传统之间，又感悟贯通以当代审美，于东西方文化传统中游刃有余，融会贯通。惟其创新，才使得张錩先生的艺术作品萌发出巨大的感染力，这也正是他作品艺术魅力的重要基石。”

Zhang is the fourth generation descendant of the famous Chinese sculpture family "clay man Zhang ", graduated and taught in the Central Academy of Arts and Crafts. He is currently a professor of the Academy of Fine Arts of Tsinghua University, a consultant to the Chinese Federation of Folk artists Association, and president of the Chinese Academy of Non-legacy Art Design. Qiu Yunhua, the party secretary and vice chairman of the CPPCC, said :" Zhang's artistic footsteps and track are the process of integrating and exploring the traditional artistic memory background and modern academic teaching. His attitude and academic style in life can be called the double heart of virtue and art. This not only pushed his personal artistic career to one peak after another, but also, as a soul engineer who taught and solved his doubts, his achievements gave great enlightenment and influence to the later study ." In the history of modern Chinese sculpture art ," clay man Zhang "color sculpture is remembered for its unique artistic achievements. Mr. Xu Beihong wrote a special account in the 1930s, saying that "although Yang Huizhi, not enough also ". The traditional technique of "clay man zhang" carries the spirit of many books, but also has the skill of portrait painting for reference. In the dual intersection of his family skills and college system, Mr. Zhang, the outstanding representative of the fourth generation of "clay man Zhang ", understood the relationship between objective form and subjective form, national collective memory and individual experience, and sublimated this experience and theory into his own creation. Wu Weishan, director of the Chinese Art Museum, vice chairman of the Chinese Artists Association and president of the Chinese Academy of Sculpture, believes that family studies, famous teachers, talents and diligence have formed the pattern of Mr. Zhang's sculpture art. "Mr. from childhood with his father study color sculpture, good at the creation of traditional characters. Weak crown on the Central Academy of Arts and Crafts, taught in the return of Zheng Ke and other older generation, learning the East and West traditional sculpture modeling techniques. After years of teaching at his alma mater, the college merged into Shuimu Qinghua, as head of sculpture, director of decorative art department, professor, in the three-foot pulpit hard work for more than 30 years, and meticulous, diligent, sculpture art exploration, over the years, gradually become a unique decorative image characteristics. There are three reasons, the first is the origin of family studies, this deep-rooted blood culture is his innate art gene; Third, the academic background, the Central Academy of Arts and Crafts Pang Kaoru, Zhang Guangyu, Zhang Ding and other masters of plastic arts in the profound research and understanding of decorative style has become the tradition of the college, when it and modern design will inevitably refine, exaggeration, combination, conformability and other means into sculpture creation, with exquisite and wonderful thinking to form a favorite form of aesthetic law, and with the content of the form of the transformation into one, showing the appearance of decorative art school works. There is no doubt that this is also the "clay man Zhang" in the course of nearly two hundred years, the reason for the remarkable engraved on the name of Zhang ." Zhang Jian starts with the realistic technique of early naturalism, then kneads into the image decoration interest, tries the different material characteristic, the style is one turn. In his later years, he also focused on tradition-based, holding in the west, form aesthetic, design ingenuity are contained in the introverted, the style of the work is one of the changes. "Taste carefully Mr. Zhang's works, tradition for its source, in the transfer of the expansion of the family system; development is a continuation, in the blend of innovation constantly new. It is not only between the tradition, but also through the contemporary aesthetic, in the eastern and western cultural traditions. Only its innovation makes Mr. Zhang's works of art have a great appeal, which is the important cornerstone of his works' artistic charm ."